Instructional Video Production

Instructional Video Production 4(1+3)

Lesson 16: Elements of Video Production: Editing

Tips on Editing

Although most of the following tips have more to do with shooting, the editor would do well to observe these principles. If the cameraperson consistently gives shots that go against these principles, advise him/ her appropriately.

• As a rule, never ever start editing from the beginning of a tape. Always record 25 sec. of colour bars and 10 sec. black before you begin edit­ing to avoid pre-roll problems, which may hamper editing.
• Never cut from visual to black, or vice versa. The viewer might think an in-between shot is missing.
• Always fade-in at the beginning and fade-out at the end.
• Always provide a sound lead-in at the beginning of a video.
• Provide longer duration for the longer shots (ELS, LS, MLS). The viewer needs time to take in the various elements in the long shot.
• Establish the geography of a scene at the earliest possible opportunity. If two people meet, cut to LS at the earliest instance possible. This helps establishing the atmosphere and the relationship of the charac­ters to the surroundings.
• Do not cut to the same shot size and the same angle of the same object. The thumb rule is: Cut to alternate shot sizes and to a different angle; that is, if the first shot is a CU, do not cut to another CU of the same object. Instead, cut to MS.
• Never cut from an ELS to a CU. It is difficult for the viewer to relate to the same subject in the two shots. Cut to an intermediary shot and then go closer.
• Do not have a series of the same shot sizes. They can be boring. For example, do not cut a series of long shots. The viewer is likely to lose interest.
• Use cut-aways and cut-ins where necessary.
• Do not cut from a moving shot to a static shot. Remember, since all moving shots begin with a steady lead-in time, cut only when a pan, tilt, or zoom ends completely.
• Avoid using too many dissolves and wipes. The cut is the best bet in most cases.
• Ensure that each new shot reveals new information or adds to the story. Use a variety of shots.
• Always try to cut on action/movement.
• Never cut from a bad headroomed shot to a correct headroomed shot, or vice versa.
• Avoid shots where objects seem to be protruding from behind a subject's head.
• In a three-shot (where three people are framed) sequence, never cut from a two-shot to a two-shot. The position of the person in the middle will keep constantly changing from the left to the right of the screen.
• Do not cut to shots where people are in the edges, unless shooting a huge crowd.
• Avoid cutting from a shot with out-of-focus background to a shot with in-focus background.
• When cutting dialogue, always try to cut to the reaction shot at least 10-15 frames before the earlier dialogue ends.
• When a talent is about to rise from a sitting position, maintain the eye line in the frame as in the earlier shot.
• When cutting to a close-up of an action shot~ always cut to a shot where action is slower. For example, when cutting to a close-up of a character putting down a phone, the action in the CU should be slower than normal. Remember, action in CUs appear faster.
• In shots covering conversations (face to face or telephonic), ensure that the two persons face each other in both shots.
• If you have a point of interest between two persons in a frame, say a huge sculpture or a painting, never cut from one person to the other with the point of interest (sculpture or window) in the frame. This is similar to three-shot cutting principle.
• If you are cutting to a series of CUs in a group shot, establish the group at the earliest possible.
• When editing non-fiction (news, features, documentaries, etc.), do not 'rush'. Provide pauses in commentary. Use ambience sound to pro­vide those pauses.
• Use music sparingly. It is not necessary to lay music for the entire film.
• When editing visuals on music, always try to cut on beats.
• For the end of a programme, use the end of a music track. Back time the music to end with the fade-out-match the end of the music to a similar end in the programme.
• Make sure that the audio of a clip never goes asynchronous with the video. You will have massive problems, particularly on the timeline when using a non-linear suite.