Film editing - Knowledge (XXG)

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necessary to put the film into its final form. Editors of large budget features will usually have a team of assistants working for them. The first assistant editor is in charge of this team and may do a small bit of picture editing as well, if necessary. Assistant editors are responsible for collecting, organizing, and managing all the elements needed for the editing process. This includes footage, sound files, music tracks, visual effects assets, and other media assets. They ensure that everything is properly labeled, logged, and stored in an organized manner, making it easier for the editor to access and work with the materials efficiently. Assistant editors serve as a bridge between the editing team and other departments, facilitating communication and collaboration. They often work closely with the director, editor, visual effects artists, sound designers, and other post-production professionals, relaying information, managing deliverables, and coordinating schedules. Often assistant editors will perform temporary sound, music, and visual effects work. The other assistants will have set tasks, usually helping each other when necessary to complete the many time-sensitive tasks at hand. In addition, an apprentice editor may be on hand to help the assistants. An apprentice is usually someone who is learning the ropes of assisting.

865:, film editors and their assistants have become responsible for many areas of filmmaking that used to be the responsibility of others. For instance, in past years, picture editors dealt only with just that—picture. Sound, music, and (more recently) visual effects editors dealt with the practicalities of other aspects of the editing process, usually under the direction of the picture editor and director. However, digital systems have increasingly put these responsibilities on the picture editor. It is common, especially on lower budget films, for the editor to sometimes cut in temporary music, mock up visual effects and add temporary sound effects or other sound replacements. These temporary elements are usually replaced with more refined final elements produced by the sound, music and visual effects teams hired to complete the picture. The importance of an editor has become increasingly pivotal to the quality and success of a film due to the multiple roles that have been added to their job. 1120:

enhanced the quality of pictures in films. One of the most important steps in this process was transitioning from analog to digital filmmaking. By doing this, it gives the ability editors to immediately playback scenes, duplication and much more. Additionally digital has simplified and reduced the cost of filmmaking. Digital film is not only cheaper, but lasts longer, is safer, and is overall more efficient. Color grading is a post production process, where the editor manipulates or enhances the color of images, or environments in order to create a color tone. Doing this can alter the setting, tone, and mood of the entirety of scenes, and can enhance reactions that would otherwise have the possibility of being dull or out of place. Color grading is vital to the film editing process, and is technology that allows editors to enhance a story.

1116:, the editing process sped up a little bit and cuts came out cleaner and more precise. The Moviola editing practice is non-linear, allowing the editor to make choices faster, a great advantage to editing episodic films for television which have very short timelines to complete the work. All film studios and production companies who produced films for television provided this tool for their editors. Flatbed editing machines were used for playback and refinement of cuts, particularly in feature films and films made for television because they were less noisy and cleaner to work with. They were used extensively for documentary and drama production within the BBC's Film Department. Operated by a team of two, an editor and assistant editor, this tactile process required significant skill but allowed for editors to work extremely efficiently. 1777:. It is the assistant's job to keep track of these numbers in a database, which, in non-linear editing, is linked to the computer program. The editor and director cut the film using digital copies of the original film and sound, commonly referred to as an "offline" edit. When the cut is finished, it is the assistant's job to bring the film or television show "online". They create lists and instructions that tell the picture and sound finishers how to put the edit back together with the high-quality original elements. Assistant editing can be seen as a career path to eventually becoming an editor. Many assistants, however, do not choose to pursue advancement to the editor, and are very happy at the assistant level, working long and rewarding careers on many films and television shows. 1256:" (raw footage shot each day) as shooting progresses. As production schedules have shortened over the years, this co-viewing happens less often. Screening dailies give the editor a general idea of the director's intentions. Because it is the first pass, the editor's cut might be longer than the final film. The editor continues to refine the cut while shooting continues, and often the entire editing process goes on for many months and sometimes more than a year, depending on the film. The editor's cut is an opportunity for the editor to shape the story and present their vision of how the film should unfold. It provides a solid foundation for further collaboration with the director, allowing them to assess the initial assembly and provide feedback or guidance on the creative direction. 1620:. The 180-degree system in film editing ensures consistency in shot composition by keeping relative positions of characters or objects in the frame consistent. It also maintains consistent eye-lines and screen direction to avoid disorientation and confusion for the audience, allowing for clear spatial delineation and a smooth narrative experience. Often, continuity editing means finding a balance between literal continuity and perceived continuity. For instance, editors may condense action across cuts in a non-distracting way. A character walking from one place to another may "skip" a section of floor from one side of a cut to the other, but the cut is constructed to appear continuous so as not to distract the viewer. 878: 1272:, missing shots or even missing segments which might require that new scenes be filmed. Because of this time working closely and collaborating – a period that is normally far longer and more intricately detailed than the entire preceding film production – many directors and editors form a unique artistic bond. The goal is to align the film with the director's artistic vision and narrative objectives. The director's cut typically involves multiple iterations and discussions until both the director and editor are satisfied with the overall direction of the film. 1076:) He took an old film clip of a headshot of a noted Russian actor and intercut the shot with a shot of a bowl of soup, then with a child playing with a teddy bear, then with a shot an elderly woman in a casket. When he showed the film to people they praised the actor's acting—the hunger in his face when he saw the soup, the delight in the child, and the grief when looking at the dead woman. Of course, the shot of the actor was years before the other shots and he never "saw" any of the items. The simple act of juxtaposing the shots in a sequence made the relationship. 843:

light and dark, lines and shapes, volumes and depths, movement and stasis. The director makes deliberate choices regarding the composition, lighting, color, and movement within each shot, as well as the transitions between them. There are several techniques used by editors to establish graphic relations between shots. 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.

179: 807:. 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. Film editing is an extremely important tool when attempting to intrigue a viewer. When done properly, a film's editing can captivate a viewer and fly completely under the radar. Because of this, film editing has been given the name “the invisible art.” 1388: 1377: 1124: 1752:

one in the legitimate theatre would have turned his head, one will not be conscious of a cut. If the camera misses by a quarter of a second, one will get a jolt. There is one other requirement: the two shots must be approximate of the same tone value. If one cuts from black to white, it is jarring. At any given moment, the camera must point at the exact spot the audience wishes to look at. To find that spot is absurdly easy: one has only to remember where one was looking at the time the scene was made.

1104:(cutting copy in UK) by physically cutting and splicing together pieces of film. Strips of footage would be hand cut and attached together with tape and then later in time, glue. Editors were very precise; if they made a wrong cut or needed a fresh positive print, it cost the production money and time for the lab to reprint the footage. Additionally, each reprint put the negative at risk of damage. With the invention of a splicer and threading the machine with a viewer such as a 847:

to each other. Shot duration can be used to create specific effects and emphasize moments in the film. For example, a brief flash of white frames can convey a sudden impact or a violent moment. On the other hand, lengthening or adding seconds to a shot can allow for audience reaction or to accentuate an action. 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.

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and aesthetic impact, rhythm and pacing, emotional resonance, and overall storytelling of a film. Editors possess a unique creative power to manipulate and arrange shots, allowing them to craft a cinematic experience that engages, entertains, and emotionally connects with the audience. Film editing is a distinct art form within the filmmaking process, enabling filmmakers to realize their vision and bring stories to life on the screen.

1283:" credit signifying when a director no longer wants to be associated with the final release. The final cut is the last stage of post-production editing and represents the definitive version of the film. It is the result of the collaborative efforts between the director, editor, and other key stakeholders. The final cut reflects the agreed-upon creative decisions and serves as the basis for distribution and exhibition. 1670:

coherence. Non-narrative films have prioritized rhythmic relations among shots, even employing single-frame shots for extreme rhythmic effects. Narrative filmmakers, such as Busby Berkeley and Yasujiro Ow, have occasionally subordinated narrative concerns to graphic or rhythmic patterns, while films influenced by music videos often feature pulsating rhythmic editing that de-emphasizes spatial and temporal dimensions.

286: 1297: 77: 3551: 722: 36: 1143:) and bypass the film positive workprint altogether. In the past, the use of a film positive (not the original negative) allowed the editor to do as much experimenting as he or she wished, without the risk of damaging the original. With digital editing, editors can experiment just as much as before except with the footage completely transferred to a computer hard drive. 1268:, directors receive a minimum of ten weeks after completion of principal photography to prepare their first cut. While collaborating on what is referred to as the "director's cut", the director and the editor go over the entire movie in great detail; scenes and shots are re-ordered, removed, shortened and otherwise tweaked. Often it is discovered that there are 945:, in which the main shot shows street scene with a young man tying the shoelace and then caressing the foot of his girlfriend, while an old man observes this through a telescope. There is then a cut to close shot of the hands on the girl's foot shown inside a black circular mask, and then a cut back to the continuation of the original scene. 1151:. Today, production companies have the option of bypassing negative cutting altogether. With the advent of digital intermediate ("DI"), the physical negative does not necessarily need to be physically cut and hot spliced together; rather the negative is optically scanned into the computer(s) and a cut list is confirmed by a DI editor. 1491:, depicting the start of man's first development from apes to humans. Another example that is employed in many films is the sports montage. The sports montage shows the star athlete training over a period of time, each shot having more improvement than the last. Classic examples include Rocky and the Karate Kid. 855:

the audience's perception of time. Through editing, shots can be rearranged, flashbacks and flash-forwards can be employed, and the duration of actions can be compressed or expanded. The main point is that editing gives filmmakers the power to control and manipulate the temporal aspects of storytelling in film.

