Lucky and cursed? It seems a 2 sided coin. Computers democratise and give us power, but also give it to everyone else, so it's harder to make a living. We get professional tools, but work becomes de-professionalised. You can be anywhere to do anything, so you're always at home -- except the rare times you're in the Himalayas. The telephone lets you keep in touch a great distances, so you move great distances - and never phone. Your mobile phone will ring on top of the world, but it will be a marketing scam. Answering - how could you not - will cost £2. The internet means a client is never looking over your shoulder while you edit -- I don't see a down side to this :-)
This is a concept I've never really considered: in a sense you have to edit/construct a film to appeal to the viewer's body as well as their mind. cool video.
That is if you think about the two as a dichotomy. I would like to think though that the body is, to many extent, an 'embodiment' and extension of the mind. The memory of a movement is stored in the mind and the body at the same time: we know a movement intrinsically with both. It is fascinating. Same way that is fascinating to think where an emotion 'lives' and is it felt within the body. On a slightly different note is interesting to note that some says that a trauma can get 'stored' in your body and linked to a certain emotion. For example, if you fell from a horse and broke a leg, the feeling you felt in that moment gets 'locked' with the physical trauma. So it can happen that a similar emotional response but to a different event could trigger sensations of physical pain or discomfort in the same area.
Don't overdo it hombre. They are explaining in a very scientific way how edit works. But the editors when they edit they just trust their guts and their feelings. They are never thinking of: I must take the movement the time and the space into consideration. Otherwise they'd all get bonkers. This Time Space Movement happens in our brains in a matter of miliseconds and then our feeling tells us if it is right or not. Never overthink it.
The editors are using their judgement, which comes from experience. Their gut gives them a good result because they've spent a lot of time editing film before this. I agree with you that they're not overthinking it in the moment, but they had to put in a lot of earlier thought over the years to get to the point where they can do that.
@Foul Productions Exactly what I was going to say before reading your comment. When you try to explain why the "feeling" works, it begins to get complicated. Just focus on what feels right and watch your edit over and over 100 times and you will eventually begin to hone in on what and where to cut, trip, splice, etc.
Nah, there's a lot of highbrow language in this video making it inaccessible. The why's of editing aren't complicated and I don't think they should be difficult to explain. It also would have helped to show multiple examples of what they mean.
Blade Runner is one of my favorite films and I have never noticed that cut with the owl's movement matching Deckard's. Amazing study. Absolutely beautiful. I've never thought about the editing of that film, but obviously it was effective since it is among my favorites. Love these videos Sven!
Remembering there are FIVE versions of Blade Runner... which ‘answers’ (or at least speaks to the question, “Who is in control of editing? The director or the editor.” The answer here might be, BOTH or NEITHER. I typically prefer the original cut: because first impressions last and are the standard by which the following versions are measured.
The owl is looking out of the large window at the transporter flying towards and subsequently into the building - nothing to do with Deckard or his head. Jeese... talk about fake intellectuals seeing what they want to see!
This video makes me proud to be an editor. I'm just a TH-camr right now, but I'd very much LOVE to edit movies. My brain works like this. I love the science/art of editing.
This goes way deeper than just edits...woven into the fabric of reality is a composition of ebbs and flows... the dream that we all exist in... that we are all part of... we are all connected in this seemingly simple "tension" and "release" and it's the story that will be told at the end and then beginning of time. Love...
I have always had the ability to take a bunch of other peoples art (music, drawings, videos, graphics, 3d assets, Legos, pictures etc...) And piece them together in a way that others enjoy ironically I only recently found video editing as a viable business choice but it's thanks to channels like this that I truly appreciate the art of editing.
@@louisuniverse it isnt just editing though either, the whole point of that edit is to foreshadow. Edit's can foreshadow, juxtaposition, etc, but I completely agree with you, this real cinema editing is something you could say movies lack nowadays, as our short attention spans have become even shorter lol.
@@vlc-cosplayer I think you're basically on the money. A lot of times the human brain does a fine job of sticking subtext is anything we make anyway. (Though the occasional intelligent editing trick is extremely fascinating to me :) )
To answer your question: what is the most important part of editing? The pacing of the cuts. Allowing the eye time to linger and 'process' what we're looking at on screen. (Or maybe making a deliberate choice to NOT allow the eye that time to process)
Through your videos, I always find new choices on how to edit a scene and tell the story in a better, more moving way. Almost immediately, I try to think of how I can apply these new ideas to the story I'm developing at the moment. Currently, I am working on a short sci-fi film, struggling with how to bring humanity to the story while keeping it engaging. Writing is tough. Editing is where the magic manifests.
i hate when people say "objectively better" almost like they are saying that it's mathmatically better movie but, this shows it in a much better way, in my opinion. through psychology. they are so many people that use the words "perfect" or "objective" so much that they completely lose their meaning. great job!
