Index
Abbot and Costello Meet Frankenstein 117
absurdity, in comedy 132
accidents, in editing 32–3, 120, 168, 298
action, action adventure films; conflicts in 194; cutting on 15, 91; emphasizing action 145–6; emphasizing in adventure films 145; guideposts 140–1, 141f; heroes in 140; matching 1, 7, 15, 230; overcranking effect 143–4; overview 139; and pace 143; trims in 48, 57, 169, 173, 213
actors see characters; dialogue
Adaptation 102
ADR (automated dialog replacement) 244, 256, 260–2, 264, 270, 309, 318; adventure films see action, action adventure films
agendas behind documentaries 155, 158, 160
Alice in Wonderland 126, 160, 302
alternative treatments 83; see also nontraditional treatments
American Beauty 244
analog VU meter 289
anamorphic process 50–2, 52f, 309
anatomy, applied to film editing 5–6
ancillary words, removal from dialogue 191
Anderson, Lindsay 108
angles, varying 18
animals, bringing personality to 28, 126
anticipation, caused by pace and: rhythm 214–15
Apatow, Judd 136
Apple editing system 48, 311, 318
apprenticeship 88
approach, editorial: filling gaps 24–6; further diagnosis 31; overview 22–3; what audience learns from scene 24, 32; what scene is about 23; who scene is about 23; wrestling with material 31–2
Aron, Arthur 150
arousal, and horror 150
attraction, and horror 150
audience expectations 297; exposition, reaction to 206; films, reaction to 300–1; opening shots, reaction to 295; overlaps and expectations of 183–4; what is learned from scenes by 28
audio see sound
audio tracks, for documentaries 157
automated dialog replacement see ADR
Avatar 116, 125, 139, 184–5, 303, 308
Avid editing system: audio editing in 289; digitized media 46; frame icons 72; frame view bins 67f; lifts 165–6; locators 73–4; as producer’s friend 57; select sequences 75; simple edits in 49; story order 71–2; terminology 47–8; transitions 233–4; trimming in 166
Avid Express 48
backing up projects 174
backstory, filling in with montage 203–5, 207
Barbarella 98
Battleship Potemkin, The 12, 96, 97f, 99, 224
beats 23, 88–9, 100–1, 110, 162, 169, 187–8, 211, 220–1, 223, 226, 259
Because I Said So 178
bedside manner, applied to film: editing 4, 8, 178, 273–84; see also politics
Bilcock, Jill 199
bins 32, 48, 67f, 68, 71–2, 74, 80, 157, 170, 313
Birdcage, The 4, 134–5, 179, 180f, 181
Birth of a Nation, The 111, 121
black and white film 95, 108, 124, 238, 255
Blair Witch Project, The 151, 160, 198
Blazing Saddles 132
blocks, documentary editing as playing with 156
blowing up frames, to create insert shot 118
Bobby 205
bodily functions, in comedy 132
Borat 160
A Bout de Souffle (Breathless) 104–5, 105f
Brecht, Bertolt 106
Bruckheimer, Jerry 260
Buff, Conrad 191, 195; dailies 75; genres 116, 130; King Arthur 76–7, 77f, 81; script, importance of while editing 73; Training Day 73, 116, 191
Burtt, Ben 264
Butch Cassidy and the Sundance Kid 144
Californication 239
cameras, real-time compositing in 124
cardiology, applied to film editing 4; see also pace; rhythm
Carrie 151
Casablanca 21 celluloid film see film
CGI (computer-generated images) 108, 122, 125–6, 139, 310
Chaplin, Charlie 185
character-based comedies 135
characters: close-up shots 62; determining who scene is about 30; entering scenes, treatment of 89; in family films 155; main, lack of focus on 286; multiple dialog takes for 185–6; over-the-shoulder shots 10, 62–3, 63f, 71, 79, 193; problems with 5; 2-shots 18, 63, 122, 139, 185, 193, 210, 235; see also dialogue; rhythm
Charming 268
chase scenes 33, 86, 109–10, 140, 142–4, 147, 177, 265, 319
Cinefex magazine 125
“cinema irrite´” 99
Cinema Paradiso 93
CinemaScope 51, 61, 128, 310, 314
Cleopatra 107
cliche´, in student films 108; clipping 289
