A crucial part of making a movie is editing, which involves arranging and manipulating sounds and visuals. It is where the real storytelling starts, giving the editor the freedom to extend or shorten the film's runtime by chopping scenes and sequences. This can draw attention to specific scenes in the narrative that feature dialogue, actions, or musical selections from a character. Continuity, discontinuity, spatial/graphic, and temporal editing are the four main types of editing.
By maintaining the sense of time and space in the movie, continuity editing keeps viewers interested and keeps them from getting sidetracked. 180-degree rule, matching on action, and eyeline match are a couple of examples of continuity editing. Discontinuity editing rejects continuity rules, evoking strong feelings or disruptive reactions to build suspense. Discontinuity editing techniques include jump cuts, flashbacks, and flash-forwards.
Spatial/graphic editing is the relationship between the shot's function to construct film space, such as establishing shots that situate the audience within a setting or introduce important characters. Examples of this in film include computer-generated imagery and visual/sound effects. Temporal editing is the relationship between the shot's function to control time, conveying the order, duration, or frequency of events in the film. Both spatial and temporal relations are essential for conveying the order, duration, or frequency of events.
Word | Meaning and how they are used by filmmakers. |
Editing in Film | The process of choosing, manipulating, and arranging images and sounds in the post-production of a film.
Example: Filmmakers can apply transitions, sound or visual effects, and effectively coordinate clips in a film to enhance its quality and engage their audience to pay attention to the film and to be surrounded by the film’s intended atmosphere. |
Editor (n/a) | Someone responsible for assembling raw footage into a complete, cohesive cut of a film.
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Shot | An uninterrupted sequence of frames for a specific amount of time.
Example: Distinct kinds of shots can be used to convey specific parts of a film’s storyline, information, characters, and setting. For instance, an establishing shot may introduce a main character/cast or the place where the film would predominantly be casted, and could reveal hints about the film’s genre, mood, and storyline. |
Sequence | A series of scenes in a narration that is all interconnected by a unity of time or unity of location within a film.
Example: The director could shoot particular scenes of a film, which the editor can later arrange in a way that logically makes sense to the audience and helps to maintain consistency in the story. |
Scene | A shot or multiple shots that compose a complete and unified dramatic action, event, unit, or element of film narration.
Example: Scenes are used by filmmakers to depict elements of the plot that provide context to a storyline in a single manner, which allows viewers to follow the events taking place in a film, and sometimes if scenes are left out, it could leave room for the audience’s imagination. |
Continuity Editing
(Includes matching on action) | An editing system that is consistent with both time and space in a film. It is the traditional arrangement and conventions of structure in a film.
Example: Using this technique increases the fluidity of scenes in film and could include filmmakers taking shots at contrasting times or locations that are alike and similar, which keeps a continuous narrative as the audience views the film. For instance, a scene could shoot a robber walking into a bank, but cut, and blend to another scene of the reactions of those who work at the bank. |
Discontinuity Editing
(Includes jump cuts) | An editing technique that intentionally arranges shots that are confusing and not relative to a traditional narrative or arrangement.
Example: Filmmakers could display this technique by using an editing transition called a “jump cut.” This transition allows editors to show a particular action, but then suddenly depict another scene from an unrelated action that took place at another time, location, or setting. Using this non-traditional way of filming could build suspense in views, as it may shift the focus of the story for that period to a parallel plot. |
spatial editing | The relationship between the shot’s function to construct film space (for example, the establishing shot serves to situate the audience within an environment of setting and/or to introduce an important character or characters).
Example: This editing technique is also referred to as Graphic editing and is used by filmmakers to outline the setting of a film and enhance the atmosphere and mood surrounding it. This could be done by layering ambient noises, or sound effects, to create a relationship between what is shown on screen and auditory qualities attributed to that depicted setting. |
temporal editing | The relationship between the shot’s function to control time. This works to convey the order, duration, or frequency of events in the film.
Example: Temporal editing is portrayed onscreen as the duration or time of events filmed, with the intent of magnifying or diminishing visuals, sounds, or actions included in those scenes. This could be achieved by focusing on key actions or sounds of a scene by speeding them up, slowing them down, or a playback of a dramatic event repeated multiple times (for emphasis). |
cut | Instantaneous editing transitions.
