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Still Pictures and QuickTime Movies > Still Pictures and QuickTime Movies - Pg. 267

different camera angle, switching to a different character, providing a reaction shot, and so on. Editors look for a motivating event that suggests where they should make the cut, too, such as a movement, a look, the end of the sentence, or the intrusion of an off-camera sound that makes us want to look somewhere else in the scene. The Power of Editing Choosing the Next Shot As you've read elsewhere in this book, the fnal piece of advice when it comes to choosing when and how to make a cut is this: Cut to a different shot. If you've been flming the husband, cut to the wife; if you've been in a closeup, cut to a medium or wide shot; if you've been showing someone looking off-camera, cut to what she's looking at. DV ETHICS The Internet Continuity-Screwup Database It's fne to say that the flm editor's job is to attempt continuity of picture, sound, direction, and so on throughout a movie. The trouble is, that's not nearly as easy as it sounds. Remem- ber that the editor works by piecing together individual clips Back to the Future: "When talking to George at the clothes- line, both of Marty's shirt pocket faps are out, but in the next shot one of them is tucked in." Pulp Fiction: "When young Butch is receiving the watch