clips: defined 48; meaning of in editing systems 166; staggering in documentaries 157, 157f
close-ups (CU) abbreviation for 81; coverage with 62–3, 62f; and dialog substitution 132–3 in MTV editing 147; emotional impact of 61; extraction of 250; in King Arthur 77; pace 213; transitioning with 236, 242
closing scenes, analyzing for problems 286
CMX editing system 44–5, 93, 168
Coburn, Arthur 144
Colavita effect 16
color, to establish emotional or environmental tone 55, 55f; film doctoring 1–2, 283
color digital intermediate 51, 56, 217, 233
colored pages 71
comedy; basic structure of 133; incidents that make us laugh 132 overview 131–2; performance in 133–4; romantic comedy 136; sight gags 133, 135; “surf the laughter” technique 135; timing in 133–4
color timing 54
completion bonds 283
composers 9, 188, 199, 210, 253, 266, 270
computer-generated images (CGI) 122, 125–6, 139
conflicts, in drama 137 continuity: allowing errors in 3, 27–8, 85–6; Lethal Weapon 4 example 128; paying attention to 1, 7, 19–20; Prancer example 24–8
contrast, in transitions 235–8
control of editing process, maintaining 277
Convent, The 150
conventions, genre-related 115, 117, 152, 163
Cove, The 155
coverage: achieving appropriate close-ups 62; in comedy 133; establishing shots 60; gaps [examining 75; example of 76–7; filling 76; overview 103, 104; shot list 78–9]; insert shots 64, 64f; master shots 60; medium shots 62, 62f; organizing dailies [finding order 68–73; overview 66–7; selects 73; story order 71–2; synchronizing 65]; over-the-shoulder shots 63, 63f; overview 59–60; reverse angles 64; 2-shots 63; wide shots 61, 61f
craftsmanship 278
“crossing the line” 17
CU see close-ups
cut, defined 3
cutaways 143, 152, 162, 181, 190
cuts: before (or after) people and/or [objects enter frame 18; in reverse 306–7]; cutting on action 16; dialogue 180–1; introducing characters by 89; letting camera settle before 15; motivated 18; in nonlinear editing 50; varying 18; when working with film 49; see also cut, defined 3
dailies: coverage 59; delivery of 65; fixing screenplay problems 200–1; importance of to editor 23; organizing finding order 68–9 [overview 66–7; politics 277; selects 87; story order 71–2]
deferred salaries 280
delivering film 283, 303–5, 311, 313
delivery requirements 303
de Palma, Brian 151
detail, attention to 87–8, 195
DI (digital intermediate) 51, 56, 75, 217, 233, 303–5, 312
diagnosing films, in film doctoring 286
dialogue: cutaways 190; excessive, editing 191; exposition 184; film doctoring 288–9; improvisation 191; new technique for 185–6; overlaps 181–2; overview 177–8; performance in 187; pre-laps 237, 242; shaping performance 194–5; “show don’t tell” technique 184; sound editor role in fixing 263–4; substitution 188–9; subtext 178–9; superfluous words 191; tracking beats 187–8; trims in 169; see also rhythm
Diener, Joanie 266
digital audio meters 289
digital intermediate see DI
digital surround sound 247, 306
diplomacy see politics
directors: editing by 170–1, 174, 276–7; influence of on comedy 135; listening to 275–6; politics regarding 167–9; screening rough cut with 274–5, 300–1; shot lists 77–8, 118
director’s cut 172, 266, 274, 300
dirty dupe 174
disorientation, in action adventure films 141–2, 228
dissolves 124, 203, 216, 231, 234–5, 240, 317
documentaries: overview 155–60; playing with blocks, editing as 156–7; tips for 160
Dolby 112, 129, 247, 254, 264, 303, 306
Double Roller mode, Avid editing system 167
double-system recording 65
Drag Me to Hell 151
drama, conflicts in 194
drop frame timecode 158
dupe detection 217
dynamic editing 14–15, 111, 145, 243
dynamic range 289
Eagle Eye Film Company 44, 279
Eastman Kodak 56, 93–4, 247, 315
ECU (extreme close-ups) 63, 81
