The first lessons in film making I received were all on the editing process. For three weeks, our instructor walked us through the principles and rules of editing and, understandably, many of us were confused. Why teach editing first when that's the last step in the process of making a movie? Thankfully, our instructors were wiser than us students and now looking back it makes perfect sense why they would structure the classes as they did.
Years ago I taught American Sign Language at Utah State University. Many times I had students who had learned a lot of signs (vocabulary) but not much of the grammar (ASL and English have very different grammar structures) and so when they signed, it was difficult to understand what they were trying to say. So it is with movies. There is a language to film making. The footage is the vocabulary and the editing is the grammar. Once the grammar is understood, then and only then can the vocabulary be used and practiced in the correct manner, instead of developing bad habits. Like my old students, I had learned certain vocabulary elements of film making but I had only minimal understanding of the grammar.
Editing a movie is not a matter of whether you cut the actual film or if you use digital editing software. Rather, editing is the process of shaping the story that the camera has already captured. Understanding that makes editing even more important before the editing begins. The film makers need to be aware of what the editor will need to tell the story; establishing shots, wide shots, medium and close ups, pans, wipes, dollies, etc.
Visual storytelling is the art of knowing what to show and how to show it. The experienced film maker knows this and so prepares each shot accordingly with the editor in mind. There is a rhythm to it all, depending on the mood, action, etc. that is taking place. Take a scene from any movie and break it down into the different kinds of shots, then look at how long each shot lasted. There is a rhythm to it all. Even in long takes, where the camera keeps rolling, following the action, the dynamics of the shot will change, most of the time.
Take, for example, my short film “Zombabies”. Not a perfect movie by any means, but it makes for a good example here of what I'm talking about. The film begins with a couple of shots, 5-3 seconds in length, enough to get the feel for the location but not so long that the view gets bored. At around 14 seconds into the film, the music shifts and we get a medium wide shot of the baby in its crib with the mother coming to comfort him. The shot lasts for almost 10 seconds, that's almost double the length of the film so far. This has the effect of impressing on the views mind the importance of this event.
Now for the quick cut. The baby bites the mother. This shot is brief primarily for two reasons: first, the believability of the bite is lost if the shot is held longer (look at the shark in “Jaws” as another example of this), and second, the shock of the quick cut enhances the viewers feelings of unease.
Now we're back to another long shot, just over 10 seconds long, to give the actress, and the audience, time to come to terms with what's just happened. The mother decides it was nothing, sets the baby down and goes back to what she was doing. The audience is left to fight their instincts over the conflicting information. Babies are cute, innocent and occasionally messy. Whereas they have seen the baby bite the mother, and they, most likely, know the title of the film and so are expecting the worst.
Monster vision. Many people have used it before me, and the shot in this film following the mother is, admittedly, a tad too long, it still has the desired effect of cementing in the audiences mind that there is indeed something sinister going on with the baby.
A quick cut to the second baby. This shot is less successful, I believe, though the film is better with it than without. The film needed something to lead the movie out of monster vision and back to the mothers, as well as a way to introduce the idea that the second baby is soon to be infected. However, the shot itself lacked clarity on the second point. Regardless, the flow of the film won out and the shot, though brief, stayed in the final cut.
Now the editing gets quicker with a series of shots back and forth from kitchen, to zombabie and back and forth until the second mother is attacked. As a side note, the triple stage zoom was an idea from Alfred Hitchcock's film “The Birds” when the first death is discovered. The quick, sudden jumps into the face of the victim were jarring and enhanced the effect much more than a simple zoom would have accomplished.
Again, the cutting is fairly quick moving through the attack, culminating with the second mother being tripped and eaten. The first mother slinks back into the bedroom and, though the cutting is still at about the same pace, the phrenetic motion is muted and so the audience get's to feel a bit of relief without sacrificing all the tension that's been built up. The fan shot was very important to give that room a sense of the familiar, nonthreatening. Just enough to lull the audience into a false sense of security.
Que the laughter and the slow pull back to reveal the baby in the room with the mother. The shot is relatively long, 7 seconds, with the baby only coming into view at the very end of the shot. Again, this only adds to the anticipation of the audience.
The hard cut to black followed closely by the fade in to the hand, with the zombabie playing with the fingers, establishes the passage of time while also insinuating all the horrible things that happened to the mother that I didn't have the budget to film. The munching on the finger at the end was the icing on the cake, twisting the stomachs of the audience and once again playing with their instincts that scream babies are cute and innocent and under no uncertain circumstances would they ever do anything so wrong as eat their mothers.
The ebb and flow of fast and slow cuts, knowing when to hold a little longer, when to cut a little sooner, all take time and practice to get good at. I want to reiterate that this is by no means a perfect film. There are plenty of shots that should have been longer or shorter. This was, after all, only my second film. Regardless, I also believe it has a lot to teach about editing. I didn't go to much into detail on the sounds/music I used here but that is another area where editing has a powerful influence. Go through the film again and watch for how I used the sound-scape, when I faded music versus hard cutting it. What sound effects did I use, and why did I ignore other sounds. All of those things were considered when I was making the film. I wasn't perfect, again, but take a look and see what you think.
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