I've learned that less is more. No need to put every god damn details to get your audience to understand what's going on. This might be why i hate vlog/vloggers so much. They all put way too much b-roll of unnecessary things because they think it add to the story while in fact it takes away from it.
4:38 was like, Holy shit! This is pure magic, a perfect way to subconsciously tell a story. You guys, right there made my Jaw drop. I know realize the vast ocean of possibilities this art form has!
Really loved this episode Sven! Definitely going to need to give it another couple watches as you guys went into quite a bit there😅 but I love the direction this video takes. In terms of being less technical and more theoretical. The empathy and understanding of when and where to cut is often a difficult thing to explain to people when they ask me about it. This does so very nicely!
I think you missed the important movement in the shot of Ingrid Bergman. The important factor is not her movement forward (and stepping out of focus) but rather here eyes moving to the keys. The reason the editor didn't cut before she went out of focus, was that he was waiting for her eyes to lock onto the keys.
Massive thanks for posting this. I did two years of cinema at uni ages ago, and back then I would think a lot about this kind of stuff. Then I got into print journalism and I kind of forgot about all of this. Now I am doing marketing for a UK arts organisation and doing a lot of video for them, and honestly seeing your video just now has left me very inspired and excited about being a better story-teller through video.
Amazing video, I will keep these in mind when working on stuff! Also, the way you can edit films and videos remind me of the use of panels in comics. The way you use their sizes, placement, and distances from each other help to appeal the reader's way of taking the story in.
thank you for this great video ! i want to say that me for me, editing is postly time. longer we let the frame until the perfect moment, stronger the emotion will be
I have to add that all of the information in this video is STRICTLY at the mercy of Cinematography, Direction, staging and blocking. If the footage isn't flowing it makes it harder in varying degrees for the Editor to 'make it flow' in a way that's been discussed here - hence the necessity for re-shoots in certain instances. This is also why the 1 page of script = 1 minute of runtime rule is complete nonsense; a sentence in a script may be interpreted by the Director and Cinematographer as a two-minute long shot, and the Editor may equally use the footage at their disposal to lengthen or shorten shots based on the 'flow' described in this video. Love this channel!
That’s good you talked about continuity. I get anxious if there is not enough information. But a professor told me that a persons mind will fill in the gaps and make out what could happen between then. A short film I filmed, I literally had a person get up, brush his teeth, get ready, Walked out the stairs then the door, then sidewalk. I cut it to just him waking up. Then walking and it really worked out and was not a drag. Something I still work on today is character development. I seen some good movies develop those. I am assuming the script supports them, but an editor really excutes it well.
thru years of experience in editing, i kinda figured out myself how to feed the eyes of the audience and navigate them thru the session. Its all however depends on what i feel right at that time of editing. you in the other hand put them in words and explain things that I've been practising without knowing what it is. this encounter with your channel really opened my eyes and kinda explained things that i dont understand why thanks and i did subscribed for more content from you
It seems most editing 'tricks' were and still are learned by happenstance, or because of problems: the take wasn't long enough, the framing wasn't right for the cut, sight lines were mismatched, etc...
Love your work, thank you. I cut my Gamingvideos very heavily, and I try to get the Story going. Games and the recordings of them are not meant to be cut. The Story is already there and all scenes are chosen. Through cutting, I can give the Game a hole new story and a new tone. For example in my latest Halo 2 Playlist. In the first level the main character gets propelled through space and lands on his spaceship then travels to earth with it. He swaps ships and gets involved in combat, in which the ship gets hit and crashes. In my version he missed his spaceship and flies through the atmosphere and after that hits its own ships, which then crashes. Long story short, what I think makes editing feel right, is when there is a story behind it. Thank you for reading all that.
This is actually a core topic of the book, "Zen and The Art of Motorcycle Maintenance," the idea that everyone knows what quality is and yet, nobody can describe it... We "feel" when things are quality, we "feel" when things are right.
thank you for sharing/creating this. through your videos I was able to focus more on editing for story and emotion and feel than all the technical continuity stuff, It has really pushed me forward in my edits. thanks again.
