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  • Writer's pictureDorsa Sajedi

Editing Class 2: General Practice

Observing the final cut of this film, the key issue was how it constructed the pacing. Having to be 3 minutes long, there are areas that feel far too rushed and bits that could have easily been cut out. Something that I find helpful is to observe the script, and draw a line all the way down on the side and label what you would naturally imagine the pacing to be. Typically slow at first, quicker when something intense is occurring, and slow again at the end - but obviously this isn't the same across all films which is why its helpful to do this. This also helps frame out how long each scene needs to be and how much time can be dedicated to each one. I found that in the finalised cut that there was an obvious attempt to ignore a side character, using little to no shots of her. While I agreed that this character is not really related to the protagonist's struggle, I decided to at least incorporate the wide shot of her standing in the door frame before she leaves. When watching other peoples edits, I was able to take note of what each of them did that worked really well, providing me good information to keep in mind when I am next in the editing suites.


Practice Notes
  • Using sound as cutting points: In attempts to construct and build up tension, the sound in shots, such as the closing of doors, ripping of letters, etc. can be used as cutting points. But, this shouldn't be overdone as it can become very tiring.

  • Trying to cut against the urge to cut: In moments where you want to force discomfort upon the audience to encourage them to relate to the displayed character is avoiding any cuts where it is most expected - holding on a little bit longer.

  • Holding shots to maximise performance: Ensure you have looked through your footage thoroughly, and try your best to draw out the best bits of performance. Hold on a shot for a little longer to show their reactions to things without disrupting the pacing too much.

  • Sharp cuts on sharp actions: Sharp cuts make the most sense visually on sharp actions, and as a consequence of this there comes about a construction of tension.


Technical Notes
  • When duplicating a project in finder, make sure to rename the folder & .avp, and settings file to be the same name as one another.

  • 'T' sets the in and out point of the track that you are currently on

  • 'Option' + '6' allows you to loop from any point on the timeline between your set in and out points.

  • The small button on every track next to TC are the sync locks for every layer


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