Motion pictures Editing

Film editing is the creative and technical part of the post-production process of filmmaking in which shots are combined into sequences that create a finished motion picture. The term is derived from the traditional process of working with film stock but now primarily uses digital technology. The film editor works with raw footage to select, process, and structure the recorded images and sound material to give film its final form. Film editing is often referred to as the "invisible art" because when it is well-practiced, the viewer can become so engaged that he or she is not aware of the editor's work. Film editing is described as an art or skill that is unique to cinema, unlike, for example, cinematography or set design. On its most fundamental level, film editing is the art, technique and practice of assembling shots into a coherent sequence. The job of an editor is not simply to mechanically put pieces of a film together, cut off film slates or edit dialogue scenes. A film editor must creatively work with the layers of images, story, dialogue, music, pacing, and the actors' performances to imagine and the film into a cohesive whole. Editors usually play a dynamic role in the making of a film. An editor must select only the most quality shots, removing unnecessary frames to ensure the shot is clean. Sometimes, auteurist film directors edit their own films, for example, Akira Kurosawa, Bahram Beyzai, Steven Soderbergh, and the Coen brothers. According to Film Art: An Introduction, by Bordwell and Thompson, there are four basic areas of film editing that the editor has full control over. The first dimension is the graphic relations between sequential shots. The shots are analyzed in terms of their graphic configurations, including light and dark, lines and shapes, volumes and depths, movement and stasis. The director makes deliberate choices regarding the composition, lighting, color, and movement within each shot, as well as the transitions between them. Techniques used by editors to establish graphic relations between shots include maintaining overall brightness consistency, keeping important elements in the center of the frame, playing with color differences, and creating visual matches or continuities between shots. The second dimension is the rhythmic relationship between sequential shots. The duration of each shot, determined by the number of frames or length of film, contributes to the overall rhythm of the film. The filmmaker has control over the editing rhythm by adjusting the length of shots in relation to each other. Shot duration can be used to create specific effects and emphasize moments in the film. For example, a brief flash of white frames can convey a sudden impact or a violent moment. On the other hand, lengthening or adding seconds to a shot can allow for audience reaction or to accentuate an action. The length of shots can also be used to establish a rhythmic pattern, such as creating a steady beat or gradually slowing down or accelerating the tempo. The third dimension is the spatial relationship between shots. Editing allows the filmmaker to construct film space and imply a relationship between different points in space. The filmmaker can juxtapose shots to establish spatial holes or construct a whole space out of component parts. For example, the filmmaker can start with a shot that establishes a spatial hole and then follow it with a shot of a part of that space, creating an analytical breakdown. The final dimension that an editor has control over is the temporal relation between shots. Editing plays a crucial role in manipulating the time of action in a film. It allows filmmakers to control the order, duration, and frequency of events, thus shaping the narrative and influencing the audience's perception of time. Through editing, shots can be rearranged, flashbacks and flash-forwards can be employed, and the duration of actions can be compressed or expanded. The main point is that editing gives filmmakers the power to control and manipulate the temporal aspects of storytelling in film. Between graphic, rhythmic, spatial, and temporal relationships between two shots, an editor has various ways to add a creative element to the film and enhance the overall viewing experience. With the advent of digital editing in non-linear editing systems, film editors and their assistants have become responsible for many areas of filmmaking that used to be the responsibility of others. For instance picture editors dealt only with the picture. Sound, music, and (more recently) visual effects editors dealt with the practicalities of other aspects of the editing process, usually under the direction of the picture editor and director. However, digital systems have increasingly put these responsibilities on the picture editor. It is common, especially on lower budget films, for the editor to sometimes cut in temporary music, mock up visual effects and add temporary sound effects or other sound replacements. These temporary elements are usually replaced with more refined final elements produced by the sound, music and visual effects teams hired to complete the picture. The importance of an editor has become increasingly pivotal to the quality and success of a film due to the multiple roles that have been added to their job.