Edit for Effect (page 2)

Four Different Edits

The first version of our scene is edited to be distant and detached. Like the other versions, it starts with an establishing full shot, but then moves in only as far as loose closeups.

Notice that the tight closeups are discarded in this edit because the bigger an actor's face on-screen, the more emotional the effect. Notice too that in Figure 2d we return to the full shot, backing away to provide a relief from even the mildly intimate loose closeups.

For a scene this short you could even get away with playing the whole thing in full shot, with no edits at all. That strategy would turn the audience into distant, uninvolved spectators, an effect that can work very well in the right context.

Now let's move to the next version. In this version, we build the drama gradually by starting with the wide shot, then moving in to loose closeups and finally evolving to tight closeups. (Don't forget, the edited scene might have eight or ten back-and-forth shots rather than the six sample shots.)

This is the classic method for building intensity because, again, the bigger the face, the more emotional the effect. It's particularly effective for relatively poker-faced actors like John Wayne. Though the expression doesn't change much, the closer and closer views convey progressively heightened emotion.

Onward, where the objective is to heat up the scene pronto and keep the emotion intense throughout. Note that there's only one loose closeup before we punch in to tight closeups (again, imagine these alternating rapidly on screen.)

For a more modern look you could could even omit the establishing shot. This would provide the most intense effect of all. Later, as they leave the room, you could use the full shot to tell the viewer where they've been.

Finally, look at Figure 5. X is in five out of six shots, while Y is in only two; and X gets multiple tight closeups while Y gets none. The effect is to give the scene to X.

Why? Suppose X is the main character and Y is less important. You don't care how Y feels in splitting with X, but you do want to know how X reacts. The edit in Figure 5 directs the desired emphasis to the lead character.

We said we wouldn't cover split edits, but if you give almost all of the visuals to X, even when the voice on the track is Y's, then you create a scene whose central point is the effect of Y's decision on X.

Your Turn

We've modeled four ways to edit the same footage --six or seven if you count the suggested variations. To really explore the possibilities, you may wish to begin by making some of our edits and then experimenting on your own.

You could give the scene to Y instead of X, for instance, or play with timing and emphasis. (If you feel more ambitious, shoot inserts of things like X's hands playing with a napkin, to provide cutaways for timing.

Even if your assembly deck lacks insert and dub features, you can still have voice-overs by staying on X while Y is talking offscreen (since you recorded all the dialogue with every setup.

And that only scratches the surface....

The Project Script

1. X: You don't look happy.
2. Y: We need to talk.
3. X: Okay, what about?
4. Y: This isn't working.
5. X: What do you mean, not working?
6. Y: Just that: it's no good.
7. X: You can't be sure.
8. Y: Sure enough. I've made up my mind.
9. X: Don't be too hasty.
10. Y: I'm sorry, but it's over.

Cue card for X

1. You don't look happy.
3. Okay, what about?
5. What do you mean, not working?
7. You can't be sure.
9. Don't be too hasty.

Cue card for Y

2. We need to talk.
4. This isn't working.
6. Just that: it's no good.
8. Sure enough. I've made up my mind.
10. I'm sorry, but it's over.