Video editing involves piecing together raw footage to create a complete video. There are various techniques for editing videos, such as cutting and adding annotations. The main principles of editing include following a storyline, combining different shot types appropriately, creating pace, and respecting the 180-degree rule. Storytelling is a key goal of editing, whether telling a linear or non-linear story. Proper use of techniques like continuity, match cuts, and shot-reverse-shot help orient the audience. A brief history outlines how editing evolved from uncut films to using cuts to shape narratives and emotional responses.

1. TASK 4:VIDEO EDITING

2. WHAT IS VIDEO EDITING
VIDEO EDITING IS PLACING TOGETHER RAW FOOTAGE OR ALTERING VIDEOS IN ORDER TO CREATE
A COMPREHENSIVE/COMPLETE VIDEO FOOTAGE.
OR…
PIECING TOGETHER RAW FOOTAGE TO CREATE A COMPLETE VIDEO FOOTAGE

3. HOW CAN VIDEOS BE EDITED?
• ANNOTATIONS : (ADDING LAYERS/ FEATURES SUCH AS: TEXT, IMAGES AND SPECIAL EFFECTS)
• CUTTING
• FINAL PRODUCT
• ALTERING- (CHANGE)

4. PRINCIPLES OF EDITING
THERE ARE FOUR MAIN PRINCIPLES (OR CONCEPTS) BEHIND EDITING.
THEY ARE:
1. STORYLINE
2. COMBINATION OF SHOTS
3. CREATING PACE
4. 180° RULE

5. STORYLINE
STORYTELLING IS SENDING A CLEAR MESSAGE TO THE AUDIENCE. THIS IS VERY COMMON IN MUSIC VIDEOS
AND MOVIES WHERE THE SCENES ARE PIECED TOGETHER IN A LOGICAL (CHRONOLOGICAL ORDER OR LINEAR)
SEQUENCE TO TELL A STORY.
OPEN ENDED STORYLINES ARE ENDINGS TO A MUSIC VIDEO OR MOVIE WHERE THE AUDIENCE ARE LEFT NOT
KNOWING WHAT HAPPENS AT THE END. OPEN ENDED STORYLINES ARE REGARDED AS CLIFF-HANGERS.

6. STORYLINE EXAMPLES 1
Linear Movies Linear Music videos
The Longest Yard Stan- Eminem
The Avengers
Rush
Captain Phillips
Into the Storm
Into The Storm is a movie about a group of storm chasers who embark on a journey to
discover and find a deadly disaster that is, a tornado whilst a family and the rest of their
town, city, and state… try to avoid it at all costs.

7. STORYLINE 2
Non-Linear Movies Non-Linear Music videos
Pulp Fiction Last Friday Night- Katy Perry
Mad Max: Fury Road
Friday (1995)

8. COMBINATION OF
SHOTS
GOOD EXAMPLE
SONG: UPTOWN
FUNK

9. COMBINATION OF
SHOTS
POOR EXAMPLE
MOVIE: FIST OF FURY

10. COMBINATION OF SHOTS
COMBINATION OF SHOTS ARE A MIXTURE OF SHOT TYPES AND CAMERA ANGLES TO ESTABLISH EMOTIONS,
RELATIONSHIPS AND SETTINGS.
COMBINATION OF SHOTS ARE DONE IN ORDER FOR EXAMPLE, IN THE EXAMPLE YOU SAW WITH UPTOWN FUNK,
YOU COULD SEE HOW THE ANGLES GO FROM A MEDIUM SHOT TO A LONG SHOT AND THEN BACK TO A
MEDIUM SHOT AND FROM THE MEDIUM SHOT. THIS ALLOWS THE AUDIENCE TO BE ABLE TO KEEP ORIENTATED AS
THEIR EYES ARE STILL FIXED ON BRUNO MARS.
HOWEVER, IF SHOTS WERE NO DONE IN ORDER FOR EXAMPLE IN BRUCE LEE’S “FIST OF FURY,” THERE’S A FIGHT
SCENE WHERE THERE WAS AN EXTREME CLOSE UP ON BRUCE LEE WHICH THEN CUTS TO A LONG SHOT, THEN THE
EXTREME CLOSE UP, THEN BACK TO THE LONG SHOT. THIS IS A POOR EXAMPLE OF A COMBINATION OF SHOTS AS
THE CUT AND ILLOGICAL SEQUENCE OF CHANGE IN CAMERA ANGLES MEANS THAT THIS CAN CAUSE THE
AUDIENCE TO LOSE THEIR SENSE OF DIRECTION AND THEREFORE, DISORIENTATE THE AUDIENCE.
Examples of shot types:
- Wide shot
- Mid shot
- Cutaways
- Close ups
Examples of Camera angles:
- Long shot
- Bird’s eye view
- Eye level
- Extreme close ups

