Editing

ACTION MATCH When following a single character (e.g. Billy Elliot dancing) this is a purely technical device. However, when an action match is used for intercutting, it can heighten the parallels/contrasts between two different characters in two different situations and offers an
opportunity for juxtaposition.

 

EYELINE MATCH Eyeline match usually provides insight to a character's private thoughts.

FINAL SHOT In any scene, which character or characters are shown in the final shot of the sequence? This is often the character with which the audience is expected to identify.
INTERCUTTING: JUXTAPOSITION Although typically a narrative device, intercutting can set up juxtaposition between parallel storylines, exaggerating the impact or meaning of each by highlighting a point of difference

 INTERCUTTING: TENSION When intercutting is used to draw two storylines together, this can be structured to create tension, and therefore heighten the audience’s identification with a particular character.

 JUMP CUTS These are rarely used in TV or film; when they are, they tend to suggest either a) chaos and disorder, b) self-conscious ellipsis (drawing attention to the rapid pace of the action) or c) a director who likes to break the rules!

 MOTIVATION A motivated edit is any transition forced on the editor by the development of the action, narrative or character. Whenever shot (a) refers to the existence of an event outside the frame, and we then cut to (b) which shows that event, that’s a motivated edit. We can sometimes judge a character’s worth or importance by the number of cuts they motivate.

 PACE OF EDITING This can imply character qualities, especially if only one or two characters are in the sequence. A fast pace might suggest energy or panic (depending on context) while infrequent cuts (long takes) might suggest calm, a casual attitude, or provide documentary-style realism (as in Cast Offs). Similar effects can be achieved with speed ramping and slow-motion.

 PREVALENCE How much screen time does a character get? The more time we see them on screen, the more important their role. This can develop during a scene to change character’s status. 

SELECTION: to show or not to show As film-makers yourselves, it can sometimes be interesting to ask what information has been included or omitted in an edit.

 SHOT / REVERSE SHOTS and REACTION SHOTS S/RS indicates the relationship between two characters: it signifies and sometimes exaggerates their closeness or their opposition (depending on the context). The amount of time given to a character’s reaction shots can convey their status in the scene. For example, if two characters are in S/RS conversation, do they get equal screen time, or do we spend more time looking at one character, speaking and reacting? Equally (though this is also a function of camera, are the two characters framed equally?)