edit decision list (EDL) 127, 305, 313, 317
EditDroid editing system 45, 313, 315
Editflex editing system 315
Editing magazine 279
editing process: continuity editing 13–14 [rules of 15–20]; dynamic editing 13–14; frame, importance of 50–3; Kuleshov effect 11–12, 13f, 20, 28, 95–6, 99, 104, 125, 230; making cut 9–11; overview 49–50; pace 287–8, 300; parallel editing 95; postproduction procedures 54; profession 21–2, 29, 31, 46, 59–60, 104, 172, 188, 286; rhythm 9; rules of [cuts motivated by cut before 14; cutting before (or after) people and/or objects enter frame 14; cutting on action 12; eyelines, maintaining 14 (see also eyelines, maintaining); letting camera settle before cutting 15, 20; matching action 1, 7, 15, 230; 1800 rule 17–18, 17f, 63–4, 230; physical continuity 19, 85; varying cuts 14; visual bridges, creating 12–13]; see also success strategies overview
editing triangle 10, 10f, 11, 19, 137, 139, 169, 218
editors: accidents 32–3; approaching scenes:; careers in film business 124, 149, 151, 279–80; as doctor 1–2, 10, 28–35, 81, 128, 235, 283; filling gaps 24; further diagnosis 31; health of 282; influence of on comedy 134–5; as masters of timing 217; opportunities for related to documentaries 160–1; overview 22–3; politics regarding 279; profession 21–2; in reediting process 299–300; what audience learns from scene 28; what scene is about 23–4; who scene is about 23; wrestling with material 31; see also film doctoring, politics
EDL see “edit decision list”
Effects palette, Avid editing system 234
Effects tab, Final Cut Pro 234
Eight-perf splices 291
Eisenstein, Sergei 11–12, 78, 95–6, 98–104, 170, 224, 228; film time 99; theory of montage 100–3
electronic systems, early 45
Elizondo, Hector 134
embarrassment, in comedy 132
emphasizing action, in action adventure 139, 145–7
endings, movie: Affairs of the Heart 298, 300; analyzing for problems 287; Made in Heaven 56, 238, 265, 297–8; overview 295–7
enlarging image, to create insert shot 118
equalization, audio 290
equipment, and craftsmanship 278
Estevez, Emilio 205
Evan Almighty 132
excessive dialog, editing 190, 192
Exit Through the Gift Shop 160
expectations: audience 297–8; genre-related 118–19
explicate order 307
exposition: in action adventure films 140; excessive 184; “show don’t tell” technique 184; and story of film 205
exterior action, anticipating 90
extract function, Avid editing system 165
extreme close-ups (ECU) 63, 81
extreme wide shots (EWS) 61, 81, 224
Fame 60
family films 154
Family Man, The 155
Fantasy and science fiction: compositing 124–5, 125f; computer-generated images 122f, 123–4; motion capture 125–7; overview 120; visual effects 120–3
filling gaps 6, 24, 35, 75–6, 105, 257–8, 286
film: benefits of 37–9; dailies 65; dialog substitution 188–9; dupe detection 217; matchback 47, 316; splices 5, 154, 157, 291–2, 292f; terminology, nomenclature 47–8
film business, careers in see editors, careers in film business
film doctoring: example of 172–3; general discussion 1–3; overview 283; politics 283; problem symptoms, looking for 286–7; success strategies audio issues 288–9; two week trial periods 285–6; video issues 290–2; see also editors
film museum in Lone Pine, California 119
film time 99
filters, audio 181
Final Cut Pro 47–8, 93, 168, 175, 277, 313
final sound mix 303
Fish Called Wanda, A 132
flatbed editing machines 42
flat deals 280
Flick, Stephen 258
flow finding 222–4; seeing while watching film in reverse 306–7
Foley 256, 257, 257f, 262, 313; stage 256; walkers 256, 257f
formulas, filmmaking 117, 143, 154–5, 319
Forster, Marc 142
frames: defined 47–8; importance of to editing process 50–3, 52–3f
Francis-Bruce, Richard 146
futzing 290
