When arranging a scene there are three key ideas an editor must consider:
- Which shot do you use?
- Where does the shot begin?
- Where does the shot end?
The meaning of a shot
It’s all about placing the right shot at the right place for the right length of time. To determine which shot to use, the editor needs to recognize that every shot by itself can evoke ideas and has a mood and atmosphere of its own. The longer we hold a shot; the more time is given to the audience to explore its feelings. Think about what message needs to be conveyed in the shot, and how long it would take to convey that message.
It’s important to always consider the audience their POV, and to note that translating emotion takes time. Not every shot needs to be lengthy to convey its meaning but cutting too soon may not accurately portray the feelings inside of the image. It’s important to know your audience and sometimes take a step back to consider their unbiased, less informed view.
A shot should be as long as it needs to be to fully realize its meaning and cut once the idea within the shot has been recognized.
A sequence of shots
If you have established which shot to use and for what duration of time a new question arrives: which shot do you cut to? We determined before that a shot by itself carries meaning, so when we change the shot this signifies that the meaning has somewhat changed. What does the transition from one shot to the other tell us? And what meaning can be found in the entire sequence of shots?
Example: A reaction shot. This could either emphasize the mood of the scene, or diminish the ideas given depending on the story.
In order to have the editing complement the story being told the shot choice should be somewhat reflective of the character’s thought process. A simple insert or a cutaway can be a display of information that’s important to the character and there’s a greater glimpse into the way they see the world. Ensure that a cut creates new emotional information, and that there is motivation behind every cut. Every cut offers new information about a character, situation or environment.
Example: In a conversation, do you cut on a character speaking to focus on another’s opposition on the situation? Or do you linger on somebody’s reaction to show a deeper thought being processed?
Example II: You can direct a character’s eyes through a POV shot.
A new perspective on transitions
When editing to a new scene, a cut could be considered a connective in the language of film.
- Therefore… – And then…
- Although… – Because of this…
- Until… – As well as…
- Next… – Alternatively…
- However…
Film is story telling, but instead of using words you supplement them with imagery. And just as with every word in a book, every scene, every cut allows for new information. Think of what transition between two ideas you want to make.
Idea #1 connective Idea #2
Shot 1 Shot 2 Shot 3
Man walking …until… starts raining.
Man walking …meanwhile… Wife at home.
Man walking …because of…. Going to party.
To think of a transition as a connective can show us how we transition from one idea to the next. Is it cause & effect, a reinforcement or in opposition. Think once again of the meaning of your show, then how you want to alter this meaning.
The bigger picture
A good editor does not just focus on the scene by itself, but waves a thread through a movie from beginning to end. Planting seeds early, to bloom later. Any change that is made early on can cause shock waves that reverberate later in the film. Just like with a scene, the entirety of a movie should have a good dramatic structure, not be too long and have flow. Remember that edits are manipulators of time and space, which are very powerful tool for introducing the universe behind your film.
A mental Pickle 