Leaving this comment not as criticism but as an expression, in case others feel similarly. I didn't feel that I gained very much from this video (and I will probably watch it again, to see if the issue was with me) It seemed like a fair amount of academic posturing without much real definition of the technique involved in a good edit. The Blade Runner "owl" segment seemed like a real stretch, the Notorious example paid no mind to the possibility that conclusions drawn could be entirely wrong and we were just seeing a moment of a cut having flawed focusing. Other than these two, there seemed to be a lack of concrete theories coupled with examples. I believe that the science or mathematics (or whatever) behind editing are difficult to put into words - there is a kinesthetic element. However, this video did nothing to provide me with new information, insight or even food for thought. My personal reaction to it, in this moment. As I said, I'll watch again because I do really value and rate this channel's content.
same here. I'm totally missing what other people are so fascinated by. Besides that, the bladerunner scene relies heavily on the directing of the shot(s)
brillant. Deconstruction such small subtle details, especially in Blade Runner, which I've seen roughly 15 times already, is amazing. subconsciousness is just amazing :) thank you for that episode!
I think the cut in Notorious is much simpler than discussed here... the editor simply waited for the eyes of the actress to shift to the keys. Waiting for those eye moments is essential when editing.
I am so happy that someone recommended me to your channel on Reddit. As a beginner videographer (one day hoping to level up to cinematography) all of this is extremely useful information. I am more than happy to contribute on patreon (I watch a range of videos but you are the first Il sub to). A $3, $5 or even $10 a month is nothing for the education that we receive from this. Lengthy and informative, although the longer the better :D Thanks!
Editors refine and sometimes control entirely the pace and emotional cadence of a scene by utilizing WHEN they make a cut and WHERE they choose to cut to. ALOT of this can be very closely tied to the director & DP as well. All three work together to give us very specific choices. A tight shot that is very awkward gives the same type of "body feeling" mentioned in this video but that's not the editor doing that. Cutting to that shot at a specific moment to emphasis that feeling however is something the editor could do there. I also don't really think an editor controls where our eyes go in a scene. Sure they can disrupt our "look points" by making jarring cuts, but they can't really direct you to look somewhere without altering how the shot was captured (AKA re-framing). I think adding special terms (like kinesthetic imagination) is nice for trying to quantify talents or moments but it makes things a little more complicated than they are. Which this video is designed to do since its "According to Science". Most good editors simply start out with feelings, gut feelings. Those feelings are like a strange, uncontrolled power that as you use them, they become controllable so you can actually perform edits with purpose rather than just relying on your gut feeling.
Wow! FANTASTIC video. I worked for a company that did eye-tracking studies and heat maps, so I recognized that part of the video. Wish I could say more about it 'cause it's fascinating, but I'm pretty sure I'm still under NDA. In any case, this video is a like a mini-master class. Bravo.
You made me fall in love with learning back again. I'm learning movie editing, I don't know if would I ever edit a damn movie but I'm f*ind learning it.
1:25 I do believe it comes down to priming. You have seen the image of "open minivan next to the sea" often enough to know "holiday", You have seen the image of "old man sitting on front porch, staring into the woods" so many times you know he's contemplating life and possibly dying. This is the same with editing, the order of those scenes has been done so many times before, so you know what to expect. Of course good storytellers work with this expectation, but I do in no way believe this is "natural", this has just been hammered into your brain for decades now, and you brain expects exactly that what it knows.
Excellent insight - exactly the kind of content I search for when exploring the deeper understanding of structure. Where was this when I was studying architecture!
Something that I have been working on recently is gaining an embodied understanding of the script. Once I feel like I understand the script not just in my head but in my body I tried to allow my gut feelings to help me shape the edit.
Tim's video is amazing! I would highly recommend it. I would suggest you use headphones though, because the sound levels are VERY poor and make sure you watch it without distractions as you'll want to hear everything Tim shares. Cheers!
it is also good to go beyond hollywood movies with this analysis, such as Bergman, Bresson, Muzoguchi, Ozu etc, and generally on theory of cinéma d'auteur (politique des auteurs); and also there's two great books by Robert Bresoon - "Notes on the Cinematographer" and "Bresson on Bresson"
Around 10:00 -- Something also important to point out is that there is a tendency to whittle down work, and sometimes you go TOO far. It's a common thing, whether you're taking a creative writing class, or in film school, instructors will often harp on "less is more", but sometimes you can't cut as much as you might think you can cut. Just like there is a LOT in just one shot, there is also a LOT that you are potentially missing by whittling down 10 camera shots into 3 or something like that. You have to take care in every aspect!