11. CREATING PACE
HOW CAN YOU CREATE PACE?
TO CREATE PACE, THE CUTS HAVE TO MATCH/ BE IN SYNC WITH THE BEATS OR SOUND. THIS
ALLOWS THE VIEWER/ AUDIENCE TO HAVE VIEWS/ TO THINK OF THE SONG/FILM AND TO
GENERATE IDEAS AS TO WHAT PACE COULD REPRESENT.
FOR EXAMPLE, GANGNAM STYLE HAS FAST CUTS TO MATCH THE PACE OF THE SONG.
ALTOGETHER THIS MUSIC VIDEO REPRESENTS A LIVELY ATMOSPHERE FOR THE AUDIENCE
EXAMPLE: GANGNAM STYLE

12. 180° RULE
180° RULE: OCCURS ONCE TWO OR MORE OBJECTS/ ITEMS OR PEOPLE HAVE BEEN SITUATED IN A
CERTAIN SIDE OF THE SCREEN THEN THEY SHALL MAINTAIN THEIR POSITION ON THAT SIDE DURING
THE EDIT. THIS RULE CANNOT BE BROKEN UNLESS YOU SHOW THE CAMERA MOVEMENT. BREAKING
THE 180° RULE IS UNCONVENTIONAL AS IT CAN DISORIENTATE THE VIEWER.
WITH THE 180° RULE, THERE’S A LINE THAT THAT CONNECTS THE CHARACTERS (THE IMAGINARY LINE
IS ALSO KNOWN AS THE AXIS) THE LINE CANNOT BE CROSSED OTHERWISE THE RULE IS BROKEN.

13. 180° RULE GOOD EXAMPLE: ROCKY III

14. 180° RULE BAD EXAMPLE: THE SHINING (THE RULE
WAS BROKEN)

15. EDITING TECHNIQUES
• CONTINUITY
• MATCH ON ACTION
• PARALLEL
• CUTAWAY
• JUMP CUT
• MATCH CUT
• GRAPHIC CUT
• SHOT-REVERSE SHOT
• FADE IN/ OUT
• DISSOLVE
• WIPE
• SUPERIMPOSITION
• POST/SLOW MOTION

16. CONTINUITY
CONTINUITY IS WHEN EVERYTHING (SUCH AS PROPS AND COSTUMES) ARE KEPT THE SAME IN
EACH SHOT.

17. CONTINUITY GOOD EXAMPLE: THE LONGEST YARD
NATE SCARBOROUGH (PLAYED BY BURT
REYNOLDS) SCORES A TOUCHDOWN AND IS
LYING ON THE LINE OF THE END ZONE WITH
THE BALL IN HIS HAND, AFTER A FEW CUT
AWAYS, THE NEXT SCENE SHOWS
SCARBOROUGH STILL LAYING ON THE LINE OF
THE END ZONE WITH THE BALL IN HIS HAND

18. CONTINUITY BAD EXAMPLE: DIE HARD 2
IN ONE SCENE YOU HAVE 3 BAD GUYS. ONE OF THEM IS BLACK AND BEFORE HE LEAVES, HE IS
SEEN BENDING OVER TO PICK UP AN OBJECT HOWEVER, HE IS BLACK AND AS YOU CAN SEE,
THE HAND THAT REACHES AND PICKS UP THE OBJECT IS WHITE, NOT BLACK.