Example: A filmmaker could immediately blend the setting or shorten the length of one scene to another by highlighting another scene of the storyline that is similar to the one previously shown, in a way to continue the storyline in a rational way. |
establishing shot | Serves to situate the audience within a particular environment or setting and/or to introduce an important character or character.
Example: A wide shot is a commonly used technique of filming an establishing shot to represent the main setting of a film. |
180-degree rule | A rule that requires characters onscreen to always have the same left-to-right relationship with each other on camera, which could be an over-the-shoulder shot during a conversation. The rule states that the camera should stay within an imaginary line between two characters, which allows each character to face one direction regardless of the camera’s positioning. This helps to maintain visual consistency throughout filming a movie.
Example: Using an over-the-should shot, the 180-degree rule could benefit and contribute to scenes that include dialogue or any interaction between characters, which allows equal distribution of screen time, the reaction of characters, and their conversations as it relates to the overall film. This technique helps the audience to focus on key actions of the actors as they interact. |
insert shot | A shot, in which the sole purpose is to focus the attention of viewers on a particular detail in a scene.
Example: Filmmakers utilize this strategy by filming a significant object, which the main cast/character is fixated on and desires, for a specific purpose within a film. In addition, certain objects (within the context of their scene) may carry a certain connotation or cultural symbolism in the world of that film, that may have an intentional meaning that the filmmakers intend for the audience to interpret and reflect on, as it relates to the film. |
j cut | The audio from the following scene overlaps the picture from the preceding scene so that the audio portion of the later scene starts playing before its picture as a lead-in to the visual cut.
Example: During post-production of a film, editors can achieve a j-cut technique by adding raw visual and audio footage, and then cutting the audio from the previous scene. But immediately following that transition with a visual element for a few seconds, before continuing the previously interrupted audio. This is done with the intent of producing a natural environment from how certain sounds are emphasized and exaggerated, whilst others drown out or are paid less attention to during a film. |
l cut | A split edit film editing technique in which the audio from the preceding scene overlaps the picture from the following scene. The audio cuts after the picture and continues playing over the beginning of the next scene.
Example: This technique abruptly gears the onscreen focus of the visuals of the film, to a delayed audio from previous visuals shown, which is then further elaborated and incorporated in following scenes. After the audio from the previous scene overlaps with the current scene, it cuts off before the preceding scene begins to play. The sole purpose of this is to have certain sounds such as dialogue and narration from previous scenes overlap with upcoming scenes to describe context that could have otherwise been left out or incorporated in a separate way that would affect the atmosphere of the film. |
post-production | The process of filmmaking, video production, audio production, and photography that includes all stages of production occurring after shooting or recording.
Example: This crucial step in the filmmaking process is what allows filmmakers to review, edit, enhance the film in innovative ways, structurally position a scene in a way that brings about desired results in how a film is perceived, interpreted, and presented, as well as it creates cohesion and soundness of a film (in terms of how the context and all the components within the film are interrelated). |
visual effects | Visual effects (VFX) are computer-generated or manipulated imagery blended with live-action footage to enhance reality onscreen.
Example: Visual effects are commonly seen in action/superhero-themed movies and is used by filmmakers to produce a sense of otherworldliness, dramatized actions, and capabilities, to auto-generate extraterrestrial/ fictional characters blended into real-life or realistic settings. |
CGI | Computer-generated Imagery (CGI) is the creation of still or animated visual content using imaging software.
Example: A CGI of a fire-breathing dragon to make a film more realistic and engaging. |
expansion of time | Making the duration of the video sequence longer than in real life. This allows time for the audience to process added information, create and build suspense, or emphasize key moments of a scene.
Example: A spy trying to defuse a two-minute time bomb. |
ellipsis | An omission of words or events that allows viewers to fill in the gaps of that narrative.
Example: A phrase is whispered to someone before parting ways. The screen fades black, but the audience never hears what was said. |
slow motion
| A cinematography technique, during post-production editing, which a shot is played back at a slower speed than it was recorded
Example: A fight scene where a person is dodging their opponents' hits is recorded in slow motion to show the rate of speed they are dodging. |
Dissolve | A gradual editing transition that moves from one image to the next.
Example: A close-up shot of a person contemplating his career decision to a flashback shot of their younger self, working in school to achieve that career. |
wipe | A film transition where one shot replaces another by a moving boundary line or shape that replaces one shot with a second shot.
Example: As a person walks through a field of wounded soldiers, a wipe transition to another scene depicts the war's aftermath. |
Flashback | A short part of a film, story, or play that goes back to events in the past.