I wonder if the "sitting in the theater" technique will work for me. I have autism, and I'm not good at picking up on the "energy" in a room. At least, not intuitively. I need to see people's faces.
Thank you for this video. As an editor myself its nice to see some familiar and former lecturers of mine from Uni of Groningen in the references. I sincerely liked the video. As an editor I try to appeal to feelings and mind (who doesnt) and because I as a human do make sense of this world -and the film project- by experince I edit the world and the project with feelings provided by my body and mind. Ofcourse I am holding back the criticism toward the theory of embodiment and practical approaches in film studies for the sake of the longevity of the comment :)However i would sincerely want to add if you could create a video like this but concentrated on the "mechanics" of the "mind" in editing and utilizing how the way we think can be applied to editing. A subject merely surfaced in this video If you already did, please forgive me as i didnt watch all your content. Yet.
Question: Are you thinking about these principles and purposely following them while you're editing, or are you doing what feels right to you in the moment, and because you're so experienced you are accidentally following these rules out of habit?
If anyone wants to dive deeper into these theories you can look for these concepts: affect theory, embodied perception, haptic perception or haptic visuality, mirror neurons or neuroaesthetics.
Great video. An edit feels right when pacing, content and visuals continues telling the story in a meaningful way. In other words it adds to what you have already seen. Adding is good 👍 Not adding a thing and breaking the pace 👎
A great editor simply learned the language of film and plays with its grammar while always taking our biological make-up into account (and how it relates to media - an ecological perspective, so to say). Also, I wouldn't read to much into eye-tracking studies when it comes to cognition.
The more knowledge there is about how films effect the human mind, body and spirit the more you realize its an ultimate weapon or tool for healing all of humanity or completely destroying them from the inside out and manifesting illness, fear, ignorance, violence and capitalism down to the gene pool. The entertainment industry has one of the greatest powers and that is the power to make believe until the viewer believes
If there really was a way of scientifically understanding what makes for good movie editing, practically anyone could be taught to do it. You could just hire someone who edits local news footage to cut your film, but it doesn't work like that. It's an artistic intuition that can't be explained, like trying to figure out what makes for a good director or a good music album. It's a fleeting talent that someone either has or doesn't.
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I feel so lucky to be part of this generation, we get precious things for free
agreed! :D
Very true.
I think this continuously.
Lucky and cursed? It seems a 2 sided coin. Computers democratise and give us power, but also give it to everyone else, so it's harder to make a living. We get professional tools, but work becomes de-professionalised. You can be anywhere to do anything, so you're always at home -- except the rare times you're in the Himalayas. The telephone lets you keep in touch a great distances, so you move great distances - and never phone. Your mobile phone will ring on top of the world, but it will be a marketing scam. Answering - how could you not - will cost £2. The internet means a client is never looking over your shoulder while you edit -- I don't see a down side to this :-)
That means we must do even more extraordinary things!
This is a concept I've never really considered: in a sense you have to edit/construct a film to appeal to the viewer's body as well as their mind. cool video.
That is if you think about the two as a dichotomy. I would like to think though that the body is, to many extent, an 'embodiment' and extension of the mind. The memory of a movement is stored in the mind and the body at the same time: we know a movement intrinsically with both. It is fascinating. Same way that is fascinating to think where an emotion 'lives' and is it felt within the body. On a slightly different note is interesting to note that some says that a trauma can get 'stored' in your body and linked to a certain emotion. For example, if you fell from a horse and broke a leg, the feeling you felt in that moment gets 'locked' with the physical trauma. So it can happen that a similar emotional response but to a different event could trigger sensations of physical pain or discomfort in the same area.
Don't overdo it hombre. They are explaining in a very scientific way how edit works. But the editors when they edit they just trust their guts and their feelings. They are never thinking of: I must take the movement the time and the space into consideration.
Otherwise they'd all get bonkers. This Time Space Movement happens in our brains in a matter of miliseconds and then our feeling tells us if it is right or not. Never overthink it.
The editors are using their judgement, which comes from experience. Their gut gives them a good result because they've spent a lot of time editing film before this. I agree with you that they're not overthinking it in the moment, but they had to put in a lot of earlier thought over the years to get to the point where they can do that.
Excellent summary.
I'll come back to this video when I get smarter.
