A good way to immediately draw attention to dialog and suspense is using a J-cut between two clips. A J-cut lets the audio track (i.e., the dialog) precede the connecting visual image. In doing so, the audience will hear the dialog of the next clip before seeing the source of a dialog. For example, sitcoms commonly change locations and scenes using this technique. The opening sequence is a wide establishing shot of an office building. We hear the manager speaking about massive layoffs as the visual pulls in closer to the office building. A few seconds into the dialog, the editor cuts to the source clip, revealing the visual that accompanies the audio. For those brief seconds on dialog preceding the source clip, your audience is anticipating the next shot. They are listening closely.

This J-cut technique doesn't have to be reserved for opening scenes. When the dialog is reaching a critical point in the story, a well-placed J-cut will help build suspense. For example, a detective is questioning a suspect in a crime. You've edited a very tight and fast-paced A/B edit between the two characters. As you reach the big moment in the story, the detective finally has the suspect on the ropes and moves in for the kill, showing the damaging evidence against the suspect. The editor holds the video from the first clip showing the detective and then inserts underneath this visual the dialog from the suspect. After a little pause, the viewer hears the suspect's voice start to tremble. The suspect's confession begins, but the editor is still holding the visual on the detective for just a second longer, building the anticipation of the next shot. That's the J-cut used in a critical juncture of a plot. It focuses the viewer on the dialog and meanwhile changes the visual pacing, too. All of these things have a great impact on the emotional impact of the sequence.

You can use these techniques for just about every type of format. A radio edit technique is a great method to produce compelling stories. Once you have the radio edit done, you can go back over and nudge things around a bit more to make them fit your visuals more precisely. Exercise some caution when you do this to make sure you don't undo all that hard work.

Finally, it should go without saying that you need to make sure you capture your dialog as well as possible. And, don't forget to take off the lens cap before you start shooting. Radio is great, but this is filmmaking.

Contributing editor Mark Montgomery is an independent video producer.