Example: A flashback to the past of a joyful childhood can show nostalgia and how a character feels about their past. |
Flashforward | A scene that foretells future events to occur later in the storyline of a movie or Television show.
Example: A flash forward of a person’s envisioned future can tell what the character thinks an outcome can be and their emotion towards the future. |
Kuleshov Effect | The idea that two shots in a sequence are more impactful than a single shot by itself.
Example: A person stealing money and driving away, displaying nervous expressions, and changing weather conditions. The juxtaposition of rainy night shots and a close-up of her face reveals their anxiety. |
Rough cut | The first version of a movie after preliminary editing.
Example: In behind-the-scenes some movies, special effects may be incomplete, scenes can lack sound, and need additional editing. |
long take | An uninterrupted shot of lengthy duration (fifteen seconds or more).
Example: A long take of someone walking in Times Square to navigate the large crowds, providing an intense experience. |
short take | A shot take that could be between one to three seconds long.
Example: A short take of two people talking in a car, emphasizing their dialogue and chemistry before the main action begins. |
fade in | An image dissolves into a view from a previous black screen.
Example: The beginning of a movie fades into the introduction of the setting. |
fade out | An image dissolves into blackness.
Example: The end of a movie fades out into the credits. |
Editing Technique shot/reverse shot | ||
Definition | A technique that is defined by multiple shots edited together in a way that alternates characters, typically to show both sides of a conversation situation. | |
Describe (2) ways editors utilize this technique | ||
Editors use this to show a conversation between two characters. They do this by alternating over-the-shoulder shots, so we can better grasp the two characters’ point of view. | When editors use this technique, they may make certain shots longer, to emphasize the emotions of the scene. | |
What effects does the technique have on the audience? Discuss genre, emotions, and messages communicated by each technique. | ||
This technique helps the audience understand the two characters’ relationship with each other. | This technique also shows the audience what the characters are feeling. We can see their reactions and that way; we can analyze their characters. | |
Example: “Marriage Story” (2019)
You can see the technique being utilized when the two main characters, Nicole, and Charlie, are having a huge argument.
Editing Technique: Eyeline match | ||
Definition | A technique based on the premise that an audience wants to see what the character on-screen is seeing. | |
Describe (2) ways editors utilize this technique | ||
Editors create this scene by showing a character looking at something offscreen. Then there is a cut followed by a shot that shows what the character is looking for. | Editors use the camera as the character’s eyes. It shows the audience what they are viewing from their POV. | |
What effects does the technique have on the audience? Discuss genre, emotions, and messages communicated by each technique. | ||
The audience gets narrative information from a shot like this. Without this shot, the audience would be confused as to what the character is currently looking at. | This shot can highlight the film’s most vital details, making the audience more intrigued by the story. | |
Example: Burn After Reading (2oo8)
Editing Technique: Graphic Match | ||
Definition | Creates a relationship between two otherwise disconnected scenes using graphics, movement, and audio. | |
Describe (2) ways editors utilize this technique | ||
Editors use this technique by ending one shot with a frame containing the same compositional elements (i.e., shape) as the beginning frame of the next shot. | This technique shows a smooth transition, which pulls the audience in. | |
What effects does the technique have on the audience? Discuss genre, emotions, and messages communicated by each technique. | ||
This shot shows symbolism or meaning in a scene. With all kinds of symbolism in scenes, this can allow the audience to feel intrigued and curious, which makes them analyze the film. | Graphic match shots show the film’s creativity. When audiences watch creative films, they feel more interested. | |
Lion King (1994)
Editing Technique: Action Match | ||
Definition | A cut that connects two different views of the same action at the same moment in the movement. | |
Describe (2) ways editors utilize this technique | ||
Editors create this shot by carefully matching the movement across two shots. For a realer shot, the action should begin in the first shot and end in the second. While for longer action, the action should continue across multiple shots. | Filmmakers make the illusion that the motion continues uninterrupted. An example of this would be: SHOT 1: A character opens a door SHOT 2: The character walks through the door | |
What effects does the technique have on the audience? Discuss genre, emotions, and messages communicated by each technique. | ||