gaps: examining 75–6; example of 76–8, 77f; filling 24, 76; overview 75; shot list 78–81
Geneva drive 40
genre editing styles: action adventure [crank effects 143–4; emphasizing action 145–7; guideposts 140–3, 141f; heroes in 140; overview 139–40]; comedy [basic structure of 132; incidents that make us laugh 132; overview 131–4; performance in 133; sight gags 135; “surf the laughter” technique 135; timing in 133]; conventions 115, 117, 152, 154–5, 163, 214, 240; cross-genre 116, 154, 160; documentaries [auteur editor 160–1; overview 155–6; playing with blocks, editing as 156–60; tips for 160–1]; expectations 34, 115–18, 138, 174, 274, 282, 287, 296, 298, 309; family films 154–5; horror 149–52 [ritual object 117–19]; romantic comedy 89, 106, 136, 178, 226, 233; science fiction and fantasy [compositing 122, 122f, 124; computer-generated images 123–5; motion capture 125–7; overview 120; visual effects 120–2, 128–9]; thrillers and mystery 152–4; westerns 2, 62, 95, 109, 117, 119–21, 163, 243
geography, in action adventure films 140, 162
Ghostbusters 203
Glovin, Debbie 13f
Godard, Jean-Luc 104–6, 214, 314
Godfather, The 102, 103f, 265–6
“goodies”, looking for in scene 87; see also selects
Gordon, Demian “Dman” 126–7, 130
Great Dictator, The 185
Great Train Robbery, The 95–6, 96f, 98, 121, 317
greenscreen compositing 77, 122, 122f, 124, 177, 314, 319
Griffith, D.W. 111, 121, 145, 145f, 147, 317
growth process, film as: evolution 199; inherited traits 197–9; Romeo & Juliet example 199
guaranteed flat deals 280
Hamlet 60
handle 233
Hangover, The 132
Harry Potter and the Chamber of Secrets 204, 207
Harry Potter and the Prisoner of Azkaban 214
health, of editors 282
Heaven’s Gate 44
Hecker, Gary 257f
Heraclites 229
heredity, applied to film editing 5, 207; see also screenplay problems
heroes: in action adventure 140; stages of initiation 120; in thrillers and mysteries 152–4
high definition video 51
High Noon 2
Hitchcock, Alfred 5, 8, 12, 18, 98, 151, 154
Horseplayer 32, 192–3, 199–202, 230, 235
“How to build a better action hero” article 140, 147
Hurt Locker 238
hyperbole, in comedy 132
I Am Sam 187
If. . . 108
implicate order 307
improvisation 191
independent production company 280
independent screenplays 198
information: filling in with montage 203–7; leaving out, in screenplay 206
inherited traits, in screenplays 197–9; see also screenplay problems
Inland Empire 214
inner struggle, in dramas 62, 116, 169, 194
innovation see nontraditional treatments
insert edits 49
insert option, Avid editing system 165–6
insert shots 64, 64f, 71, 76, 113, 117–18, 122, 139, 314
insert stages 64
instruments, editing: early electronic systems 45–7; editing process [frame, importance of 50–3, 52–3f; importance of to movie-making 56–7; overview 50, 51; postproduction procedures 54]; film 37–9; flatbed editing machines 42; linear editing systems 37–9; low-cost systems 48; medical principles applied to film editing 6; Moviola 39–41, 41f, 42–4, 46–7, 166, 182, 277, 307, 316, 318; nonlinear editing systems 44–5
interior action, anticipating exterior action 89–90
interlaced video format 30, 30f
interviews, listening during 275–6
Invention of Lying, The 178
Jack and the Beanstalk 111
James Bond franchise 154
Jarhead 237
Jarmusch, Jim 116
J-cut 244
Jerry Maguire 178
job interviews, listening during 276
jump cuts: in action adventure films 145–6; defined 15, 104–6; in horror films 151; jump scares, in horror films 115–16, 151; overview 104–6
Kasdan, Lawrence 119
KEM (Keller-Elektronik-Mechanik) flatbed editing machines 40–7, 43f, 314
keycodes 45
Kierkegaard, S. 126
King Arthur 73, 76–7, 77f, 116
Knight, Arthur 73, 76–7, 77f, 116
Koyaanisqatsi (Life Out of Balance) 161
Kramer, Wayne 144
labyrinth, filmmaking process as 3
