September 23, 2003
Assignments for Next Week
Handouts for this Week
Lesson for This Week
The Plasticity of the Medium
Throughout the beginning weeks of this semester we've
been looking at how the arrangement of shots effects their perception
(the infamous Rule of Threes). In looking at the classroom scene in
HEATHERS in class four we also saw the power
of arranging and rearranging individual scenes.
[Actually, because last week's class ran overlong, we
didn't cover HEATHERS last week, though you can still find the description
of that lesson on that web page. As a result of that, we aren't going
to be covering the second part of that lesson tonight. To see what
we would have discussed, click here.]
We will also be discussing your recuts from the scenes
from THE VISITOR and preparing to do your cuts from DALLAS. At
a step back and see how your VISITOR cut has changed from its first
now. What has done that? It's been the recrafting we've been able to
do by paying attention to your scene analysis. I am going to
start asking that you do the same for yourself when you cut.
(The following handouts will be given out this week. Click on the
blue highlighted terms to get to the actual handouts.)
- Script pages for
next week's guest (to come)
- Next week I am hoping to have Michael Tronick
as a guest speaker. Michael has cut a number of action oriented film,
and also MEET JOE BLACK, one of our personal favorites. Please read
the script pages for __________ so you'll be prepared to talk about
them when he comes.
These pages are in PDF format, which means you
need Adobe Acrobat to read them. This program is probably already
on your computer; if not click on the logo to the right to get
- Editing For Story
- In this interview, Mark Goldblatt discusses keeping your eye on
a trim, well-constructed story, while reworking your movie during
cut after cut after cut after cut.
- Richie Marks Interview
This handout, just a little out of date, will give
you a sense of what you should be asking as you sit there in your
- Avid Cut List
- In order to conform the 35mm film (either printed dailies or negative)
to the edits you've made on the Avid, you will need to create a Film
Cut List. This handout shows you a very simple one -- for cutting
single strand. This is the same type of list that you would use to
tell your negative cutter how to match your Avid cut.
- 101 Reasons To Insist On An
- This pretty much details what an Avid assitant needs to do on a
- Pulldown Explained
- You're going to be working with video, so you might as well get
used to the fact that it's at 30 frames per second rather than 24
frames that film is shot in. This chart explains how video is derived
- Continuity for CHERRY
- This is original script continuity, right after we finished shooting,
before we started working the film to solve its problems.
Assignment for Next Time
- Read Chapters 8 and 8A in the textbook.
- More talk about cutting and recutting.
- Cut the scene from DALLAS
- You should have lined the script and then discussed an analysis
with your partner. Remember, you're going to want to drive towards
your scene analysis at all times during the editing process.
NOTE: Beginning this week you are going to working
in director/editor combinations. For this week, the person whose last
name comes earlier in the alphabet will be the editor and the other person
will be the director. I am doing this for a very specific reason -- though
filmmaking is a highly collaborative art, it quickly turns into chaos
if one person doesn't have the final say in most artistic things. In most
cases, it is the director who is that driving force. As a result, editors
must learn to serve the greater good (as determined by the director) and
the director must learn how to communicate that effectively to someone
who usually has an ego as well -- the editor.
(Page will open in a new window. Close it to return
to this page.)
To Splice Film
- The techniques for properly splicing two pieces of film to each
other are described in this article from City Net.
Goldblatt talks about TRUE LIES
- This was to be the first of a series of articles that I am writing
for the Editors' Guild Newsletter and a book where I sit down and
watch a scene with the editors who cut that scene. Unfortunately,
this one never ran because we never got the rights to run the pictures.
Since I don't really have the permission to run them yet, this is
just for you. Keep it under your hat, eh?
Dmytryk's Rules Of Editing
- This handout, from the Chicago Mediaworks documentary editing class,
lists a number of rules that the late editor, writer and director
(and former USC teacher, I believe) sets out in his book On
Film Editing. There are a few rules that I would disagree with
but, all in all, it's a pretty good encapsulation of many of the issues
that we are talking about in this class. I repeat here his wonderful
advice about cutting for value. In it he says that when a choice comes
between editing for a match cut and for dramatic values:
the mismatch. If a cut from wide shot to CU should be made for dramatic
value, the audience will ignore the mismatch. The important thing
is to know where the viewer will be looking. Dramatic requirements
must always takes precedence over the mere aesthetics of editing.
Lawn Grave Sites
- For the more morbid among you, this is a site that lists all of
the famous names buried in that famous Hollywood cemetery -- Forest
Lawn. It is part of a larger site devoted to graveyards across the
world. Frankly, I'm not sure why I'm giving you this link, but as
I was doing research on Edward Dmytryk, whose link (two above this)
seems to have coincidentally expired, I ran across it. No big point
I'm trying to make with this. It's just fun.