1005:, when his character approaches the camera and appears to swallow it. These two filmmakers of the Brighton School also pioneered the editing of the film; they tinted their work with color and used trick photography to enhance the narrative. By 1900, their films were extended scenes of up to five minutes long. 1054:

non-live or non live-on-videotape narrative motion pictures and television possible—that shots (in this case, whole scenes since each shot is a complete scene) can be photographed at widely different locations over a period of time (hours, days or even months) and combined into a narrative whole. That is,

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here is a law of natural cutting and that this replicates what an audience in a legitimate theater does for itself. The more nearly the film cutter approaches this law of natural interest, the more invisible will be his cutting. If the camera moves from one person to another at the exact moment that

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was formed, they chose to be "below the line", that is, not a creative guild, but a technical one. Women were not usually able to break into the "creative" positions; directors, cinematographers, producers, and executives were almost always men. Editing afforded creative women a place to assert their

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was quoted as saying: "I love editing. I think I like it more than any other phase of filmmaking. If I wanted to be frivolous, I might say that everything that precedes editing is merely a way of producing a film to edit." Film editing is significant because it shapes the narrative structure, visual

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consists of a series of short shots that are edited into a sequence to condense narrative. It is usually used to advance the story as a whole (often to suggest the passage of time), rather than to create symbolic meaning. In many cases, a song plays in the background to enhance the mood or reinforce

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These early film directors discovered important aspects of motion picture language: that the screen image does not need to show a complete person from head to toe and that splicing together two shots creates in the viewer's mind a contextual relationship. These were the key discoveries that made all

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Television shows typically have one assistant per editor. This assistant is responsible for every task required to bring the show to the final form. Lower budget features and documentaries will also commonly have only one assistant. Higher budget films and shows tend to have more than one assistant

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noted that the editing process is the one phase of production that is truly unique to motion pictures. Every other aspect of filmmaking originated in a different medium than film (photography, art direction, writing, sound recording), but editing is the one process that is unique to film. Filmmaker

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The final dimension that an editor has control over is the temporal relation between shot A and shot B. Editing plays a crucial role in manipulating the time of action in a film. It allows filmmakers to control the order, duration, and frequency of events, thus shaping the narrative and influencing

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The third dimension is the spatial relationship between shot A and shot B. Editing allows the filmmaker to construct film space and imply a relationship between different points in space. The filmmaker can juxtapose shots to establish spatial holes or construct a whole space out of component parts.

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The second dimension is the rhythmic relationship between shot A and shot B. The duration of each shot, determined by the number of frames or length of film, contributes to the overall rhythm of the film. The filmmaker has control over the editing rhythm by adjusting the length of shots in relation

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or edit dialogue scenes. 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. Editors usually play a dynamic role in the making of a film. An

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Early films were short films that were one long, static, and locked-down shot. Motion in the shot was all that was necessary to amuse an audience, so the first films simply showed activity such as traffic moving along a city street. There was no story and no editing. Each film ran as long as there

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According to “Film Art, An Introduction”, by Bordwell and Thompson, there are four basic areas of film editing that the editor has full control over. The first dimension is the graphic relations between a shot A and shot B. The shots are analyzed in terms of their graphic configurations, including

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Continuity editing, developed in the early 1900s, aimed to create a coherent and smooth storytelling experience in films. It relied on consistent graphic qualities, balanced composition, and controlled editing rhythms to ensure narrative continuity and engage the audience. For example, whether an

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contains scenes shot on sets of a telegraph station, a railroad car interior, and a dance hall, with outdoor scenes at a railroad water tower, on the train itself, at a point along the track, and in the woods. But when the robbers leave the telegraph station interior (set) and emerge at the water

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The word's association with Sergei Eisenstein is often condensed—too simply—into the idea of "juxtaposition" or into two words: "collision montage," whereby two adjacent shots that oppose each other on formal parameters or on the content of their images are cut against each other to create a new

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Mise en scene is the term used to describe all of the lighting, music, placement, costume design, and other elements of a shot. Film editing and Mise en scene go hand in hand with one another. A major part of film editing is the use of filters and adjusting the lighting in a shot. Film editing

