![]() No longer used in today’s films but very common in early cinema. ![]() The transition from one shot to another with a visible pattern or element. The process of adding sound effects and music and/or enhancing the existing audio with effects. The alternating of over-the-shoulder-shots, usually used during a conversation between two characters. Usually requires complex camera movements and action. Sequence ShotĪ long take composed of one shot that extends for an entire scene or sequence. A rough cut receives further polishing and editing before making its way out to audiences. (The former sentence is not entirely accurate as an Assembly Cut is the first editing pass done for a film, but it depends on how one defines editing, so I think this is o.k.). This technique is typically used for credits by having text move from bottom to top. Graphics or text that moves up or down the screen. ![]() WARNING: This scene contains graphic violent content and may be disturbing. A famous example is “Psycho’s” shower scene. One of the more notable examples of this technique is from a famous scene in “2001: A Space Odyssey.” MontageĪ sequence of shots assembled in juxtaposition of one another to create an emotional impact, condense a story, or convey an idea. This helps to establish strong continuity of action. Matched CutĪ cut joining two shots with matching compositional elements. When the audio from the preceding scene continues to play over the footage from the following scene. ![]() Jump CutĪn abrupt cut that creates a lack of continuity between shots by leaving out parts of the action. J CutsĪn editing technique that allows the audience to first hear audio from a shot, and then see it. Rarely used today but very common during the silent era. IrisĪ wipe that takes the shape of a shrinking or growing circle, depending on if the scene is opening or ending. Sound also fades in and out to convey the change. This involves a gradual brightening as a shot opens or a gradual darkening as the shot goes black or to another color. FadeĪ visual effect used to indicate a change in place and time. For example, if a character is looking intently at an off-screen object, the following shot will be of that object. Eyeline MatchĪ technique based on the idea that viewers want to see what on-screen characters are seeing. These usually involve a shot from a long distance, such as a bird’s eye view. Establishing ShotĪ shot that gives viewers an idea of where the scene is taking place. The process of taking raw footage to select and combine shots to create a complete motion picture. When the end of one shot overlaps the start of the next one to create a gradual scene transition. The interruption of a continuously filmed action with a shot that’s peripherally related to the principal action. Technique used to give the illusion that two story lines of action are happening at the same time by rapidly cutting back and forth between them. For example, when a character breaks a glass window but in a later shot the window is shown undamaged. When the action or elements of a scene don’t match across shots. This type of cutting seeks to maintain a continuous sense of time and space. Visual editing where shots are cut together in a clear and linear flow of uninterrupted action. The following are some fundamental terms that editors should know: CutĪ transition where one shot is instantly followed by another. We’ve compiled a guide to help you beef up your understanding of film editing terms and learn to communicate about editing like a pro. At NYFA, you not only become fluent in editing software, but also learn to tell engaging stories. Have you ever seen a video and wished you could create one just as engaging? Great video editors are talented storytellers. It was Francis Ford Coppola who said, “The essence of cinema is editing.” If you’re an aspiring film editor, you know your craft matters - and you know it also matters how you speak and think about your craft using common film editing terms.
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