Grammar of the Edit, 2nd Edition

Book description

If you want to get to grips with editing, this book sets down, in a simple, uncomplicated way, the fundamental knowledge you will need to make a good edit between two shots. Regardless of what you are editing, the problem of learning how to be a good editor remains the same. This book concentrates on where and how an edit is made and teaches you how to answer the simple question: 'What do I need to do in order to make a good edit between two shots?'

Simple, elegant, and easy to use, Grammar of the Edit is a staple of the filmmaker's library.

Table of contents

  1. Cover
  2. Half Title
  3. Title Page
  4. Copyright
  5. Contents
  6. Acknowledgments
  7. Introduction
  8. Chapter One – Editing Basics
    1. A Little Editing History
    2. What Factors May Impact Your Editing Choices?
    3. The Basic Edit Transitions
    4. Stages of the Editing Process
    5. End of Chapter One Review
  9. Chapter Two – Understanding the Footage
    1. Basic Shot Types
    2. Shot Descriptions
      1. Extreme Close-Up (XCU or ECU)
      2. Big Close-Up (BCU)
      3. Close-Up (CU)
      4. Medium Close-Up (MCU)
      5. Medium Shot (MS)
      6. Medium Long Shot (MLS)
      7. Long Shot/Wide Shot (LS/WS)
      8. Very Long Shot (VLS)
      9. Extreme Long Shot (XLS/ELS)
      10. Two-Shot (2-Shot/2S)
      11. Over-the-Shoulder Shot (OTS/OSS)
    3. Increasing Shot Complexity
    4. Simple Shots
    5. Complex Shots
    6. Developing Shots
    7. Reviewing the Footage — Selecting the Best Shots
    8. What Could Make or Break a Shot?
    9. Focus
    10. Audio Quality
    11. Exposure and Color Temperature
    12. Framing and Composition
    13. Screen Direction
    14. 180 Degree Rule/Axis of Action
    15. 30 Degree Rule
    16. Matching Angles
    17. Matching Eye-Line
    18. Continuity of Action
    19. Continuity of Dialogue
    20. Performance
    21. Be Familiar with All of the Footage
    22. So How Does All of This Help You?
    23. End of Chapter Two Review
  10. Chapter Three – When to Cut and Why?
    1. What Factors Help Make a Transition a Good Edit?
    2. Information
    3. Motivation
    4. Shot Composition
    5. Camera Angle
    6. Continuity
      1. Continuity of Content
      2. Continuity of Movement
      3. Continuity of Position
      4. Continuity of Sound
    7. Sound
    8. Is There a Right or Wrong Reason for a Cut?
    9. End of Chapter Three Review
  11. Chapter Four – Transitions and Edit Categories
    1. The Cut
    2. The Dissolve
    3. The Wipe
    4. The Fade
    5. The Five Major Categories of Edit Types
      1. The Action Edit
      2. The Screen Position Edit
      3. The Form Edit
      4. The Concept Edit
      5. The Combined Edit
    6. Will I Be Quizzed on Any of This?
    7. End of Chapter Four Review
  12. Chapter Five – General Practices for Editors
    1. Sound and Vision are Partners and not Rivals
    2. A New Shot Should Contain New Information
    3. There Should Be a Reason for Every Edit
    4. Observe the Action Line
    5. Select the Appropriate Form of Edit
    6. The Better the Edit, the Less It Is Noticed
    7. Editing Is Creating
    8. End of Chapter Five Review
  13. Chapter Six – Working Practices
    1. End of Chapter Six Review
  14. Chapter Seven – The Final Cut: Additional Editing Topics You Are Bound to Encounter
    1. Additional Editing Terms
      1. Parallel Editing
      2. Montage
      3. Multi-camera Editing
      4. Sync Sound and Counting Time
    2. Making Your Way into the World of Editing
      1. Tools vs. Skills
    3. Digital Workflow
    4. The Role of an Assistant Editor
    5. In Conclusion
    6. End of Chapter Seven Review
  15. Glossary
  16. Index

Product information

  • Title: Grammar of the Edit, 2nd Edition
  • Author(s): Christopher J. Bowen, Roy Thompson, Christopher J. Bowen
  • Release date: October 2012
  • Publisher(s): Focal Press
  • ISBN: 9781136058691