1. Editing The true storytelling art of film

2. Coverage Amount of unedited film exposed (footage) by the director Amount of unedited film exposed (footage) by the director Director chooses to capture enough footage to properly “cover” a scene later on in the editing process. Director chooses to capture enough footage to properly “cover” a scene later on in the editing process.

3. Take the continuous running of the camera in a shot. the continuous running of the camera in a shot.

4. Set - Up Camera set up to capture a shot (distance, angle, movement and duration) Camera set up to capture a shot (distance, angle, movement and duration)

5. Editing Arranging shots in a sequence in order to create a desired emotional or intellectual effect. Arranging shots in a sequence in order to create a desired emotional or intellectual effect. Editing is what makes film making different from all other performing arts. Editing is what makes film making different from all other performing arts. Editing allows the director to tell the story through a variety of shots and set-ups. Editing allows the director to tell the story through a variety of shots and set-ups.

6. Cut Replacing of one shot or one set up by another shot or set up. Replacing of one shot or one set up by another shot or set up. Achieved simply by "cutting" strips of film and cementing them together in order to create a desired effect. Achieved simply by "cutting" strips of film and cementing them together in order to create a desired effect.

7. Desired effects of cutting continuity of direction; continuity of direction; completed action. completed action. a similar centre of attention in the frame; a similar centre of attention in the frame; a one-step change of shot size (e.g. long to medium); a one-step change of shot size (e.g. long to medium);

8. Desired effects of cutting Change of angle (conventionally at least 30 degrees). Change of angle (conventionally at least 30 degrees). Compression of time Compression of time Heighten emotional impact (see Montage later) Heighten emotional impact (see Montage later) Create a visual metaphor or allusion Create a visual metaphor or allusion

9. SEQUENCE a series of related shots a series of related shots

10. SCENE A sequence or series of sequences within one setting. A sequence or series of sequences within one setting.

11. Cuts bridge sequences A couple of most common cuts: A) Matching Cut – Cut matches or completes action. This can communicate visual metaphor/allusions B) Reaction Cut – cut relates a character’s reaction or the consequence of some bit of action within a sequence

12. Cuts bridge sequences C) Jump Cut – cut disorients the audience- jumps in continuity/time/space. This can communicate visual metaphor/allusions D) Matching Jump Cut- cut that combines the effect of a matching cut with a jump cut- usually for humorous or extreme dramatic effect. This can communicate visual metaphor/allusions

13. Crosscutting: - editors show events at two or more locations simultaneously by cutting back and forth between them. This disrupts spatial continuity but establishes temporal simultaneity

14. Cuts Also Bridge Scenes: A few common bridging cuts between scenes: A) Dissolve (also called lap dissolves) B) Fade in/Fade out (Fade to Black, etc.) C) Wipes (vertical, horizontal, iris, etc)

15. MONTAGE series of related shots designed to build up an emotional response. A montage can be a sequence of scenes or even a series of seemingly random shots.