[0:00] [Music]
[0:01] films are made up of sequences sequences
[0:04] are made up of scenes
[0:06] and scenes are made up of shots
[0:09] in previous episodes we covered camera
[0:12] lenses frame rates
[0:14] discombobulate
[0:17] and scene transitions
[0:20] [Music]
[0:21] today we're going to look at another
[0:23] angle of editing by examining different
[0:25] ways we can cut within the scene
[0:33] this is episode 10
[0:35] of the shot list
[0:39] editing techniques
[0:44] almost all of an editor's work comes
[0:46] down to three choices what to show
[0:49] when to cut
[0:50] and what to cut to
[0:53] what the
[0:54] the cut itself is the most basic way to
[0:56] move from shot to shot
[0:59] and when an editor cuts away from the
[1:01] main action it's referred to as a
[1:04] cutaway
[1:14] [Music]
[1:24] give
[1:32] famed editor walter merch laid out his
[1:34] rule of six
[1:36] a list to prioritize criteria when
[1:38] deciding on each cut how we pace a scene
[1:41] can affect emotion style and tone
[1:45] is your scene mournful and contemplative
[1:48] hold on shots for longer hello darkness
[1:50] my old friend
[1:53] i've come to talk with you again
[1:59] is your scene filled with frantic action
[2:01] rapid cutting might be an order
[2:13] deciding what to cut to is equally
[2:16] important an editor might use a cutaway
[2:18] to indicate what's on a character's mind
[2:27] [Music]
[2:30] or cut to what a character is looking at
[2:34] no matter the reason every edit should
[2:36] be thoughtful and purposeful
[2:39] for a detailed explanation on the rule
[2:41] of six you'll find a link to our blog in
[2:44] the description
[2:46] this brings us to our first editing
[2:48] fundamental
[2:50] eyeline
[2:52] an eyeline match is when an editor cuts
[2:55] to the object of a character's attention
[3:00] [Music]
[3:01] if a character notices something we cut
[3:04] to what they see the second shot is
[3:06] often a literal pov shot or from that
[3:09] character's general perspective
[3:18] this is such common practice that we can
[3:20] build intrigue by either waiting to
[3:22] reveal what they see
[3:33] fran doyle back to the ranger now
[3:36] or by not showing it at all
[3:39] we happy
[3:41] vincent
[3:44] we happy yeah we happy
[3:50] either way it's the characters eyes that
[3:53] motivate the cut
[3:55] consider this moment from 300. choose
[3:58] your next words carefully leonidas
[4:01] they may be your last as king
[4:04] as king leonidas debates whether to
[4:06] submit to xerxes control watch how his
[4:09] eyes guide the edit
[4:12] with each glance we cut to his land
[4:16] his citizens
[4:22] his wife
[4:24] and in this process we are invited to
[4:26] think like leonidas
[4:28] will he sacrifices people's freedom or
[4:31] not
[4:33] a common form of the isline match is the
[4:35] shot reverse shot when we cut between a
[4:38] shot of subject a and a shot of subject
[4:40] b in a reverse angle that is often a
[4:42] similar angle and composition
[4:45] the most common use of this can be found
[4:48] in conversation scenes to maintain scene
[4:50] geography and clarity
[4:54] inserts are also often prompted by
[4:56] eyeline matches an insert is a shot of a
[4:59] detail within a scene
[5:01] usually in order to emphasize a specific
[5:04] prop or element
[5:07] in tenet the protagonist looks off
[5:09] camera and we cut to this insert an
[5:12] example of simple and direct visual
[5:14] language
[5:17] the eyeline match is a great way to
[5:19] connect the dots between what the
[5:21] character sees
[5:22] thinks or feels
[5:25] impressive
[5:26] very nice
[5:28] it can also create and release tension
[5:31] depending on what we see and when we see
[5:33] it
[5:34] [Music]
[5:40] [Music]
[5:46] george
[5:48] george
[5:51] hi george
[5:54] what's going on
[5:55] instead of cutting between two objects
[5:57] in the same scene our next technique
[5:59] cuts between separate scenes
[6:02] cross cutting
[6:05] cross-cutting is when an editor cuts
[6:07] between two or more scenes happening in
[6:09] different locations usually at the same
[6:11] time
[6:12] the baptism sequence from the godfather
[6:15] alternates between michael renouncing
[6:17] evil
[6:19] michael francis ritzy do you renounce
[6:22] satan
[6:24] and his men following michael's orders
[6:26] to execute his rivals
[6:31] by crosscutting these scenes it creates
[6:33] an ironic juxtaposition that elevates
[6:36] the entire sequence
[6:40] in all his works
[6:44] [Music]