La La Land 98
latched films 303
laughter: incidents inspiring 132; lavaliers 189; as measuring device of comedy 131
Lawrence of Arabia 21, 56, 61, 242–3, 243f
L-cut 244
Lean, David 21, 138, 184, 242, 265
length of shots 99–100, 214–16
Let Me In 152
Levinson, Wendy 275
Le Voyage Dans la Lune (A Trip to the Moon) 22, 122
Life Out of Balance (Koyaanisqatsi) 161
lifts: comedy example 172; defined 171–5; filling gaps 76; Horseplayer example 200–2; overview 165, 171–5; process 115–19
Lightworks editing system 47, 320
linear editing systems dialog substitution 188–9; flatbed editing machines 42–4, 43f; Moviola 39–44, 41f, 46–7, 56–7, 316; overlaps 181–4; overview 37–9
lined script 69, 70f, 71–3, 277, 304
listening, in politics 31, 275–6
locator, Avid editing system 73
locking the picture 170
logs, for documentaries 156, 160
Lombardo, Lou 143
Lone Pine, California film museum 119
long shot 60
Lorentz, Pare 160
Los Angeles Times 140, 147, 164, 202, 228
Lost Horizon 2
low-budget horror films 151
low-cost editing systems 48
Lucas, George 45, 110, 264, 313
Luhrmann, Baz 199
Lynch, David 214
Made in Heaven 56, 238, 265, 297
main characters lack of focus on 287
Manchester by the Sea 240, 240f
Mannequin Two: On the Move 1, 29–30, 30f, 90, 233, 237, 260, 297
Man Trouble 222
marker system, avid 290
Markiewicz, Pete 42
mark in icon, Avid editing system 49
mark out icon, Avid editing system 49
marriage, editing as 174
master shots (MAS) 60–1, 71, 77, 80–1, 98, 116, 162
match frame command 160
Matrix, The 15, 126, 129, 140, 143, 223, 319
matte photography 121
Maxim magazine 282
M&E 262
McLuhan, Marshall 1; bedside manner 4, 8; cardiology 4; editing medical principles applied to film anatomy 4–5; editor as doctor 2–10; film doctor metaphor 3 heredity 5; instruments 4, 8; overview 1, 2; psychiatry 4, 8; surgery 5–6
medium close-ups (MCU) 79–81, 126
medium shots (MS or MED SHOT) 10, 61–2, 62f, 63, 69, 71, 79, 81, 118, 202, 219
metacommunication 178
Michelangelo 6
Miracles from Heaven 269
Miss Potter 22
Modern Times 185
modular meters 289
monsters, in horror films 149
montage: Eisenstein’s theories of 224; general discussion 203–5; Kuleshov effect 11–13; in music videos 209–10; as transition 242
Montage editing system 44
Moonlight 238
More Than the Rainbow 101
motion capture 112, 122, 125–7, 139, 303, 316
motion control 186
motion effects 144
movie trailers 104, 234, 304, 318
Moviola 316; general discussion 39–44, 41f; handmade films 44; and KEMs in same editing room 43f, 44–5; overlaps on 182; trimming on 166
MS see medium shots
multiple dialog tasks 185
Murnau, F.W. 152
music: behind dialog 288; pace and rhythm as visual 212–13; score 266; source 253–4; spotting sessions 253; temp 212–13; see also sound
music cues 253
music videos 14–15, 87, 108, 110–11, 145, 194, 213, 217, 318
myth-making, film as 117; see also genre editing styles
naïvete´, of editor 4
narration 111, 155–8, 204, 206, 244–5, 318
narrative editing 121
National Geographic documentaries 1, 15, 155, 158–60
nature, conflict of human against 194
negative cut list 445, 304–5, 316–17
neutral shots 96
Newman, Maria 56
Newman, Thomas 267
New Wave see French New Wave
nitrate film 93
No Country for Old Men 194, 258
Nolan, Christopher 75
nondramatic activities, montages for 203
nondrop frame timecode 158, 320
nonfilmmakers, working with 281–2
nonlinear editing (NLE) systems 45–6, 48, 57, 144, 157, 182, 311, 315–18, 320; crank effects 143–6, 145f, 211, 321; cuts 3; dialog substitution 188–9; dialogue cutting 177, 185; documentaries 14–15, 73–4, 145, 155, 159–60, 177, 194, 206, 217, 243, 250; early systems 44–5; general discussion 37; low-cost systems 48; multiple dialog takes 185; overlaps 30, 178, 181–3, 186, 242, 259; reversing action 193; rise of 44, 48, 113, 119, 122, 161, 247, 281; saving lifts 34, 76, 173–5, 201–2; trimming in 166; see also specific systems by name
