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