[6:53] [Applause]
[6:55] i do announce them
[6:57] but cross-cutting can also be an
[6:59] effective way to combine multi-layered
[7:01] action as well
[7:03] in rogue one the last third of the
[7:05] entire film is a massive sequence
[7:07] comprised of three distinct battlefronts
[7:11] the combat on the beach
[7:15] the dogfight in space
[7:22] and the covert operation to steal the
[7:25] death star plans
[7:27] [Music]
[7:30] in fact each of these fronts split into
[7:33] additional subplots
[7:35] but by alternating between these scenes
[7:38] the crosscutting helps keep the plot and
[7:40] action constantly moving forward
[7:43] and the audience invested in each
[7:45] group's progress
[7:48] crosscutting can create parallels
[7:50] between separate scenes that wouldn't be
[7:52] there otherwise and weave multiple
[7:54] planes of action in one
[7:58] now let's look at a technique which is
[8:00] designed to keep the audience's
[8:01] attention fixed to a specific part of
[8:04] the frame
[8:06] itrace
[8:09] itrace is when an editor cuts between
[8:11] two or more shots that focus on the same
[8:14] area of the frame
[8:21] this allows the viewer's eyes and
[8:23] attention to stay focused without having
[8:25] to scan the frame after each cut
[8:28] welcome school
[8:31] [Music]
[8:35] itrace can also be used through blocking
[8:37] and camera movement
[8:39] guiding a viewer's eye within a shot
[8:43] [Applause]
[8:55] but let's look at how editors can
[8:57] achieve a similar effect
[9:00] itrace is ideal for action scenes which
[9:02] tend to move quickly
[9:07] mad max fury road makes heavy use of
[9:10] this technique here's dp john seal
[9:13] explaining this decision
[9:16] compositionally
[9:17] whatever was the center point of that
[9:20] shot had to be in the center of frame
[9:27] in the faster cutting that he's got your
[9:29] eye won't have to shift on an anamorphic
[9:32] frame to find the next subject when
[9:35] you've only got
[9:36] 1.8 seconds of time to do that
[9:43] all we would hear all the time on the
[9:45] comms was george saying put the
[9:47] crosshairs on her nose put the cross
[9:49] hairs on her nose
[9:51] and that is basically the whole film
[9:55] some shots in the film are less than a
[9:57] second long
[9:59] using eye trace the composition and
[10:01] editing of these scenes helps the viewer
[10:03] process even the most chaotic action
[10:14] our next type of cut also helps smooth
[10:16] over a transition
[10:18] split edits
[10:20] while a hard cut changes both audio and
[10:23] video at the same time
[10:28] [Music]
[10:36] a split edit changes either the sound or
[10:38] image before the other this is either a
[10:41] j cut
[10:42] or an l cut
[10:44] they get their names from what they look
[10:46] like in an editing timeline
[10:48] a j-cut is when audio from a shot begins
[10:51] to play before we see it
[10:54] excuse me
[10:55] is that your car in the lot yeah
[10:58] that's a nice ride thanks man connie's
[11:00] off hey jordan belfort nice to meet you
[11:04] for an l cut the audio from a shot plays
[11:06] after we've already cut away
[11:09] happy birthday
[11:11] hey bonnie we'll get you back to your
[11:13] daddy in a day or two don't be sad oh
[11:16] that's good you're not sad are you happy
[11:21] paw
[11:23] paw
[11:26] no paw that's okay too
[11:31] the technique is often used during
[11:33] dialogue scenes
[11:34] allowing editors to create a more
[11:36] natural conversation control the rhythm
[11:39] of dialogue as well as catching reaction
[11:41] shots of someone listening
[11:43] you know what animal jokes well i only
[11:45] got the chance to say one because we
[11:47] only did one show
[11:49] tell me
[11:50] it's corny
[11:52] don't be that way tell me
[11:54] no you wouldn't like it and i'd be
[11:56] embarrassed
[11:57] you've been you told like 50 million
[11:59] people
[12:00] and you can't tell me
[12:02] i promise i won't laugh
[12:05] but there are more creative ways to use
[12:08] a j or l cut for example when characters
[12:11] outline a plan like in mission
[12:13] impossible rogue nation
[12:15] so why hasn't lane just sent someone to
[12:17] steal it
[12:19] oh he has
[12:21] he sent
[12:22] me and i can tell you
[12:26] it's impossible
[12:29] to reach the terminal you'll need to
[12:30] pass the main gate
[12:32] we use an l cut to show the security
[12:34] measures they mention
[12:37] and open three separate combination
[12:38] locks
[12:45] well that's easy we just impersonate the
