Video Editing The Editing Craft Flashcards

24 sample cards from the The Editing Craft deck

Sampled from the end of the deck, so these are different cards from the ones shown on the syllabus page.

1. What is a smash cut?

   An abrupt, jarring cut between two shots of strongly contrasting content, tone, or volume (e.g., chaos to silence), used intentionally for shock, comedy, or dramatic emphasis.

2. What is montage in editing, and what did Soviet montage theory (Eisenstein) claim about it?

   Montage is the assembly of shots into a sequence whose juxtaposition creates meaning. Eisenstein's Soviet montage theory held that meaning arises from the collision of shots—two images cut together produce an idea contained in neither shot alone.

3. What is the Kuleshov effect?

   An experiment/effect showing that viewers derive meaning from the juxtaposition of shots: the same neutral shot of an actor's face was read as hunger, grief, or desire depending on the shot cut next to it—proof that editing itself creates meaning.

4. What is a montage sequence in the Hollywood sense, and what is its narrative function?

   A series of short shots, often set to music, that condenses an extended span of time or process (training, falling in love, a journey) into a brief, rhythmic sequence—compressing story time while conveying progression.

5. What is pacing in editing and what are the editor's main tools for controlling it?

   Pacing is the perceived speed and energy of a sequence. Editors control it primarily through shot duration (cutting rate), the timing of cuts relative to action/music, shot size variety, and the density of story information per shot.

6. How does shot length generally affect the audience's experience of a scene's rhythm?

   Shorter shots and a faster cutting rate raise energy, urgency, and tension (action, chases); longer shots slow the rhythm, creating calm, weight, contemplation, or unease—skilled editors vary rhythm rather than holding one pace.

7. What is Walter Murch's 'Rule of Six,' and which criterion does he weight highest?

   Murch's six ranked criteria for deciding where to cut: (1) Emotion (51%), (2) Story (23%), (3) Rhythm (10%), (4) Eye-trace (7%), (5) Two-dimensional plane of screen (5%), (6) Three-dimensional space of action (4%). Emotion matters most—a cut should serve the feeling of the moment above all.

8. Name the standard progression of cuts an editor moves through when building a film from footage to finish.

   Assembly cut (all selected footage in script order) → rough cut (scenes shaped, structure visible) → fine cut (timing and performances refined) → final cut / picture lock (no further picture changes; sound and color finishing follow).

9. How does an editor serve three-act story structure during the edit?

   By shaping setup, confrontation, and resolution in the cut: controlling when information is revealed, tightening or reordering scenes so each act builds, ensuring turning points land clearly, and cutting anything that doesn't advance story or character—structure is often rebuilt in the edit, not just the script.

10. Why is editing often called 'the final rewrite' of a film?

    Because the editor can restructure scenes, drop or reorder subplots, change performances through take selection, alter what the audience knows and when, and reshape tone and meaning—effectively rewriting the story with footage instead of words.

11. What is the standard shot pattern used for editing a two-person dialogue scene?

    Establish with a master/wide shot, then cut into coverage: alternating over-the-shoulder or single close-ups (shot/reverse-shot) of each speaker, using matched eyelines and reaction shots, returning to wider shots to reset geography.

12. In dialogue editing, why do editors often cut to the listener rather than the speaker?

    Because the listener's reaction frequently carries the emotional meaning of the line; cutting on reactions guides the audience's empathy, reveals subtext, and gives the editor freedom to use the best audio take under the reaction shot.

13. How do J-cuts specifically improve dialogue scenes?

    By letting the next speaker's voice begin before we see them, the conversation flows like natural listening—our attention shifts to a new speaker upon hearing them—making cuts feel motivated and invisible rather than mechanical.

14. List three editing techniques for building tension and suspense in a scene.

    (1) Withholding information or delaying the expected cut (making the audience wait); (2) cross-cutting between converging threats or storylines; (3) progressively shortening shot lengths and tightening framing as the scene approaches its climax—often combined with sound design and inserts of significant details.

15. According to Hitchcock's distinction, what is the difference between surprise and suspense, and what does it imply for the editor?

    Surprise is a sudden shock the audience didn't expect (a bomb explodes); suspense comes from the audience knowing something the characters don't (we see the bomb under the table). The editor creates suspense by showing the audience key information early and then stretching time before the payoff.

16. What criteria guide an editor when selecting the best take of a performance?

    Emotional truth and performance quality first, then technical soundness (focus, framing, sound), continuity with surrounding shots, and how the take serves the scene's story beat—editors often combine the best moments of several takes rather than using one take whole.

17. What are 'selects' (a selects reel or string-out) in the editing workflow?

    The editor's curated pull of the best takes and moments from all dailies, assembled into a reviewable sequence or bin before building the scene—narrowing raw footage down to usable, preferred material.

18. What is the guiding principle for choosing a straight cut versus a transition effect, and what does a dissolve conventionally signify compared with a cut?

    The cut is the default—invisible and immediate; a transition should only be used when it means something. A straight cut implies continuous or immediately consecutive time, while a dissolve conventionally signals a passage of time, a change of place, or a soft thematic link between images.

19. Define dissolve, fade-in, and fade-out.

    A dissolve (cross-dissolve) overlaps two shots so one gradually replaces the other. A fade-in brings the image up from black (or white) to begin a scene or film; a fade-out takes the image down to black to end one—conventionally marking major beginnings, endings, or chapter breaks.

20. What is a wipe, and what connotation does it carry in modern filmmaking?

    A wipe is a transition in which the new shot pushes or sweeps the old one off screen along a visible edge or pattern. Once common, it now reads as stylized or retro (famously used in Star Wars, echoing Kurosawa) and is used deliberately for energy, homage, or graphic style rather than invisibility.

21. What are an iris transition and a whip pan transition?

    An iris closes (or opens) a circular mask to end or begin a shot—a silent-era device now used for stylized effect; a whip pan hides the cut inside a fast blurred camera move, joining two shots with kinetic, seamless energy.

22. In speed effects, what is the difference between slow motion and fast motion, and how does capture frame rate relate to slow motion quality?

    Slow motion plays action slower than real time; fast motion plays it faster. Smooth slow motion comes from overcranking—shooting at a higher frame rate than playback: footage shot at 60 fps played back in a 24 fps timeline yields $\frac{24}{60} = 40\%$ speed with every frame real, avoiding interpolation artifacts.

23. What is a speed ramp, and what is optical flow interpolation used for?

    A speed ramp is a dynamic change of playback speed within a single shot (e.g., real time ramping into slow motion) using speed keyframes for dramatic emphasis. Optical flow is an interpolation method that synthesizes new in-between frames by analyzing pixel motion, smoothing slow motion when insufficient real frames were captured.

24. In narrative film editing, what does the maxim 'cut for story, not for footage' mean, and what related principle does 'kill your darlings' express?

    Every cut must serve narrative clarity, character, and emotion rather than showcasing footage the editor likes; 'kill your darlings' means removing even beautiful shots or beloved scenes if they slow the story or fail to advance it—the film's overall effect outranks any individual moment.

What this deck covers

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