nonlinear storytelling 213
nontraditional treatments 83; continuity errors 19, 85; looking for “goodies” in scene 87; match cut 22, 83–5, 173, 250; off-camera characters 90; overview 83
North by Northwest 154
Nosferatu 152
Obrow, Jeffrey 241
Observer Effect 159
OCN (original camera negative) 65, 304, 317
O’Connor, D. 24
off-camera characters 90
offline editing 45
180° rule 17–18, 17f, 63–4, 230
online editing 45
opening scenes: analyzing for problems 286–8; audience reaction to 131
optical printer 51, 122, 124, 194, 233, 311, 317
organizing dailies: finding order 68; overview 66–71; selects 74; story order 71
original camera negative (OCN) 65, 304, 317
O’Steen, Sam 242
outtakes see lifts
overdosing, transitions 234
overlaps 30, 178, 181–3, 186, 242, 259
overstatement, of pace 216
over-the-shoulder shots (OV/SH) 10, 62–3, 63f, 71, 79–80, 186, 193
overwrite edits/overwrite option, Avid editing system 49, 74, 157, 167, 186, 189
pace: anticipation 214–16; cutaways 190; fixing problems with 288; general discussion 4–5, 9–10, 213–14; MTV editing 111; overstatement 216; overview 209–10; power of 213–14; temp music 212–13; and trimming 169; use of 213; visual music 209–13
parallel editing 95
Parker, Trey 203
Pathe´, 56
pay off, in comedy 19
Pearson, Richard: dailies 72; film doctoring 286; guidepost shots 141–3; screening rough cut 301; script, importance of while editing 72; spending time on set 4; trimming process 169; visual effects 124
Peckinpah, Sam 143
perceived time 99
perfectly cut films 85
performance: in comedy 134; importance of 6; and rhythm 222–4; see also dialogue
personality, bringing to animals 28
physical continuity see continuity editing
Pickford, Mary 55, 55f, 145f, 185
Pinter, Harold 152
pirating 122
placement, sound 17, 253, 255, 290
playhead, Avid editing system 49
playing with blocks, editing documentaries as 156
Plow That Broke the Plains, The 160
point of view (POV) 2, 5, 26, 77–8, 119, 245, 318
Poison Ivy: The New Seduction 146, 282
politics, bedside manner: committing to project 281–2; communication 275; craftsmanship 278; dailies and rough cuts 274, 277; film doctoring 283; financial considerations 279–81; general discussion 8; listening 275–6; maintaining control of editing process 277; overview 273–5; producers and directors 168; screening rough cut 274; strength of weak ties 281; taking yes for an answer 278
Poll, Jon 116, 134, 147, 283; comedy, film doctoring 147; film doctors 283; genre 116; performance issues 134; “surf the laughter” technique 135; timing in comedy 134
postproduction procedures, by editor 54
POV (point of view) 2, 5, 26, 77–8, 119, 245, 318
prefiguring action 90
Pride and Prejudice 22
Princess Bride, The 89
Prize Winner of Defiance, Ohio, The 234
problem symptoms, looking for 286–8
producers, politics regarding 274, 279
Producers, The 203
profession, film editing 17–18
progressive scan 38
protagonists see characters; heroes
psychiatry, applied to film editing 4–6; see also dialogue
Pudovkin, Vsevolod 12, 20, 78–9, 81, 95–6
punch line, in comedy 133–4, 227
puzzle, filmmaking process as 3, 6, 24–5, 76–7, 87, 150, 231
Raffill, Stewart 260
Raimi, Sam 151
reaction shots 135, 179, 181, 190, 231
reality, in documentaries 155, 159–60
real-time compositing 124
recurring situations, and pace 214
Red Hot Chili Peppers 254
reel vs. roll 40
reinforcing ideas, through montage 203
Reitman, Jason 85
reports, comparing to script supervisor’s notes 68–71, 70f
revealing information, in thrillers and mysteries 153
reverse angles 64
reversing action 193
