![]() ![]() Parallel editing uses the same back-and-forth technique found in cross-cutting, but its purpose is slightly different. In the 1990 horror-thriller Misery, director Rob Reiner uses cross-cutting to build suspense as novelist Paul Sheldon (James Caan) frantically wheels his wheelchair through the house while his captor Annie Wilkes (Kathy Bates) walks up the front path to the door. You can even cross-cut between two events taking place in the same physical space and on the same exact timeline. You can cross-cut between a pair of scenes, or you can cross-cut among multiple scenes in multiple locations. Cross-cutĬross-cutting is the act of cutting back and forth between two sequences. His use of jump cuts popularized the technique for the rest of the film industry. It makes the audience feel as though they’re moving through time faster. What could have been a lull in the film’s momentum is brought back to life by keeping only the most interesting bits of dialogue. One of the most famous uses of the jump cut occurred in Jean Luc-Godard’s first film Breathless. Jump cuts are named for the fact that they “jump” ahead or backward in a film’s chronology. In a famous L-Cut from the action film Predator (1987), a petrified scream from Al Dillon (Carl Weathers) continues into the next visual clip of soldiers elsewhere in the jungle. So if you had Clip A and Clip B, you would continue audio from Clip A while cutting to the video of Clip B. It cuts to new visuals while the audio from the previous shot continues. L-CutĪn L-cut is the opposite of a J-cut, and it, too, qualifies as a split edit. You can see a J-cut in action in a scene from Eternal Sunshine of the Spotless Mind (2004) where a tense sequence with Joel Barish (Jim Carrey) and Clementine Kruczynski (Kate Winslet) ends with the overlay of audio from young children playing outside. This cut is named for the way it looks in a video editor: the new audio track sticks out to the left of the new video track above it to resemble the shape of the letter J. This type of editing is known as a split edit. In a J-cut, the audio from Clip B will begin playing before the video from Clip A concludes. For example, imagine you have two video clips: Clip A and Clip B. J-CutĪ J-cut is a classic technique where the audio from the next clip overlaps with the video of the previous clip. Tarantino cuts to various angles in the scene without fanfare, which creates a sense of fluid continuity. Candie (Leonardo DiCaprio) loses his mind over deception from Django (Jamie Foxx) and Dr. In a script, cuts like these are often called “smash cuts.” You can see an assortment of smash cuts in Quentin Tarantino’s Django Unchained (2012) in a dining room scene where ruthless slave owner Calvin J. The standard cut, also known as the hard cut, is a classic editing technique where one scene goes to the next with no visual transition. ![]() Whether you’re editing your video project in a legacy program like Adobe Premiere or an AI-driven platform like Descript, you’ll need working knowledge of the basic types of cuts available so your videos can look professional and tell a story the way you want them to. Today’s video editing software makes adding and editing cuts simpler than ever before. When you watch just about any new movie or TV show, you’re seeing cuts that an editor digitally rendered on a computer. They hone their editing technique on the computer, where powerful programs like Adobe Premiere, Vegas Pro, Final Cut Pro X, and Descript can cover all the major cuts used by professional editors. In the modern film industry, video editors no longer wield utility knives. The term “cutting” dates back to the days of celluloid film, when directors and editors would spend their post-production time literally slicing and splicing strips of film to create smooth transitions between shots and scenes. These transitions play a key role in visual storytelling, and it’s on the editor to choose the best types of cuts to serve the film’s core narrative. Video cuts (also called movie cuts or film cuts) are transitions in films and videos that allow filmmakers to weave multiple camera shots together.
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