HELP…Editing Newbie

[Richard Harrington]

Umm… its called another angle or B-roll

Richard M. Harrington, PMP

Author: Photoshop for Video, Understanding Adobe Photoshop, and ATS:iWork

[Dunwoody Lampton]

What kind of shot are you coming from?

What kind of shot are you going to?

Are all of your clips from the same angle?

Do you have cutaways to go to during the transition
from Clip A to Clip B?

Are you trying to match-frame from Clip A to Clip B?

Is there sound involved or just video?

What is your subject(s)?

Without more information it’s hard to offer suggestions.
Offhand, it sounds like you are trying to match-frame
between two nearly identical clips, which is a challenge
whether you’re editing tape-to-tape or non-linear.
If this is the case, then 94% of the work for the desired effect
should have been done when setting up your shots in the field, in order to facilitate easier match-frame editing later. If this is, indeed, what you are trying to accomplish, then be aware that neither Final Cut nor any other NLE application offer magic solutions to match-frame editing. The “magic” is applied in the field, not the edit suite.

[Richard Harrington]

White Flash (Dip to Color)

Richard M. Harrington, PMP

Author: Photoshop for Video, Understanding Adobe Photoshop, and ATS:iWork

[Joe Breaux]

Hey Guys,

Thanks for the info and sorry for not enough information…
The difference between the 2 shots is that the actor is not exactly doing the same thing…
For example Clip A he’s closing his phone to fast and Clip B he takes a little longer to close his phone… He is not in the exact same position in the shot… but I like to combine the 2 clips seamlessly…
I think I am trying to match frame and there is no sound involved…

I hope this is enough information…if not let me know…
Thanks for your help

Joe

[David Roth weiss]

Every shot is different, but trying a perfect match frame edit is often the thing that gives away continuity problems between shots rather than fixing them.

The secret can be as simple as cutting on action where the A-side of the cut and B-side don’t actually match, but where the B-side is a progression farther along in time than the end of the shot that proceeds it.

For example, when a guy suits up for combat, we can easily jump cut effectively and without distraction from zero weapons and no body armour to fully armed and suited up, all without a single match cut, so long as each shot visually exhibits progress. Cutting two standard shots together with normal action is quite not as easy as rapid-fire montage of quick cut jump cuts, but I think you’ll find the same principles do apply.

David

David Roth Weiss
Director/Editor
David Weiss Productions, Inc.
Los Angeles

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