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Is it necessary to match shots in editing like this?
Basically, most movies will match shots when it comes to reverse shots in editing.
For example if character A is talking to character B, and the editor shots an OTS shot of character A, he or she will then intercut that with a reverse shot of character B, that is also an OTS shot. Or if it’s just a close up shot, they will intercut with a close up.
They always intercut the same type of shots a lot, and when they switch to a new type of shot, they then intercut with the same type of shot for the reverse. Here is an example of what I mean:
https://www.youtube.com/watch?v=gRNkQRhMUiE
In that scene, the editor starts cutting back and forth between OTS shots, but then it switches to a profile close up shot of Deep, and the editor then cuts to a profile shot of Cotillard after. But what if the editor wanted to cut between a profile close up of Depp, and intercut that with an OTS shot of Cottilard, and keep cutting back and forth between the profile close up and the OTS?
Would that be wrong, or feel off to the audience? Or is it okay to not follow the traditions?
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9 Replies
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The example you have included is a pretty standard approach to shooting and editing dialogue. But you can do it however feels right for you. Most scenes have a master shot showing both characters, and then coverage for each individual speaker. You can shoot multiple ways, wide, medium, close. The side view is potentially useful. Closeups are often used to help with showing a character’s emotions, or simply to give the editor another option to cut to. Don’t forget to get reaction shots and other potentially useful insert shots such as what someone is doing with their hands, feet, phone, food or beverage – whatever is happening in the scene. It may not seem important during the shoot, but sometimes in editing you wish you had a second or two to cut away from the faces.
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Oh okay thanks. I’ve had other people do this as they will get lots of insert shots of hands and cut to them. Now during important moments involving the hands, I would say yes, but why cut away from faces otherwise, if there is mostly dialogue going on?
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Insert shots depend upon the context.
If two people are talking about what they are going to eat, you might show an over the shoulder shot of a menu.
If the couple are talking about a problem with their relationship, you might show one of them secretly checking a text message from another person or secretly using a dating app, for example.
Think of what you are trying to tell and show that.
A more subtle shot might be someone tapping their foot which could mean nervous, impatient or cold.
What do you want the viewer to know, and it might be something the other people in the scene don’t know yet.
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This scene from La La Land is a masterclass in how to draw the audience into the characters during an intimate dramatic conversation. Starting on wider OTS shots at the beginning of a scene establishes the space and the characters in that space. It’s then a matter of determining the dramatic arc of that scene to decide when to switch to closer shots. This scene is editing perfection because the editing works in tandem with the conversation to heighten the dramatic moment and to accentuate the performances of both actors.
https://www.youtube.com/watch?v=Fw7g3QHOaOw
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Okay thanks. But this is the formula I was asking if I could break, cause it seems almost all editors want to match shots all the time. If one character is on an OTS, then the character must be on an OTS, and then if cut to a close up for one, then you have to for the other.
It’s just I see it all the time, and was wondering if I could do it differently, especially if one character is on a different emotional field than the other.
Like in that scene for example, Ryan Gosling’s character has more of a problem with her it seems, than she does with him. So why not use close ups of him, but still keep her at an OTS distance, since she herself is acting at a distance to him? Wouldn’t that make sense?
But instead, the editor feels like he has to follow certain rules or certain traditions, and I am wondering, can they be broken?
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[ryan elder] “Like in that scene for example, Ryan Gosling’s character has more of a problem with her it seems, than she does with him. So why not use close ups of him, but still keep her at an OTS distance, since she herself is acting at a distance to him? Wouldn’t that make sense?
“I think it may be up for personal interpretation but to me that scene is all about communicating to the audience that their fairytale love story is starting to change and with the change there is tension. This tension relates directly to how each of them is approaching their path to achieving their dreams.
In regards to the editing of that scene, the overarching goal when building that scene is for the editing to aid in maintaining the viewers’ suspension of disbelief so that the viewer fully experiences the drama of the scene and doesn’t get distracted by it’s construction. To that end, when the scene tension comes out, we as viewers want to stay completely connected to the characters so that we feel what they’re feeling and thereby, experience the emotions through them. If only Ryan Gosling’s character was in closeup and not Emma Stone’s then subconsciously we’d experience a disconnect with her as a result of taking us away from her. The power of the scene lies with the close-ups which are saved for when the scene tension is at it’s highest and the tension is heightened further through the use of sound. Ending the music playing on the record player at the height of the tension helps focus the viewers’ attention and really makes that scene shine.
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Oh okay, I thought that Gosling’s character felt a disconnect from her so it would be okay to show her as disconnected by keeping on the OTS shot.
Then you would maybe show close ups of her later. But I still haven’t seen La La Land yet, and only going by the one scene I saw, and don’t know the whole movie.
But there are times in editing where I want to show a further away shot of one character from another, to show that one character is disconnected. But wondering if that would be too much of a rule breaker, since I almost never see editors do it, especially for a longer amount of time in a scene.
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Also there are other times in editing, where I wanted show a side profile shot of a character, talking to a full on front shot of a character and cut back and forth between the two different shots.
But would audiences find that jarring, or would the eyelines still match? Cause I’ve never seen an editor cut back and forth between a full front close up, and a profile close up before.
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The single most important strength an editor can have is to view the piece AS the audience. To be able to watch each edit without sore eyes.
Ever heard a car painter ask if runs or fisheye would be detected by the car owner? Nope… he sands and sands until smooth enough to clear coat it.
… then buffs it.
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