Editing

Editing video and film correctly (4/4)

If we believe the demagogues and the theory of film, the moving image is the very most dangerous of all media. The killer argument why this is true: a film or a video has no final form before a large number of different settings have not been interlinked. As opposed to a photograph (at least before Photoshop existed), this link, incurred during editing, offers hardly controllable options of manipulation. [...]

Editing videos and films correctly (3/4)

Irrespective of the type of definition and independent of genre, talent and the cutter’s know-how: film-related rhythm cannot be equated with mathematical precision. The rhythm of a film is shown by its cut, but not exclusively so. A film’s rhythm is also determined by the way the camera is guided, the actors’ movements, the director’s orchestration, yes, even the language tempo of the voice-over commentary or the means of interpretation of the dialogues and naturally, also the music. They all contribute to the rhythm of a film being more than the mere total of its individual components. [...]

Editing film and video correctly (2/4)

Editing and parallel editing can only be applied successfully when the cutter or the editor observe the dramaturgical film requirements. The hereby assumed artistic talent, combined with experience and deep knowledge, is one good reason why films are not cut, but edited. [...]

Editing films and videos correctly (1/4)

This four-part article summer series on the trade of editing begins with the most important principles of film cutting. Film cutting can be hard like an unexpected slap in the face or soft like a loving look. It can change time and be a complete contrast to movement in front of the camera. The cut can guide the eye or hinder us from seeing something. Therefore, editing films and videos is more than a mere trade, it “additionally” incorporates the potential of a form of art. [...]