@Foul Productions Exactly what I was going to say before reading your comment. When you try to explain why the "feeling" works, it begins to get complicated. Just focus on what feels right and watch your edit over and over 100 times and you will eventually begin to hone in on what and where to cut, trip, splice, etc.
me same
Dude, I thought I'm the only one on that boat thanks for your comment! I didn't drown alone :D
Nah, there's a lot of highbrow language in this video making it inaccessible. The why's of editing aren't complicated and I don't think they should be difficult to explain. It also would have helped to show multiple examples of what they mean.
@@reanetsemoleleki8219 Well said. I came to here to learn something. Not to be told "you know to little to understand this".
Blade Runner is one of my favorite films and I have never noticed that cut with the owl's movement matching Deckard's. Amazing study. Absolutely beautiful. I've never thought about the editing of that film, but obviously it was effective since it is among my favorites. Love these videos Sven!
Remembering there are FIVE versions of Blade Runner... which ‘answers’ (or at least speaks to the question, “Who is in control of editing? The director or the editor.” The answer here might be, BOTH or NEITHER. I typically prefer the original cut: because first impressions last and are the standard by which the following versions are measured.
The owl is looking out of the large window at the transporter flying towards and subsequently into the building - nothing to do with Deckard or his head.
Jeese... talk about fake intellectuals seeing what they want to see!
Still one of the most underrated fillmaking channels around. Incredibly useful and in depth look into making better films
This video was really nicely edited, showing the concepts of editing in a subtle and intuitive way while explaining it. Fantastic!
Credit goes to Krishna Sanchez who cut this episode, he's got great instincts
This video makes me proud to be an editor. I'm just a TH-camr right now, but I'd very much LOVE to edit movies. My brain works like this. I love the science/art of editing.
May blessings shine upon you, just as you have blessed others. Have a wonderful Christmas!
This goes way deeper than just edits...woven into the fabric of reality is a composition of ebbs and flows... the dream that we all exist in... that we are all part of... we are all connected in this seemingly simple "tension" and "release" and it's the story that will be told at the end and then beginning of time. Love...
I have always had the ability to take a bunch of other peoples art (music, drawings, videos, graphics, 3d assets, Legos, pictures etc...) And piece them together in a way that others enjoy ironically I only recently found video editing as a viable business choice but it's thanks to channels like this that I truly appreciate the art of editing.
bruh that blade runner thing got me feeling inadequate but inspired
it just goes to show what real cinema editing is. It's not about this happens and then this happens and then this happens. Anyone can do that.
@@louisuniverse it isnt just editing though either, the whole point of that edit is to foreshadow. Edit's can foreshadow, juxtaposition, etc, but I completely agree with you, this real cinema editing is something you could say movies lack nowadays, as our short attention spans have become even shorter lol.
@@vlc-cosplayer I think you're basically on the money. A lot of times the human brain does a fine job of sticking subtext is anything we make anyway. (Though the occasional intelligent editing trick is extremely fascinating to me :) )
To answer your question: what is the most important part of editing? The pacing of the cuts. Allowing the eye time to linger and 'process' what we're looking at on screen. (Or maybe making a deliberate choice to NOT allow the eye that time to process)
Such a good channel. Keep up the good work!
I am more motivated to continue to achieve my true passion in filmmaking. Thank you for inspiring us man!
I'm a first year film student and really have fallen in love with editing. This vid is really awesome, thank you for the knowledge and insight.
Through your videos, I always find new choices on how to edit a scene and tell the story in a better, more moving way. Almost immediately, I try to think of how I can apply these new ideas to the story I'm developing at the moment. Currently, I am working on a short sci-fi film, struggling with how to bring humanity to the story while keeping it engaging. Writing is tough. Editing is where the magic manifests.
can i read your script when it's done?
i hate when people say "objectively better" almost like they are saying that it's mathmatically better movie but, this shows it in a much better way, in my opinion. through psychology. they are so many people that use the words "perfect" or "objective" so much that they completely lose their meaning. great job!
After watching this I feel like a better editor, but I don't know what I learned haha
I've learned that less is more. No need to put every god damn details to get your audience to understand what's going on. This might be why i hate vlog/vloggers so much. They all put way too much b-roll of unnecessary things because they think it add to the story while in fact it takes away from it.
@@DNdavidsonsnation thank you for this comment, I shall save this and keep that in mind when I will be editing my stuff. Cheers
@@DNdavidsonsnation This is incredibly case-dependent. Some stories require detail, some don’t.
Amazing! I watched Blade Runner over a dozen times and never picked up on that subtlety. This will help me.
Amazing video. I really appreciate all the effort you put into this. Keep it going! Greetings from Ecuador.
