Trimming and Reviewing

• Transitions
• 6 elements of the edit
• Rippling the edit
• Rolling the edit
• The review workflow
• Pacing and timing

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Trimming the Assemble edit
3 types of transitions

• the cut – the change from one shot to another that is not perceived by the viewer*

• the mix – there is a gradual transition from one shot to another which is perceived by the viewer*

• the fade (in or out) - there is a transition, by gradual change of the image, to a completely black image. And
vice versa, it is perceived by the viewer. As a result it is often used to suggest change (of time)

*continuity editing

mike johnston

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Reviewing the edits - Mic’s camera club
6 elements of the edit: ‘Grammar of the edit’ – Roy Thompson

1. Motivation. There should be a reason for a transition, a movement, a sound or both.

2. Information. An edit should introduce another shot with more or new information.

3. Composition. Use well framed shots. The correct moment to start and finish the shot will make maximum
value from a well composed shot. This might dictate the edit point. Smooth transitions are generally the
intention.

4. Sound. The sound supports the visual and creates an immediate response in a Viewer. It can lead a visual
shot, supply additional (unseen) information, and motivate a transition.

5. Camera angle. The intention should be that the position of the camera relative to the subject of the shot, of
the next shot should be different from the previous, and not less than 45 degrees.

6. Continuity. There needs to be continuity of content, movement (left to right etc), position on the screen, and
background sound – within the same scene. If the actor uses his left hand to pick up the telephone, a shot
change should still find a phone in his left hand. mike johnston

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The 6 elements of the edit

motivation information
cut from close up - wide
Harry looks up...
angle as jurors dress for
cut to rescuer
court
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The 6 elements of the edit

composition sound
Seeing the blade we hear the cut and then see
As the camera tracks right to left the shot
the close up
mixes to the past

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The 6 elements of the edit

camera angle
As the emphasis shifts between the
characters so does the shot. There is
continuity and enough difference
between the shots to avoid a ‘jump
cut’
continuity of
movement
As the hero turns right to left (his POV) the
shot follows the same direction completing
a 360 degree sweep and cutting to 3rd
party POV

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Rippling (deleting)
Trimming one side of the edit

• By selecting the transition and toggling using

the U you can select the out, *both or in
coming edit. Then use the [ ] short cut to add
or remove frames to nudge the edit forward or
backward or drag the edit. Watch the Canvas
to see what you are doing. ( *roll edit)

• If shortening a sequence clip, open in the

Viewer and reset the in or out. It will
automatically be reflected in the Timeline.
Then close the gap by selecting and control
end frame start frame
clicking.

• Use the razor blade (B) to remove material.

Razor and delete – and the timeline will ripple
as the clips move to fill the gap.

mike johnston

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Rolling
Trimming both sides of the edit

• Rolling (R). One clip gets shorter and the

other gets longer by the same amount and
vice versa. You can roll the video and audio
together or separately.

• The Extend edit (E). Highlight the edit you

want to change. Play the timeline to the point
you want to make the new edit point. Click E.
Split video and audio edits to improve the
flow of dialogue scenes. It can work across a
number of clips but is limited by the clips’
‘handles’.

• Slipping (S). The in and the out of the same

clip change but the duration stays the same.
Click S.

these edits wont ripple the timeline mike johnston

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Points to remember

• Linking and unlinking. If you want to just

work on either the picture or the sound you
need to either link or unlink the clip to its
audio.

• Snapping. Vital to get things to line up,

however sometimes you don’t want things to
get snapped to a certain position. In whcih
case its great to turn it off

mike johnston

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The Review workflow
Work from an overview to the detail

1. Check the overall “shape” of the film (pace, tone, duration, interest, progression – beginning, middle, end)

2.Are there any ‘redundant’ elements - any repetition etc?

3.Make it shorter! Apply the ‘party principal’ to your scenes - arrive late and leave early!

4.Check the scene cuts - find a way of linking the scenes together visually or with sound

5.Check each individual sequence - intercutting is one technique that can shorten 2 scenes into one

6. Check each shot. Be harsh - kill your darlings!

7. Check each cut. The point you come into a shot and the point you choose to leave it.

mike johnston

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The pace and timing Setting Up
full screen preview.
Under the View menu -
• use the the full screen preview (CMD + F12) Are
the shots (and scenes ) the right length (students
often leave shots too long)

• trim the static bits at both ends of pans and

zooms. Don’t cut in the middle of camera
moves.
Then check on
• in order to get a feel for the pace of a scene, play the same View
it through and use the position of the playhead to
find by ‘feel’ your edit points. menu that
Video Playback
• play the video to someone else on your main
monitor is
selected
mike johnston

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Short cuts

Insert edit F9

Roll edit R

Play around edit \

Roll by frame [ ]

Select edit V

Extend edit E

Option click to select either video or audio

mike johnston

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Further reading and directions

• Editing techniques with Final Cut Pro by Michael Wohl. This has alot of advice about the process and practice
of editing based on FCP and Final Cut Express. Its more a “why to” rather than a “how to”.

• There are more advanced ways of using the software - using the Trim window and syncing the Viewer and
Timeline together. These and others are in Michael Wohl’s book - which is in the Library too!

mike johnston

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