rhythm: anticipation 214–16; cutaways 190; Eisenstein’s theories 224; finding flow 222–4, 306; general discussion 4–5, 9–10, 217–18; The Graduate example 56; influence of 218–20; intercutting 224–5; MTV editing 110–12, 209; overview 209–10; scene-to-scene transitions [banners 219, 290; fades 231; narration 244; overdosing 234; overview 229–31; pre-laps 237, 242–3; shot size 235–7, 236f]; temp music 212–13, 253, 266–7; varying by slowing pace 216; visual music 209–10
Richman, Geoffrey 282
ritual objects, genre-related 117, 119
Roach, Jay 116
Rocky Horror Picture Show, The 117, 215
rolls 40
romantic comedy 71
Romeo & Juliet 199
roomtone 260, 264, 318–19, 321
Rosenberg, Frank P. 119
rough cuts: banners in 219; politics 277; reediting 299–300; screening 274–7
Rudolph, Alan 265
Rule of Three sequence 20, 238
rules of film editing 20; accidents 32–3; breaking 28; cutting before (or after) objects enter frame 16; cutting on action 15; eyelines, maintaining 18; letting camera settle before cutting 15, 20; matching action 15; motivated cuts 18; 1800 rule 17–18, 17f, 63–4, 230; physical continuity 19, 85; varying cuts 18; visual bridges, creating 16, 16f, 20
Running Scared 144
rushes 59, 312; see also dailies
Rush Hour 116
salaries, deferred 280
Scary Movie franchise 116
scene order 68
scenes: defined 9–10; filling gaps 24; flawed, and politics 273–4; further diagnosis 31; importance of when overlapping 181–4; intercutting 1, 98, 108, 121, 139, 224–7; looking for “goodies” in 87; narration 111, 155–8, 204, 206, 244–5; overdosing 100, 234 [pre-laps 237, 242; shot size 101, 188, 235–7, 245]; overview 22–3, 229–31; scrapping 32; taking into account while working with improvisation 191; transitions [between banners 219, 290; fades 46, 234–5, 240]; what audience learns from scene 28; what scene is about 23–4; who scene is about 23; wrestling with material 31; see also rhythm
Schmidt, Arthur 4, 22, 134, 147, 179
schneid 42
science fiction: compositing 122–5; computer-generated images 122–6; motion capture 122, 125–7; overview 120; visual effects 120–3
scrapping scenes 32
screening: dailies 75; rough cuts 301
screenplay problems: expository dialog 184–5, 203, 206, 244, 302; inherited traits 197–9; montages 203–5; overview 197–9; Romeo & Juliet example 199; story problems 205–7; translation process, film as 199
scripts 116, 198, 209, 230; see also screenplay problems
script supervisor 19, 33, 69–72, 70f, 190, 249
ScriptSync, Avid editing system 72
select sequences 72
Serrurier, Mark 42
Servant, The 152
setpiece, montage as 77, 205, 319
set up, in comedy 133
7.1 surround sound 129
shooting script 69–71, 197–8, 319
shots: achieving pace and rhythm through use of 5; length of 5; pickups 76; rhythm 5; size of, and transitions 235–6; variety of in action adventure films 139–40
“show don’t tell” technique 184
Silence of the Lambs, The 154, 194
Silverado 119
single roller mode, Avid editing system 167
single stripe sprocketed sound film 65
sit-coms 131
slate 40, 65, 69, 72, 189, 320
slow motion 10, 103, 107, 143–4, 223
Social Network, The 22
Solow, Sid 95
Some Like It Hot 239
sound: in action adventure films 78; audio tracks for documentaries 155–6, 160; evolution of 108, 129; film doctoring 288–90; pre-laps 242; quality of, and dialog substitution 188–9; specialists 253–5; subjective influence of 254; in transitions 243; visual dominance 16
sound editors 108, 199, 253–8, 261–2, 264–5, 288, 302, 305
sound effects 33, 48, 108, 110, 254–5
sound mix, in comedy 135
Sound of Music, The 21, 32, 88
soundtracks 8, 108, 247, 264, 266–7, 269, 306, 306f
Source/Record toggle icon, Avid editing system 74, 74f
special effects film 219
Spielberg, Steven 239
splice-in edit, Avid editing system 49