4:38 was like, Holy shit! This is pure magic, a perfect way to subconsciously tell a story. You guys, right there made my Jaw drop. I know realize the vast ocean of possibilities this art form has!
I love Blade Runner and never got that owl as a reference. I felt the same.
However, it's about director's work in the first place not editor's.
Really loved this episode Sven! Definitely going to need to give it another couple watches as you guys went into quite a bit there😅 but I love the direction this video takes. In terms of being less technical and more theoretical. The empathy and understanding of when and where to cut is often a difficult thing to explain to people when they ask me about it. This does so very nicely!
I think you missed the important movement in the shot of Ingrid Bergman. The important factor is not her movement forward (and stepping out of focus) but rather here eyes moving to the keys. The reason the editor didn't cut before she went out of focus, was that he was waiting for her eyes to lock onto the keys.
This opened my mind and is making me conscious of what I am watching and why certain stories feel right.
Massive thanks for posting this. I did two years of cinema at uni ages ago, and back then I would think a lot about this kind of stuff. Then I got into print journalism and I kind of forgot about all of this. Now I am doing marketing for a UK arts organisation and doing a lot of video for them, and honestly seeing your video just now has left me very inspired and excited about being a better story-teller through video.
Amazing video, I will keep these in mind when working on stuff! Also, the way you can edit films and videos remind me of the use of panels in comics. The way you use their sizes, placement, and distances from each other help to appeal the reader's way of taking the story in.
thank you for this great video ! i want to say that me for me, editing is postly time. longer we let the frame until the perfect moment, stronger the emotion will be
I have to add that all of the information in this video is STRICTLY at the mercy of Cinematography, Direction, staging and blocking. If the footage isn't flowing it makes it harder in varying degrees for the Editor to 'make it flow' in a way that's been discussed here - hence the necessity for re-shoots in certain instances. This is also why the 1 page of script = 1 minute of runtime rule is complete nonsense; a sentence in a script may be interpreted by the Director and Cinematographer as a two-minute long shot, and the Editor may equally use the footage at their disposal to lengthen or shorten shots based on the 'flow' described in this video. Love this channel!
That’s good you talked about continuity. I get anxious if there is not enough information. But a professor told me that a persons mind will fill in the gaps and make out what could happen between then.
A short film I filmed, I literally had a person get up, brush his teeth, get ready, Walked out the stairs then the door, then sidewalk.
I cut it to just him waking up. Then walking and it really worked out and was not a drag.
Something I still work on today is character development. I seen some good movies develop those. I am assuming the script supports them, but an editor really excutes it well.
thru years of experience in editing, i kinda figured out myself how to feed the eyes of the audience and navigate them thru the session. Its all however depends on what i feel right at that time of editing.
you in the other hand put them in words and explain things that I've been practising without knowing what it is. this encounter with your channel really opened my eyes and kinda explained things that i dont understand why
thanks and i did subscribed for more content from you
Great examples of the thinking behind "the poetry" of scene construction in Mamet's "On Directing Film."
It seems most editing 'tricks' were and still are learned by happenstance, or because of problems: the take wasn't long enough, the framing wasn't right for the cut, sight lines were mismatched, etc...
Here before the title and thumbnail change!
I was thinking that aswell 😄
no need to change it. it's got incredible CTR :)
lol
Love your work, thank you. I cut my Gamingvideos very heavily, and I try to get the Story going. Games and the recordings of them are not meant to be cut. The Story is already there and all scenes are chosen. Through cutting, I can give the Game a hole new story and a new tone. For example in my latest Halo 2 Playlist. In the first level the main character gets propelled through space and lands on his spaceship then travels to earth with it. He swaps ships and gets involved in combat, in which the ship gets hit and crashes.
In my version he missed his spaceship and flies through the atmosphere and after that hits its own ships, which then crashes.
Long story short, what I think makes editing feel right, is when there is a story behind it.
Thank you for reading all that.
This is actually a core topic of the book, "Zen and The Art of Motorcycle Maintenance," the idea that everyone knows what quality is and yet, nobody can describe it... We "feel" when things are quality, we "feel" when things are right.
that makes sense
thank you for sharing/creating this. through your videos I was able to focus more on editing for story and emotion and feel than all the technical continuity stuff, It has really pushed me forward in my edits. thanks again.
