Why do cuts work in film?
The cut represents a continuous transition in setting and time—in turn, the dissolve and wipe respectively identify changes in time and setting. In many cases, cuts are also used in place of dissolves or wipes for minor changes, or to edit away insignificant details to maintain pace.
A cut is whenever a film transitions from one shot or scene to the next. Video cuts can be used for technical, conceptual, and storytelling purposes, depending on what the filmmaker and editor hope to accomplish by cutting between images.
A match on action cut (also referred to as cutting on action) is a type of film transition that cuts from one shot to a closer shot in order to emphasize an action. Match on action cuts are used by filmmakers to generate seamless flow in editing. Match on action cuts are also an important part of continuity editing.
The straight cut — also known as the hard cut, standard cut, or A to B cut — is one of the most basic transitions to get to the next shot in the same scene. It's simply a transition from one shot to another, with no effects.
Fast cutting is a film editing technique which refers to several consecutive shots of a brief duration (e.g. 3 seconds or less). It can be used to quickly convey much information, or to imply either energy or chaos.
The Purpose of Transitions
CUT TO was a simple direction that stipulated the literal cut from one scene to another — usually, but not always, referring to a location change as well. In older scripts, you would find such a transition between every new scene.
Essentially, cut-ins are when we cut from a shot into a closer element of that same shot. For example: say we have a wide shot of a character holding a book. If we want to emphasize what the character is reading, we may cut-in to a shot of the book's cover.
The 180-degree rule states that two characters (or more) in a scene should always have the same left/right relationship with each other. The rule dictates that you draw an imaginary line between these two characters (or subjects) and try to keep your camera(s) on the same side of this 180-degree line.
This signifies the end of a take and a call to stop the action. It's crucial for the actor to keep the acting and action going until the director calls “cut” or they risk messing up a great shot. It is never up to the actor to stop what they're doing without the “cut” call from the director.
When well-executed, cross-cutting in film editing, allows viewers to suspend disbelief and process multiple scenes as though they are taking place concurrently. In some cases, the scenes really do occur simultaneously—like two fight scenes occurring in different parts of the same room.
What is the most common cut in film?
L and J Cuts are probably the most common cutting methods in TV and film; you will see it in everything you watch and won't even notice it. An L cut is when the audio of your first shot continues over the second. A J shot is when the audio from your second shot begins over the end of your first.
The average movie contains over a thousand cuts… some go on for minutes, while others last for just a fraction of a second. You don't want your audience to notice every single time you change camera angles, as it would detract from the story!
The action of the two scenes smoothly meets up, for example, a child in one scene throws a frisbee, and the next scene shows a newspaper being thrown onto someone's porch. Matching up the action of those two objects sailing through the air would be a match cut.
Formatting quick cuts
While montages have various shots unfold over a longer, more paced period of time, a series of shots uses quick pacing to show multiple shots back to back in a shorter time period. Other than a montage, screenwriters may use quick cuts for the sequence of a character's actions or to expedite time.
A smash cut is a film edit that cuts abruptly from one scene to another, meant to highlight the difference between the two. It's also known as a Gilligan cut, named after the show “Gilligan's Island” that routinely featured a character refusing to do something, and the next scene would be them doing that exact thing.
A rough cut is the first edited version of a film, usually without sound, music, or titles.
Murch's six rules on editing consist of Emotion, Story, Rhythm, Eye trace, Two- dimensional Plane of Screen, and Three-dimensional Space of Action, which all have different values in order of importance for the cut.
When the camera jumps over the invisible axis, this is known as crossing the line or breaking the line, and it can produce a disorienting and distracting effect on a viewer.
The 180 rule dictates that in any scene which contains two or more actors there is an invisible line. The camera can move anywhere in the scene, provided it stays on one side of this line.
Breaking the Rule
There are times when breaking the line is OK, and those are up to you as the artist. Maybe you want to create confusion for your audience, or show a huge change in mood in the story. Breaking the line can be a fun way to create a jarring affect.
What happens if you break the 180-degree rule?
Breaking the 180-degree rule is a common video editing mistake for beginners. If you don't have your subjects on a 180 axis, it can make your content look pretty weird. Basically, if you break the 180-degree rule without meaning to, your content will most likely suffer.
There are many directors who intentionally break the 180-degree rule (Kubrick, Aronofsky and Ozu to name but a few), to various effect. Mostly the break is employed to give the audience a feeling of disorientation, discomfort or confusion.
The 1st AD or Director calls "quiet please" or "quiet on set" is better in class because it reminds those not involved that filming is taking place. It is a great way to focus the whole crew. (1st AD or Director) "Stand by" or "Ready to go for a take" Anyone who is not prepared should quickly make themselves ready.
As a rule, directors don't “yell,” - “Action.” But they do say it clearly enough for everyone to hear it. Generally, there's a series of “commands” and responses that precede the “action” command — Camera, rolling, sound, speed, mark (or slate) — and then, often, the director will say something like …”and… action.”
- QUIET ON SET.
- SOUND? - Set.
- CAMERA? - Set.
- ROLL SOUND. - Sound rolling.
- ROLL CAMERA. - Camera Speed.
- MARKER. Clapper board moves into scene, calls "Scene 1, Roll 1, Take 1 etc" (This should be visible on clapper board).
- ACTION.
- CUT.
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