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Dedication
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Dedication
by John Rosenberg
The Healthy Edit, 2nd Edition
Cover
Title
Copyright
Dedication
Contents
Foreword
Acknowledgments
Introduction
1 Prescriptions for Success
The Film Doctor
Strong Medicine
The Editor
Principles of Filmic Medicine
Cardiology
Genetics
Anatomy
Psychiatry
Surgery
Instruments
Bedside Manner
2 Mastering the Art of Film Editing
Heart of the Matter
The Scalpel
Why Edit?
The Great Experiment of Dr. Kuleshov
Dynamic and Continuity Editing
The Rules
Match Action
Cut on Action
Let the Camera Settle Before Cutting
Create Visual Bridges
Don’t Cross the Line
Maintain Eyelines
Vary the Cuts
Cuts Should Be Motivated
Allow Clean Entrances and Exits
Pay Attention to Physical Continuity
Respect the Rule of Three
3 The Film Doctor Is In
The Profession
The Approach
What Is the Scene About?
Filling the Gaps
What Does the Audience Learn From This Scene?
Attention Deficit
Further Diagnosis
Wrestling With Material
When Poisons Are Medicines, Accidents Are Intentions
Gestation of the Cut
4 The Instruments
Linear and Nonlinear Editing Systems
In Praise of the Physical Body
An Editor’s Tools
Medieval Medicine: The Moviola
European Renaissance: The Flatbed
The Modern Revolution: Nonlinear
Early Electronic Systems
The Mouse That Roared
The Edit
The Frame Matters
One-Stop Shopping
You Must Remember This
5 Internal Medicine
Coverage
The Master Shot
The Establishing Shot
The Wide Shot
The Medium Shot
The Close-Up
The Over-the-Shoulder Shot
The 2-Shot
The Reverse Angle
The Insert Shot
From Chaos to Order
Finding Order
Story Order
Reducing Bloat
The Gap
Examinations
The Puzzle
Saved in the Editing Room
Shot List
6 Alternative Medicine
Nontraditional Treatments
The Match Cut
Continuity Errors
The Goodies
Off-Camera and Off-Track
7 A Brief History of the Practice
Sharp Objects
Tincture of Time
Tarantino and Time
Montage
The Jump Cut
“Look Out, Haskell, It’s Real”
MTV
8 Genre Editing Styles I
Expectations Posed by Genre
Conventions
Crossing Genres
The Ritual Object
Expectations
The Western Rides Into the Sunset
Science Fiction and Fantasy
Visual Effects
Computer-Generated Images
Compositing
Motion Capture
Visual Effects as Film Doctor
9 Genre Editing Styles II
The Comedy
Surf the Laughter
Sight Gags
Romantic Comedy
Family Matters
Action Adventure
Guideposts
Crank
Emphasizing an Action
10 Genre Editing Styles III
The Horror Film
Blood Suckers
The Thriller and Mystery
Family Films
The Documentary
Playing With Blocks
The Auteur Editor
Television and Genre
11 Surgery
What Goes and What Stays
Practical Considerations
Trimming for Health
The Lift
The Way of the Lift
Lift and Separate … or Not
12 Psychiatry of Character Disorders—Part I
Dialogue
Subtext
The Overlap
Exposition Infection
Show, Don’t Tell
New Territory
13 Psychiatry of Character Disorders—Part II
Performance
Tracking the Beats
Substitution
The Cutaway
Words Like Skin Tags
Improvisation
Bingeing
In Good Shape
14 Genetics
Story Problems Inherent in the Screenplay
Inherited Traits
Evolution
Romeo & Juliet
The Montage
A Telling Story
Information
15 Cardiac Unit
Pace and Rhythm: The Editor’s Unique Tools
Visual Music
Pick Up the Pace
The Power of Pace
Anticipation
Overstated
The Heart of the Matter
Rhythm Is Life
The Graduate
Finding the Flow
The Battleship Eisenstein
The Intercut
Scene-to-Scene Transitions
16 Rites of Passage
Transitions
Blacking Out
Shot Size
Contrast
Titles
The Flashback
Sound
The Pre-Lap
“Back to One”
Narration
17 Imaging
K vs. mm
From Taxidermy to Taxonomy
Less Painful Extractions
18 Audiology
Ambience
Microsurgery
Music Editing
19 Bedside Manner
Politics of the Editing Room
Bedside Manner
No Surprises
Screening the Rough Cut
The Best Policy
All Ears
Staying Seated
Dailies and Rough Cuts
The Answer Is Yes
The Poor Craftsman
What’s the Big Deal?
The Strength of Weak Ties
Committing to a Project
Film Doctoring
20 Triage
Emergency Procedures
Two Weeks
Symptoms
Audio Issues
Video Ills
21 Post-Mortem
From Final Cut to Exhibition
Made in Heaven
Affairs of the Heart
Reediting
The Free-for-All
The End Is Near
After the Hard Labor: Delivery
The End Backward
Glossary
Index
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Contents
To Debbie, Michael, Sarah
and to All My Students
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