Leaving this comment not as criticism but as an expression, in case others feel similarly. I didn't feel that I gained very much from this video (and I will probably watch it again, to see if the issue was with me) It seemed like a fair amount of academic posturing without much real definition of the technique involved in a good edit. The Blade Runner "owl" segment seemed like a real stretch, the Notorious example paid no mind to the possibility that conclusions drawn could be entirely wrong and we were just seeing a moment of a cut having flawed focusing. Other than these two, there seemed to be a lack of concrete theories coupled with examples. I believe that the science or mathematics (or whatever) behind editing are difficult to put into words - there is a kinesthetic element. However, this video did nothing to provide me with new information, insight or even food for thought. My personal reaction to it, in this moment. As I said, I'll watch again because I do really value and rate this channel's content.
same here. I'm totally missing what other people are so fascinated by. Besides that, the bladerunner scene relies heavily on the directing of the shot(s)
This is really educational. An aspiring filmmaker could learn a thing or two from this. Thank you.
brillant. Deconstruction such small subtle details, especially in Blade Runner, which I've seen roughly 15 times already, is amazing. subconsciousness is just amazing :) thank you for that episode!
"it's poetry"
This is the kind of video that keeps me coming back to this channel. Wonderful.
honestly, this video series is too good for a free site
I think the cut in Notorious is much simpler than discussed here... the editor simply waited for the eyes of the actress to shift to the keys. Waiting for those eye moments is essential when editing.
I am so happy that someone recommended me to your channel on Reddit. As a beginner videographer (one day hoping to level up to cinematography) all of this is extremely useful information. I am more than happy to contribute on patreon (I watch a range of videos but you are the first Il sub to). A $3, $5 or even $10 a month is nothing for the education that we receive from this. Lengthy and informative, although the longer the better :D
Thanks!
Your videos are beautifully put together and are fascinating. They are informative bordering on the revelatory.
Editors refine and sometimes control entirely the pace and emotional cadence of a scene by utilizing WHEN they make a cut and WHERE they choose to cut to.
ALOT of this can be very closely tied to the director & DP as well. All three work together to give us very specific choices. A tight shot that is very awkward gives the same type of "body feeling" mentioned in this video but that's not the editor doing that. Cutting to that shot at a specific moment to emphasis that feeling however is something the editor could do there.
I also don't really think an editor controls where our eyes go in a scene. Sure they can disrupt our "look points" by making jarring cuts, but they can't really direct you to look somewhere without altering how the shot was captured (AKA re-framing).
I think adding special terms (like kinesthetic imagination) is nice for trying to quantify talents or moments but it makes things a little more complicated than they are. Which this video is designed to do since its "According to Science". Most good editors simply start out with feelings, gut feelings. Those feelings are like a strange, uncontrolled power that as you use them, they become controllable so you can actually perform edits with purpose rather than just relying on your gut feeling.
Oh man I just wanted to learn how to cut right lil quick, now I'm exploring the world of editing
fantastic video, thanks
Wow! FANTASTIC video. I worked for a company that did eye-tracking studies and heat maps, so I recognized that part of the video. Wish I could say more about it 'cause it's fascinating, but I'm pretty sure I'm still under NDA. In any case, this video is a like a mini-master class. Bravo.
You made me fall in love with learning back again. I'm learning movie editing, I don't know if would I ever edit a damn movie but I'm f*ind learning it.
1:25 I do believe it comes down to priming.
You have seen the image of "open minivan next to the sea" often enough to know "holiday", You have seen the image of "old man sitting on front porch, staring into the woods" so many times you know he's contemplating life and possibly dying.
This is the same with editing, the order of those scenes has been done so many times before, so you know what to expect.
Of course good storytellers work with this expectation, but I do in no way believe this is "natural", this has just been hammered into your brain for decades now, and you brain expects exactly that what it knows.
what if the minivan door opens and we see the old man sitting in the woods and he's.....(wait for it)....STARING BACK AT THE MINI VAN????
Amazing video Sven! You looked epic in this visual effect shot ;)
Excellent insight - exactly the kind of content I search for when exploring the deeper understanding of structure. Where was this when I was studying architecture!
Love your channel man!
Something that I have been working on recently is gaining an embodied understanding of the script. Once I feel like I understand the script not just in my head but in my body I tried to allow my gut feelings to help me shape the edit.
Tim's video is amazing! I would highly recommend it. I would suggest you use headphones though, because the sound levels are VERY poor and make sure you watch it without distractions as you'll want to hear everything Tim shares. Cheers!
Holy cow this is SO FREAKIN GOOD.