19. MATCH ON ACTION
MATCH ON ACTION IS WHEN ACTION BEGINS IN ONE SHOT AND IS THEN COMPLETED OR
CONTINUED IN THE NEXT (SHOT) AS YOU CAN SEE IN THIS BATTLE BETWEEN RED BULL TEAMMATES
DANIEL RICCARDO AND MAX VERSTAPPEN DURING THE MALAYSIAN GRAND PRIX (2016)

20. PARALLEL EDITING
PARALLEL EDITING IS WHEN TWO OR MORE SCENES OR STORYLINES ARE HAPPENING AT THE
SAME TIME BUT AT DIFFERENT SETTINGS. IN THIS EXAMPLE OF “THE GODFATHER,” THERE IS A
SERVICE FOR BAPTISM HAPPENING AND AT THE SAME TIME, THERE IS A HIT THAT IS ALSO
HAPPENING.

21. CUTAWAY
CUTAWAY: CUTTING AWAY FROM THE MAIN SUBJECT/ TOPIC TO SHOW WHAT COULD BE
HAPPENING AROUND IT. THIS CAN BE USED SO THAT IT CAN HELP THE AUDIENCE FAMILIARISE
THEMSELVES WITH THE SETTINGS OF THE SHOT/ SCENE, ITS SURROUNDINGS AND THE
ATMOSPHERE THAT THE CUTAWAY .
THIS EXAMPLE CAN BE SEEN IN THE LONGEST YARD AFTER NATE SCARBOROUGH (PLAYED BY BURT
REYNOLDS) SCORES A TOUCHDOWN THEN THERE ARE CUTAWAYS TO SHOW THE CELEBRATION OF
THE FANS AND PLAYERS AND THE GREAT DISBELIEF OF THE GUARDS.

22. CUTAWAY EXAMPLE: WILD’N’OUT (UNCENSORED)

23. JUMP CUT
A JUMP CUT IS A METHOD OF REDUCING A LONG TAKE BY EDITING OUT ONE OR MORE
SECTIONS
Jump Cut Example:
Uptown Funk
Jump cuts can be used to
represent a change in time
(generally going forwards)
as it may be too long for the
audience to shoot one long
scene

24. MATCH CUT
MATCH CUT: ACTION THAT IS SHOWN IN ONE SCENE WILL THEN BE REPEATED IN A SIMILAR
FASHION IN THE FOLLOWING SCENE.
EXAMPLE: JOHN LEWIS ADVERT 150TH ANNIVERSARY

25. GRAPHIC MATCH CUT
GRAPHIC MATCH CUT IS WHEN AN OBJECT OR SHAPE IS IN ONE SHOT, THEN TRANSFIGURES/
TRANSFORMS INTO SOMETHING SIMILAR IN THE NEXT (SHOT)
EXAMPLE: A SPACE ODYSSEY

26. SHOT REVERSE SHOT
SHOT REVERSE SHOT IS
WHEN THE 1ST CHARACTER
LOOKS AT THE 2ND
CHARACTER AND THE
SHOT THEN CUTS TO THE
2ND CHARACTER LOOKING
AT THE 1ST… THEN BACK
TO THE ORIGINAL SHOT.
Example:
Hunger Games

27. FADE OUT/IN
A FADE IN/ OUT IS A GRADUAL
TRANSITION OR TRANSFORMATION
FROM ONE SHOT TO ANOTHER. FOR
EXAMPLE YOU CAN HAVE A SHOT
WHEN THERE’S DARKNESS AND
THEN THE NEXT WHEN THERE’S
BRIGHTNESS. (AS YOU CAN SEE IN
THIS YOUTUBE VIDEO POSTED BY
TUFFHAMSTER)

