![]() ![]() Master the Hollywood Technique of Parallel Editing.He successfully uses this technique in Memento, The Dark Knight, and Interstellar. For other examples of this type of cut, all you need to do is look to other work by Nolan. It may make complete sense to you as the editor, but it may go right over the audience’s head. I’ve always found it extremely helpful to get a separate pair of eyes on the edit when using the cross-cut technique. If not done correctly, you’ll just confuse the audience more. ![]() Utilizing this type of cut, you’ll need to be careful in structuring your multiple storylines. I love watching breakdowns of particular trademarks from my favorite director’s filmographies. For an example of this cut, let’s look at how several of his movies can analyzed and broken apart. His films often feel like they are just one long series of cross-cuts. Nolan utilizes this technique pretty regularly for his films. Obviously, that movie gets to be chaotic in structure, so it speaks to the power of this type of editing and how informative it can be for viewers. In his 2010 film Inception, Nolan utilizes the cross-cut technique to aid the audience in keeping up with the various levels of the dream state. He’s used this technique in several films and always uses it effectively to connect the various storylines in each film. In the last ten years, probably no filmmaker has loved using the cross-cut technique more than Christopher Nolan. The technique of the cross-cut, also known as parallel editing, is where you cut between two different scenes that are happening at the same time in other spaces. When done effectively, you can tell two simultaneous stories at once, and the information being given to the audience will make complete sense. Does that make sense, or have I already lost you? Let’s discuss. Now we understand the hows and whys of cutting away we can talk about doing this and then cutting back to what you just cut from. Again, each cut is a way to take you from one shot to another, so the action guides the whole thing. This results in a much smoother transition and a more tense action scene. One of the best examples of motivated cutting is The Matrix. Watch the following clip closely and specifically look for instances of cutting on action. Think of the action in your scene as direction for the edit later on in post-production. Your film will develop a better ‘flow’ if you cut on action instead of waiting for pauses. Each time you cut to a new shot, you need to ask yourself: why? In the words of Videomaker:ĭon’t be tempted to wait for a pause and then cut, unless you have a good reason. The basic idea of cutting for action is that the editor cuts from one shot to another and matches the action of the shots. Of course, this type of cut can be used on less-explosive action. The technique of cutting on action is a huge component of action films. Notice how I said “scene” and not “shot.” These are designed to take two different sets and locations and bring them together. These cuts exist to guide your audience from one scene to another. As was with the video above, this allows your audience to better understand the environment the character exists in. Just like with L Cuts, you can give your audience additional visual information to go along with the dialogue that is being fed to the audience. So, the audience is looking at clip A but still hearing audio from clip B. This type of cut is often used in all forms of filmmaking and videography, but you can often see it in content featuring an interview. Here we hear the audio before we see the video. ![]() See what they did there? I feel like we all learned something.Ī J Cut is essentially the opposite of the L Cut.
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