The following are some cutting and transition principles:
When you want to show an ordinary conversation between two people, one of the most common methods is to cross the speaker's voice with his picture. This technology requires the use of reaction shots, that is, we hear the speaker's voice and see the other side of his conversation at the same time. In this way, we can hear the speaker's conversation and see the other person's reaction at the same time.
Some editors like to cut two dialogue tracks from the beginning of the whole editing process. However, most editors will wait until all the pictures are confirmed before starting to separate different tracks. Although it will take more time to cut two tracks at first, editors can find the natural rhythm of the lens early in the editing process. If this way is adopted, the combination of dialogue, even two characters talking at the same time, such as interrupting each other, can be successfully completed in the early stage of editing.
Sometimes, the similarity of some actions in the lens is used to assemble the lens, and the direct cutting method will achieve very ideal results. For example, when the combination person sits down, direct cutting can make the lens transition smooth. Even some shots without any logical relationship (and temporal and spatial continuity) can be edited together without any trace by using similar motion factors between shots. For example, the lens of the moon passing through the clouds matches the lens of the razor cutting people's eyes.
The shearing lens and the reflecting lens can be used to cover the discontinuity or compression motion between the lenses. Inserting a lens can also achieve this goal.
Don't be hindered by continuity. If you can't find a suitable reaction shot of a key dramatic moment in a clip, see if you can "steal" one from other scenes. Not necessarily continuous, but as long as it works, why not use it? You can even "steal" the lens from another completely different scene, as long as it is shot in a similar position and under similar lighting. If you are looking for a static reaction lens. Try to find the moment when the slate was removed and the director shouted "go" from the close-up of the actor.
"Dissolve" refers to overlapping two shots according to dramatic or emotional factors. Overlap can be very short (8 to 16 frames) and called "soft cutting", or very long (24, 32, 4864 or 96 frames) and called "overlapping and overlapping". The overlapping length is determined in development and printing.
Fading in and out means that the normal picture gradually becomes a black field. Fading in and out can smooth the transition between shots, creating an illusion of time passing. It can imply the end of one paragraph and the beginning of another.
When editing the dialogue outside the screen, to find the best lines, read the white paragraphs and combine them. You can combine different spoken words in the same line as long as they come from the same auditory channel, that is, the background sounds are the same. Some editing problems can be solved by moving the position of a short sound.
Adding new lines or paragraphs can make the original unclear meaning in the script clear. When an actor draws a picture gradually or completely, he can add lines at the beginning or end of a language paragraph. For example, suppose the character says "I have never made a mistake in my life", and the director can add the line "... except falling in love with you". If this ending is recorded by the same actor and used when his back is to the camera, the director can greatly change the meaning of the scene.
Be familiar with all kinds of sounds as much as possible before locking the diagram. If a special sound effect will serve as an important tension point of a field, transcribe the sound and use it when cutting the picture.
The specific sound may be different from the sound you make when recording. Maybe an original scene didn't ring when it was originally designed, and you suddenly felt the need to do so in the editing room. At this time, you can add this sound effect, even if the characters in the film don't answer the phone and even realize that there is a phone call. Sound effects may change the meaning of a scene or even the whole story. For example, the editor can lengthen the lens by emphasizing the ringing of the phone, and then the audience will ask themselves why the characters in the film don't answer the phone.
Voice-over Any voice-over suggested in the script or added during editing needs to be recorded (even if it is a brand-new audio track). These voiceovers need to be constantly trimmed and improved in the process of picture editing until the final audio track is determined.
Ask yourself, is this cutting useful? This is the only criterion for you to keep a shot in the picture. Even if some shots are done by small means, it is ok.
Start cutting! The lens won't be cut by itself. If you don't do it, you don't know if it will work.
Cut as tightly as possible. There is no reason to make the scene too loose. You can put it back when you take it out. The sooner you discover the potential of a fragment, the better.