splices 5, 154, 157, 291–2, 292f
springboards 63, 223, 239, 253
Staenberg, Zach 223
staggered clip method, for: documentaries 157, 157f
Stalker 224
standard definition video 38, 46, 311, 319
Star Wars 61, 72, 109, 120, 122, 126, 194, 233, 245, 264, 266; Return of the Jedi 110, 110f
static master shots 60
Steenbeck flatbed editing machines 42, 47, 307, 320
stereophonic sound 129
stock footage 76, 103, 219, 320
Stone, Oliver 116
stop effect 120
stories: in documentaries 158–61; keeping in mind organizing dailies 68–9; problems with in screenplay 205–7; reediting 286, 298–9; see also genre editing styles; rhythm; screenplay problems
storyboard layouts 71
Street of Crocodiles 214
strength of weak ties 281
student films, cliché in 108
sub-clip 48
substandard coverage 59
success strategies overview 1; principles of medicine applied to film editing [anatomy 4–5; bedside manner 4, 8; cardiology 4; editor as doctor 2–10; film doctor metaphor 3; heredity 5; instruments 4, 8; overview 1, 2; psychiatry 4, 8; surgery 5–6]
Suicide Kings 225
superfluous words, editing 2, 158, 191, 241, 287
“surf the laughter” technique 135
surgery, applied to film editing 5–6; surround sound 128–9, 155, 247, 306; trimming surprise, versus suspense 151; see also lifts
suspense: anticipation 214–16; films 152–3; and film time 99–100
synchronizing 65, 101, 170, 182, 189, 309; dailies 66–8; dialog to picture 188–9
tail slates 69
Taken 194
takes: circled 68–9, 71, 310; defined 10; multiple dialog 185
Tarkovsky, Andrei 224
Team America 203
technical necessity, and innovation 105, 108
Technicolor 55
Technology and substandard coverage 59; understanding of 307
telecine 65, 75, 313, 315, 320
television: anamorphic process 50–1, 52f, 309–10
temporality, in action adventure films 140
Thank You for Smoking 85
There’s Something About Mary 132
Three for Three (3 for 3) 162
timing: in comedy 133; editors as masters of 217; in thrillers and mysteries 152; in trimming process 169
titles 238
translation process, film as: inherited traits 2, 197; Romeo & Juliet example 199
transitions, scene-to-scene: banners 219, 290; fades 46, 234–5, 240; intercutting 1, 98, 108, 121, 139, 224–7; narration 111, 155–8, 204, 206, 244–5; overdosing 100, 234; overview 229–31; pre-laps 237, 242; shot size 101, 188, 235–7, 245
triage see film doctoring
trimming defined 166–9; examples of in Tarantino films 99–100; fixing faulty lifts by 174; importance of 168–71; overview 166–9, 167f; practical considerations 166–7
Trim mode, Avid editing system 166–7, 167f, 183
Trip to the Moon, A (Le Voyage Dans la Lune) 122
Twain, Mark 275
2-shots 18, 63, 122, 139, 185, 193, 210, 235
2001; A Space Odyssey 44, 119, 123, 215
2010 44
two week trial periods 285
variety, in rhythm 223
Variety magazine 150, 164, 209, 228, 308
video issues, film doctoring 290–1
videotape: dupe detection 217; overlaps on 181–4
video tracks, for documentaries 157–8
villains: in action adventure films 89, 140; in thrillers and mysteries 151–3
visual bridges, creating 16, 16f, 20
visual dominance 16
visual effects 120; compositing 122–5, 125f, 311, 316–17, 319; computer-generated images 122–6, 155, 310; development of 120–3; motion capture 112, 122, 125–7, 139, 303, 316; overview 239–40
visual music, pace and rhythm as 210–12
Wall-E 132
Wallerstein, Norman 174
Walls, Tom 87
weak ties, strength of 281
Wechsler, Dan, 101
wedges 56
westerns 2, 62, 95, 109, 117, 119–21, 163, 243
Wicker Man, The 111
widescreen processes 51, 309–10
wide shots (WS): abbreviation for 81; and dialog substitution 188–9; general discussion 61–3, 61f; pace 213
Wild Bunch, The 143
Wilson, Larry 121
Winters, Ralph 279
World War II newsreels 159
Wright, John 90
Young Frankenstein 255