[12:47] agent who stole the ledger in the first
[12:48] place i get to wear a mask
[12:50] this makes their plan more clear to the
[12:52] audience
[12:53] especially when it eventually goes wrong
[13:02] okay i don't get to wear a mask seeing
[13:04] the plan in action is more visually
[13:06] interesting than simply hearing it and
[13:08] additional j and l cuts within their
[13:10] dialogue ensures the sequence moves
[13:13] swiftly
[13:15] but what if we want to make a cut more
[13:17] noticeable not less intellectual montage
[13:22] [Music]
[13:23] intellectual montage puts seemingly
[13:26] unrelated images together in order to
[13:28] create a certain feeling or idea
[13:37] this type of montage makes use of the
[13:39] kuleshov effect which refers to creating
[13:41] meaning out of a cinematic juxtaposition
[13:45] we take this man's expression to mean
[13:47] different things based on the image
[13:49] intercut with him
[13:56] in this scene from lucy as her boyfriend
[13:59] tries to convince her to deliver a
[14:00] briefcase i can't deliver the case
[14:02] myself i had a little falling out with
[14:04] the guy it's nothing major but if it's
[14:06] you problem solve
[14:08] we get this shot
[14:10] look you can even see the reception from
[14:11] here
[14:13] two separate scenes combine to create a
[14:16] single idea she is walking into a trap
[14:19] i'm here for uh
[14:22] mr jane as the scene plays out we get
[14:25] another series of juxtaposing imagery
[14:30] is being stalked
[14:32] unaware of just how much danger she is
[14:35] in
[14:36] in don't look up intellectual montage is
[14:39] used to emphasize the global scale of an
[14:42] impending disaster a comet is going to
[14:45] wipe out life on earth
[14:49] [Music]
[14:50] we're all 100 for sure gonna die
[14:55] but randall and kate's warning is
[14:56] falling on deaf ears then we get this
[14:59] series of shots
[15:01] [Music]
[15:05] [Applause]
[15:07] you're gonna die you're gonna die
[15:13] isolated these shots would have a
[15:15] neutral connotation
[15:17] but placed in this context we are asked
[15:19] to make the connections ourselves
[15:22] from massive cityscapes to microscopic
[15:24] organisms
[15:25] everything will be affected by the
[15:26] impending disaster
[15:29] by using intellectual montage director
[15:31] adam mckay is able to visually reiterate
[15:34] larger themes in the film
[15:40] this experimental technique is a great
[15:43] way to evoke emotion and meaning out of
[15:46] shots that individually wouldn't have
[15:48] them
[15:49] moving on to our final technique
[15:51] cut on action
[15:54] [Music]
[15:58] cutting on action refers to cutting
[16:01] during a character or object's movement
[16:08] when the out point of shot a corresponds
[16:10] directly to the in point of shot b
[16:13] it creates a more seamless transition
[16:15] [Music]
[16:21] this technique can be used for simple
[16:22] actions like taking a drink
[16:26] or shaking hands
[16:29] most editors working in any genre will
[16:32] use cutting on action to create smoother
[16:34] cuts that feel more natural to the
[16:36] audience
[16:38] and it is often found in fight scenes
[16:40] because it lends itself to fast-paced
[16:42] rhythm and quick movement
[16:48] like the fight between neo and morpheus
[16:50] in the matrix resurrections
[17:04] a very common cut on action in fight
[17:06] sequences is to cut on impact this gives
[17:08] each punch and kick extra force
[17:11] notice how the cuts in this fight are
[17:14] placed in the middle of one character's
[17:16] move
[17:31] punching in from a wide to a dramatic
[17:34] close-up
[17:37] by cutting on action throughout this
[17:39] scene director lana wachowski is able to
[17:42] keep up the pace
[17:45] strengthen the stunts and create a more
[17:47] epic feeling to the fight
[17:53] [Music]
[17:56] so
[17:57] these are the six essential ways editors
[17:59] use the cut
[18:01] but we haven't covered everything
[18:03] there are also freeze frames
[18:07] invisible cuts
[18:13] subliminal frames
[18:16] [Music]
[18:17] double cuts
[18:18] [Music]
[18:20] and check the description for our video
[18:22] dedicated to jump cuts
[18:24] be sure to tell us any techniques we
[18:26] haven't mentioned in the comments
[18:29] hit subscribe and click the bell to stay
[18:31] up to date on all our filmmaking videos
[18:35] until next time get chopping
[18:38] [Applause]
[18:42] [Music]
[18:43] [Applause]
[18:45] [Music]
[18:47] you