Thank you for sharing - I think rhythm is really important in editing still learning more what it looks like
I love the way they explain the concept
it is also good to go beyond hollywood movies with this analysis, such as Bergman, Bresson, Muzoguchi, Ozu etc, and generally on theory of cinéma d'auteur (politique des auteurs); and also there's two great books by Robert Bresoon - "Notes on the Cinematographer" and "Bresson on Bresson"
I expected this video to be informative. But i didn't expect it to be so inspiring. Great job!
Around 10:00 -- Something also important to point out is that there is a tendency to whittle down work, and sometimes you go TOO far.
It's a common thing, whether you're taking a creative writing class, or in film school, instructors will often harp on "less is more", but sometimes you can't cut as much as you might think you can cut.
Just like there is a LOT in just one shot, there is also a LOT that you are potentially missing by whittling down 10 camera shots into 3 or something like that.
You have to take care in every aspect!
I wonder if the "sitting in the theater" technique will work for me. I have autism, and I'm not good at picking up on the "energy" in a room. At least, not intuitively. I need to see people's faces.
Thank you for this video. As an editor myself its nice to see some familiar and former lecturers of mine from Uni of Groningen in the references. I sincerely liked the video. As an editor I try to appeal to feelings and mind (who doesnt) and because I as a human do make sense of this world -and the film project- by experince I edit the world and the project with feelings provided by my body and mind. Ofcourse I am holding back the criticism toward the theory of embodiment and practical approaches in film studies for the sake of the longevity of the comment :)However i would sincerely want to add if you could create a video like this but concentrated on the "mechanics" of the "mind" in editing and utilizing how the way we think can be applied to editing. A subject merely surfaced in this video
If you already did, please forgive me as i didnt watch all your content. Yet.
What a brilliant channel - thank you
this is one of the best film video essays ive seen
Question: Are you thinking about these principles and purposely following them while you're editing, or are you doing what feels right to you in the moment, and because you're so experienced you are accidentally following these rules out of habit?
don't sweat it
I think most editors don't think about these principles and are rarely aware of them. I know I wasn't.
this is a really good one, and the bar is already high.. thanks for all the knowledge
If anyone wants to dive deeper into these theories you can look for these concepts: affect theory, embodied perception, haptic perception or haptic visuality, mirror neurons or neuroaesthetics.
Great video. An edit feels right when pacing, content and visuals continues telling the story in a meaningful way. In other words it adds to what you have already seen. Adding is good 👍 Not adding a thing and breaking the pace 👎
Thnx a LOT! And HAPPY NEW YEAR!
Great video! Interesting concept and useful thoughts. Thanks, Sven for doing this awesome content!
Incredibly helpful! Thank you
Truly amazing video, thank you
I could listen to her talk for days.
Great explanation of editing to engage and evoke emotions
I've learnt so much from this video than i thought possible. Hopefully ill be able to implement the styles to my TH-cam channel videos
what ab absolute beautiful video. thank you so much
This video is amazing. Thank you for making such good content.
So good. I feel like its a never ending learning cycle.
A great editor simply learned the language of film and plays with its grammar while always taking our biological make-up into account (and how it relates to media - an ecological perspective, so to say). Also, I wouldn't read to much into eye-tracking studies when it comes to cognition.
Inspirational! Thank you
Funny that I just knew the owl cut was bad.
and then...
Next level content @thisguyedits
Love it. Thanks for sharing.
The more knowledge there is about how films effect the human mind, body and spirit the more you realize its an ultimate weapon or tool for healing all of humanity or completely destroying them from the inside out and manifesting illness, fear, ignorance, violence and capitalism down to the gene pool. The entertainment industry has one of the greatest powers and that is the power to make believe until the viewer believes
this talk is absolutely beautiful.
Bless this channel.
Every editor should see this.
You guys are killing those expensive film schools. :)
Man this is so inspiring!
thank you so much for this amazing source
HAPPY BLADE RUNNER MONTH!
Beautiful video. The University of TH-cam at its finest. Loved the Blade Runner scenes.
This is brilliant!
Thanks for sharing :)
This is deep! Thanks for sharing.
Fantastic! thank you for this!
The editing on this video is very well done 👍 😉
Most important aspect of editing is creating emotional attachment.
Beautiful. Thank you!
If there really was a way of scientifically understanding what makes for good movie editing, practically anyone could be taught to do it. You could just hire someone who edits local news footage to cut your film, but it doesn't work like that. It's an artistic intuition that can't be explained, like trying to figure out what makes for a good director or a good music album. It's a fleeting talent that someone either has or doesn't.