28. DISSOLVE
DISSOLVE: WHEN ONE SCENE MIXES INTO THE NEXT SCENE. ONE SCENE FADES OUT AND
ANOTHER FADES IN ON TOP OF IT.
Example: Lion King

29. WIPE
WIPE: WHEN ONE SCENE SWIPES OVER/ ACROSS ANOTHER SCENE
EXAMPLE: STAR WARS

30. SUPERIMPOSITION
SUPERIMPOSITION IS WHEN ONE IMAGE IS PLACED ON TOP OF ANOTHER.

31. POST/ SLOW MOTION
• POST/ SLOW MOTION IS (INCREASING/ DECREASING) (SPEEDING UP/ SLOWING DOWN)
TIME OR ACTION

32. ELLIPSIS…
AN ELLIPSIS IS USED TO CUT OUT A PERIOD OF TIME. THIS IS SO THAT THE AUDIENCE CAN FILL IN
WHAT'S GOING ON

33. HISTORY OF FILMING AND EDITING: THE FIRST
MODERN EDITOR…
DW GRIFFITH WAS THE FIRST TO UNDERSTAND THE PSYCHOLOGICAL IMPORTANCE OF EDITING.
HE WAS THE FIRST MAN TO USE THE CLOSE UP CAMERA ANGLE. CLOSE UP CAMERA ANGLES ARE
USED FOR THE AUDIENCE TO UNDERSTAND THE CHARACTER, THEIR MIND-SET AND PERSONALITY.
GRIFFITH USED THE CLOSE UP FOR THE AUDIENCE COULD DEVELOP A RELATIONSHIP BETWEEN
THEMSELVES AND THE CHARACTER THEY’RE WATCHING.

34. FILM HISTORY
FILMS BEGAN IN THE 1890’S.
MOVIES WOULD BE FILMED UNTIL THEY GOT BORED OR UNTIL THE TAPE RAN OUT. THE FILMS WERE PHOTOGRAPHIC
AND HAD NO CUTS.
THE LUMIERE BROTHERS (WHO WERE FRENCH INVENTORS) BUILT PHOTOGRAPHIC EQUIPMENT. THESE EQUIPMENT/
CAMERAS WERE KNOWN AS MOTION-PICTURE CAMERAS AND THEY ALSO BUILT A PROJECTOR KNOWN AS THE
CINEMATOGRAPHE.
THE LUMIERE BROTHERS THOUGHT THAT FILM MAKING WOULD DIE OUT AS THEY THOUGHT IT WOULD BE TOO BORING
FOR THE AUDIENCE TO SEE THE SAME THINGS/ OR TYPE OF THINGS REPEATEDLY WHEN YOU CAN SEE THEM IN REAL
LIFE.
HOWEVER, THEY WERE PROVEN WRONG BY EDWIN PORTER AS HE DISCOVERED THAT PASTING/ PUTTING SHOTS
TOGETHER COULD CREATE A STORY. THIS IS WHEN THE TERM “CUTTING” WAS BORN. THE WORD “CUTTING” WAS USED
AS BACK IN THE OLDEN TIMES, TAPES WOULD BE CUT AND PASTED ONTO OTHER CUTS IN ORDER FOR THE STORY TO BE
CREATED.
FILMS HAD/ HAVE CUTS TO CREATE A STORY AND TO PROVOKE A RESPONSE FROM THE AUDIENCE.

35. THIS IS THE MOVIOLA. THIS WAS A MANUFACTURED EDITING
MACHINE WHICH WAS USED TO CUT TAPES MECHANICALLY AS AN
OPPOSITION TO HAVING A HUMAN PHYSICALLY CUT THE TAPES
WHICH WOULD’VE TAKEN A LOT OF EFFORT AND TIME.

36. THIS DIGITAL EDITOR WAS FIRST USED DURING THE MID
1990’S.
THE FIRST EVER DIGITAL SHOW TO BE PRESENTED WAS
STAR WARS IN 1999