![]() Some of the most beautiful expressions you’re going to get from the actors are after the cut.”ĭrag and drop all of your video footage into a timeline and make sure your frame size and frame rates are consistent. Even after the director calls for a cut, you want to watch everything. Writer and filmmaker David Andrew Stoler says there’s gold to be found in the unlikely of places: “Watch every single thing from the beginning to the end, because you never know. This is the first step in the editing process. Make sure that you label video files, audio files and even still images clearly and keep them on the same drive for easy access. “If you don't set up your project and your media in an organised way, it will kill you in the long run,” says feature film editor Maurissa Horwitz. Whatever video-editing software you use, whether you’re on a Mac or a Windows machine, organisation is the key to success. Practical tips to help you to edit videos. Note: Experienced filmmakers learn these rules and then learn when and how to successfully break them. 2D plane of screen: Can the audience keep track of the spatial orientation of the on-screen characters and objects?Ħ. 3D space: Is the cut true to established spatial relationships? Eye trace: Where is the viewer’s focus on the screen? It shouldn’t have to travel too far from one shot to the next.ĥ. Story: Are you advancing the story in a meaningful way?Ĥ. Emotion: How do you want the audience to feel?Ģ. When you begin editing, consider each of the following (in descending order of importance):ġ. ![]() Oscar-winning editor Walter Murch, known for Apocalypse Now and The English Patient, came up with six rules for cutting film. ![]() “The Kuleshov Effect,” as it came to be known, demonstrates the power an editor can wield. Kuleshov’s audience thought the man’s expression changed with each juxtaposition - first hungry, then sad, then romantic - but the footage of the man was always the same. In the 1910s, Soviet filmmaker Lev Kuleshov demonstrated this phenomenon by juxtaposing the image of a man with three other, alternating images: a bowl of soup, a child in a coffin and a woman on a divan. If you create a montage (a sequence of different images), your audience will infer a relationship between the images. ![]() The human brain constantly seeks narrative. ![]()
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