In some movies, like horror, editors use action-match cuts to build suspense. If used correctly, the audience will not know what is going to happen in the second shot, which will make them even more interested and filled with even more suspense. | This shot also has smooth transitions, so this makes the audience intrigued. | |
Editing Technique: Jump Cut | ||
Definition | A single continuous sequential shot of a subject is broken into two parts, with a piece of footage removed to make the effect of jumping forward in time. | |
Describe (2) ways editors utilize this technique | ||
The editor removes a portion of time from a continuous sequence, creating a discontinuous effect, often used to condense time or emphasize narrative changes. | The editor creates disorientation by cutting between visually similar shots with different compositions, camera angles, or scales, often used to convey a character’s confusion, emotional state, or sudden revelation. | |
What effects does the technique have on the audience? Discuss genre, emotions, and messages communicated by each technique. | ||
In fast paced genres (like action) jump cuts are used to maintain momentum and keep the audience engaged, enhancing the energy of the scene. In experimental films, jump cuts are used to disrupt the narrative and the storyline, creating a sense of unpredictability for the audience. | Abrupt jump cuts mixed with moments of stillness can create tension and anticipation, heightening the audience’s emotion in the narrative. Jump cuts can also be used in a rhythmic or stylized manner which can convey a sense of feelings of joy for the audience. | |
Editing Technique: Crosscutting | ||
Definition | A technique that cuts separate actions together to illustrate moments that take place simultaneously within the narrative structure. | |
Describe (2) ways editors utilize this technique | ||
The editors use this technique to show the viewer multiple views across separate locations. | Editors also use this technique to show large scale events that happen across multiple locations. | |
What effects does the technique have on the audience? Discuss genre, emotions, and messages communicated by each technique. | ||
This shot is often used to build anticipation. The anticipation makes the audience more fascinated with the film. The anticipation makes the audience feel anxious. | This shot also can create drama in some films and can intensify the emotional impact of a film. This can create a sense of uneasiness for the audience. | |
Editing Technique: Parallel Editing | ||
Definition | A specific cross-cutting technique that creates a narrative parallel that the viewer may compare. | |
Describe (2) ways editors utilize this technique | ||
Editors can use this technique to show extra information about the scene. Or sometimes it might not add information at all and can be used as a comedic addition to a film. An example of this is if one character is singing at a talent show, while the other is running a marathon. | Editors use this scene to illustrate similarities and differences for situations that occur at the same time. | |
What effects does the technique have on the audience? Discuss genre, emotions, and messages communicated by each technique. | ||
This cross-cutting technique can help the audience feel engaged in the film as they watch all the different plots occur at the same time. | This shot generates suspense, which makes the audience more immersed in the story being told. | |
The Godfather (1972)
This whole scene is a fitting example of parallel editing
Editing Technique: Cutaway | ||
Definition | A shot that “cuts away” from the main action to any shot that adds visual information, and then returns to the original shot with new meaning. | |
Describe (2) ways editors utilize this technique | ||
Editors utilize this technique to establish a scene of place. | Editors also use this shot for memories, daydreams, and to show feelings. | |
What effects does the technique have on the audience? Discuss genre, emotions, and messages communicated by each technique. | ||
In suspense or thriller genres, cutaways can build tension by diverting the audience’s attention from the main action to something unrelated, keeping the audience on edge. In comedy genres, cutaway is used for humorous effects to provide lighthearted laughter for the audience. | A cutaway to a character’s reaction can intensify the emotional impact of a key moment, allowing the audience to empathize with their feelings. Cutaways to external elements/objects can create a sense of detachment, highlighting the contrast between a character’s experience and the broader context of a scene. | |
Reflection
Work Cited
Prezi, R. H. O. (n.d.). Continuity and Discontinuity editing. prezi.com. https://prezi.com/8btxgofrqlwh/continuity-and-discontinuity-editing/#:~:text=The%20reason%20for%20Discontinuity%20is,responses%20when%20watching%20the%20film.
Rocchio, V. (n.d.). editing. https://www.dartmouth.edu/~film01/editing.html#:~:text=Spatial%20Editing%3A%20Definition%3A%20Spatial%20editing,function%20to%20construct%20film%20space.
Heckmann, C. (2023, September 8). What is a Dissolve in Film — Editing Transitions Explained. StudioBinder. https://www.studiobinder.com/blog/what-is-a-dissolve-in-film-definition/
DeGuzman, K. (2024, February 12). What is an Eyeline Match? Definition & Examples for Filmmakers. StudioBinder. https://www.studiobinder.com/blog/what-is-an-eyeline-match/
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