视频剪辑艺术： Grammar of the Edit 第二版

视频剪辑

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4 Grammar of the Edit

What Factors May Impact Your Editing Choices?

So, if editing is the assembly of individual shots of picture and sound into a coherent

story, then an edit must be the place where you transition from one of those shots into

the next within that assembly. Put simply, an edit is a cut point — a place where one

shot ends and another separate shot begins. (see Figure 1.2 ) The term “ cut ” stems from

the days when motion pictures were shot and edited on very long strips of emulsion

ﬁ lm. Looking at the individual still frames on that strip of ﬁ lm, the editor would deter-

mine where to physically cut the ﬁ lm between pictures. A pair of scissors or a razor

blade device was used to actually cut the ﬁ lm at that point (see Figure 1.1). Glue or

tape was then used to join the different cut strips of plastic ﬁ lm together again. The cut

or join then becomes the point of transition from one shot to the next. The straight cut

described here is just one way to move between shots. How you choose to transition

from one shot to another depends on many variables.

The ﬁ rst factor you may wish to consider is what medium you are using to perform the

physical edits — ﬁ lm, tape-to-tape video, or computer-aided digital video. Each medium,

and the devices that are used in the editing process, can often dictate physical, time-

related, or ﬁ nancial limitations. Many argue that computer-aided digital video editing is

the most economical and the most diverse as far as options for editing go, and it is,

most likely, the type of editing that you, the reader, will be performing. In this text we

are attempting to keep the discussions of editing grammar as generic as possible, so

the general rules and practices presented should apply to any medium and to any edit-

ing device or software. Just be aware that certain terminology used in one medium may

have its origins rooted in another and may vary from one software application to another.

A second factor that may impact your editing transition choices can be the kind of proj-

ect that you are editing. Are you assembling footage for a documentary, a ﬁ ctional nar-

rative short ﬁ lm, a news package, a music video, a television commercial, or a cousin’s

FIGURE 1.1 Initially, editing motion picture ﬁ lm

required very basic technologies.

FIGURE 1.2 The ﬁ lm strip of shot B is “ edited ” onto

the end of shot A.

6 Grammar of the Edit

The Basic Edit Transitions

Let us begin our discussion of editing with the edit point itself.

There are four basic ways one can transition from one shot or visual element into

another:

●

Cut — An instantaneous change from one shot to the next. The last full frame of

picture for one shot is immediately followed by the ﬁ rst full frame of picture for

the next shot.

●

Dissolve — A gradual change from the ending pictures of one shot into

the beginning pictures of the next shot. This is traditionally achieved via a

superimposition of both shots with a simultaneous downward and upward ramping

of opacity over a particular period of time. As the end of the ﬁ rst shot “ dissolves ”

away, the beginning of the next shot “ resolves ” onto the screen at the same time.

●

Wipe — A line, progressing at some angle, or a shape, moves across the screen

removing the image of the shot just ending while simultaneously revealing the

next shot behind the line or the shape. The wiping shot replaces the previous

shot on the screen.

●

Fade — (1) A gradual change from a solid black screen into a fully visible image

(fade from black or fade-in) . (2) A gradual change from a fully visible image into a

solid black screen (fade to black or fade-out).

The grammar of the edit has evolved in some ways since the early days of cinema, but

these four basic transitions have remained the same. No matter what type of program

you are editing or what tool you are using to make it, a cut is still a cut. A dissolve is

still a dissolve no matter what pictures you dissolve from and to. A wipe will literally

wipe a new shot over the old shot. A fade-in still comes out of black and a fade-out still

goes into black. They have remained the same because their individual purposes have

remained the same, and, for the most part, everyone around the world understands

their grammar — or what it means when they see one being used as a transition.

Later in this text you will be able to explore a more in-depth analysis of these basic

editing transitions. For now, let us place them aside and focus our attentions on a much

broader topic — a general approach to the entire editing process.

Your goal is to have a ﬁ nished piece that plays for your audience and provides as much

entertainment or information as it can. To achieve that ﬁ nished piece, though, there are

several stages of the editing process that you will, most likely, need to follow.

Chapter One | Editing Basics 7

Stages of the Editing Process

The editing process, more generally referred to as post-production or sometimes just

post , can range from being rather simple to extremely complex. The post-production

period really encompasses any and all work on the project that comes after the shoot-

ing (the production ) is completed. Picture and sound tracks are edited together to

show and tell the story, special visual effects are generated, titles/graphics/credits

are added, sound effects are created, and music is scored during post-production. On

smaller projects, one person can do all of this work, but on larger productions, several

teams of women and men work in various departments to complete each element and

join each phase of the post-production workﬂ ow.

The following is a low-level listing of the major steps involved in a post-production

workﬂ ow that stresses the editing process for the visual elements of a project.

●

Acquire

●

Organize

●

Review and select

●

Assemble

●

Cut — rough

●

Cut — ﬁ ne

●

Picture lock

●

Master and deliver

Acquisition — Simply put, you must acquire the footage shot by the production

team. Motion picture and sound elements, whether on emulsion ﬁ lm, analog

tape, digital tape, or digital ﬁ les, must be gathered together for the duration

of the post-production editing process. The medium of choice depends on the

method of editing and the physical devices used to perform the edits. If you are

using a computer-aided digital non-linear editing system to perform the edit,

then you will have to import, capture, or “ digitize ” all materials as media on

your storage drives. These media ﬁ les must remain accessible by your editing

software for the life of the project for you to complete the work.

Organization — All of the minutes, hours, feet, reels, or gigabytes of picture and

sound elements should be organized in some way. If you do not have a clear

system of labeling, grouping, or sorting all of the material needed for your project,

you will eventually have a difﬁ cult time ﬁ nding that good shot or that good sound

Stages of the Editing Process

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视频剪辑艺术： Grammar of the Edit 第二版

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