๐ฌ Films are made up of sequences, scenes, and shots.
โ๏ธ Editing choices involve what to show, when to cut, and what to cut to.
๐ Different ways to cut within a scene include cutaways and focusing on character perspectives.
๐๏ธ An eyeline match is when the editor cuts to the object of a character's attention.
๐ฌ Shot reverse shot is a common form of eyeline match where shots of two subjects are cut between, often in conversation scenes.
๐ Inserts are shots of details within a scene that emphasize specific props or elements.
๐ฌ Cross-cutting is a technique where an editor cuts between two or more scenes happening in different locations.
โ๏ธ Cross-cutting can be used to combine multi-layered action and create parallels between separate scenes.
๐๏ธ Itrace is a technique that keeps the audience's attention fixed on a specific part of the frame.
๐ฅ Using composition and editing techniques like eye trace, editors can guide the viewer's attention in action scenes.
โ๏ธ Split edits, like j cuts and l cuts, help to smooth transitions by syncing audio and video in a sequence.
๐ J cuts involve playing audio before showing the corresponding shot, while L cuts involve showing the shot before playing the audio.
๐ฌ Using L and J cuts during dialogue scenes allows editors to create a natural conversation and control the rhythm of dialogue.
๐ L cuts can be used to show security measures or plans in films, making them more clear to the audience.
๐ผ๏ธ Intellectual montage combines unrelated images to create a certain feeling or idea.
๐ฅ Juxtaposition is used to create different meanings and emotions in scenes.
๐ Intellectual montage emphasizes the global scale of an impending disaster.
โ๏ธ Cutting on action creates seamless transitions between shots.
๐ฌ Cutting on action creates smoother and more natural cuts in fight scenes.
๐ Cutting on impact adds extra force to punches and kicks in fight sequences.
๐ฅ Director Lana Wachowski uses cutting on action to maintain pace and create an epic feeling in the fight scene.
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