For example, the filmmaker can start with a shot that establishes a spatial hole and then follow it with a shot of a part of that space, creating an analytical breakdown. The filmmaker can juxtapose shots to establish spatial holes or construct a whole space out of component parts.

Editing allows the filmmaker to construct film space and imply a relationship between different points in space. The third dimension is the spatial relationship between shot A and shot B. The length of shots can also be used to establish a rhythmic pattern, such as creating a steady beat or gradually slowing down or accelerating the tempo. On the other hand, lengthening or adding seconds to a shot can allow for audience reaction or to accentuate an action. For example, a brief flash of white frames can convey a sudden impact or a violent moment. Shot duration can be used to create specific effects and emphasize moments in the film. The filmmaker has control over the editing rhythm by adjusting the length of shots in relation to each other. The duration of each shot, determined by the number of frames or length of film, contributes to the overall rhythm of the film. The second dimension is the rhythmic relationship between shot A and shot B. These include maintaining overall brightness consistency, keeping important elements in the center of the frame, playing with color differences, and creating visual matches or continuities between shots. There are several techniques used by editors to establish graphic relations between shots. The director makes deliberate choices regarding the composition, lighting, color, and movement within each shot, as well as the transitions between them. The shots are analyzed in terms of their graphic configurations, including light and dark, lines and shapes, volumes and depths, movement and stasis. The first dimension is the graphic relations between a shot A and shot B. Sometimes, auteurist film directors edit their own films, for example, Akira Kurosawa, Bahram Beyzai, Steven Soderbergh, and the Coen brothers.Īccording to “Film Art, An Introduction”, by Bordwell and Thompson, there are four basic areas of film editing that the editor has full control over. An editor must select only the most quality shots, removing all unnecessary frames to ensure the shot is clean. Editors usually play a dynamic role in the making of a film. A film editor must creatively work with the layers of images, story, dialogue, music, pacing, as well as the actors' performances to effectively 're-imagine' and even rewrite the film to craft a cohesive whole.

The job of an editor is not simply to mechanically put pieces of a film together, cut off film slates or edit dialogue scenes. On its most fundamental level, film editing is the art, technique and practice of assembling shots into a coherent sequence. Because of this, film editing has been given the name “the invisible art.” When done properly, a film's editing can captivate a viewer and fly completely under the radar. Film editing is an extremely important tool when attempting to intrigue a viewer. Film editing is described as an art or skill, the only art that is unique to cinema, separating filmmaking from other art forms that preceded it, although there are close parallels to the editing process in other art forms such as poetry and novel writing. The film editor works with raw footage, selecting shots and combining them into sequences which create a finished motion picture. The act of adjusting the shots you have already taken, and turning them into something new is known as film editing. When putting together some sort of video composition, typically, you would need a collection of shots and footages that vary from one another. The term is derived from the traditional process of working with film which increasingly involves the use of digital technology. Film editing is both a creative and a technical part of the post-production process of filmmaking.

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