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Modern film editing has evolved significantly since it was first introduced to the film and entertainment industry. Some other new aspects of editing have been introduced such as color grading and digital workflows. As mentioned earlier, over the course of time, new technology has exponentially

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defines an assistant editor as "a person who is assigned to assist an Editor. His or her duties shall be such as are assigned and performed under the immediate direction, supervision, and responsibility of the editor." When editing is finished, they oversee the various lists and instructions

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Filmmakers have explored alternatives to continuity editing, focusing on graphic and rhythmic possibilities in their films. Experimental filmmakers like Stan Brakhage and Bruce Conner have used purely graphic elements to join shots, emphasizing light, texture, and shape rather than narrative

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having lunch and then follow other people inside through the door. The second shot shows what they do inside. Paul's 'Cinematograph Camera No. 1' of 1896 was the first camera to feature reverse-cranking, which allowed the same film footage to be exposed several times and thereby to create

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When the film workprint had been cut to a satisfactory state, it was then used to make an edit decision list (EDL). The negative cutter referred to this list while processing the negative, splitting the shots into rolls, which were then contact printed to produce the final film print or

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or the insertion of material not often related to any narrative. Three of the most influential editors of French New Wave films were the women who (in combination) edited 15 of Godard's films: Francoise Collin, Agnes Guillemot, and Cecile Decugis, and another notable editor is

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in the 1920s. For him, the unique essence of the cinema — that which could be duplicated in no other medium — is editing. He argues that editing a film is like constructing a building. Brick-by-brick (shot-by-shot) the building (film) is erected. His often-cited

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in 1903. The film was the first American film with a plot, featuring action, and even a closeup of a hand pulling a fire alarm. The film comprised a continuous narrative over seven scenes, rendered in a total of nine shots. He put a dissolve between every shot, just as

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can then turn his or her full attention to collaborating with the editor and further refining the cut of the film. This is the time that is set aside where the film editor's first cut is molded to fit the director's vision. In the United States, under the rules of the

784:. When putting together some sort of video composition, typically, you would need a collection of shots and footages that vary from one another. The act of adjusting the shots you have already taken, and turning them into something new is known as film editing. 1476:

means of creating meaning. By contrasting unrelated shots he tried to provoke associations in the viewer, which were induced by shocks. But Eisenstein did not always do his own editing, and some of his most important films were edited by Esfir Tobak.

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will keep a record of continuity and provide that to the film editor for reference. The editor may try to maintain continuity of elements, or may intentionally create a discontinuous sequence for stylistic or narrative effect.

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There are several editing stages and the editor's cut is the first. An editor's cut (sometimes referred to as the "Assembly edit" or "Rough cut") is normally the first pass of what the final film will be when it reaches

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tower, the audience believes they went immediately from one to the other. Or that when they climb on the train in one shot and enter the baggage car (a set) in the next, the audience believes they are on the same train.

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actor's costume remains the same from one scene to the next, or whether a glass of milk held by a character is full or empty throughout the scene. Because films are typically shot out of sequence, the

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contributes to the mise en scene of a given shot. When shooting a film, you typically get shots from multiple angles. The angles at which you shoot from are all part of the film's mise en scene.

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Between graphic, rhythmic, spatial, and temporal relationships between two shots, an editor has various ways to add a creative element to the film, and enhance the overall viewing experience.

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editing often drew attention to itself by its lack of continuity, its demystifying self-reflexive nature (reminding the audience that they were watching a film), and by the overt use of

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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.

814:, technique and practice of assembling shots into a coherent sequence. The job of an editor is not simply to mechanically put pieces of a film together, cut off film 1275:

Often after the director has had their chance to oversee a cut, the subsequent cuts are supervised by one or more producers, who represent the production company or

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established that montage can lead the viewer to reach certain conclusions about the action in a film. Montage works because viewers infer meaning based on context.

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of the 1960s used a carefree editing style and did not conform to the traditional editing etiquette of Hollywood films. Like its Dada and surrealist predecessors,

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sense, that the contradiction between opposing ideas (thesis versus antithesis) is resolved by a higher truth, synthesis. He argued that conflict was the basis of

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In the early years of film, editing was considered a technical job; editors were expected to "cut out the bad bits" and string the film together. Indeed, when the

3587: 1252:. The film editor usually starts working while principal photography starts. Sometimes, prior to cutting, the editor and director will have seen and discussed " 1565:

As Dudley Andrew notes, "The collision of attractions from line to line produces the unified psychological effect which is the hallmark of haiku and montage."

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The organizational aspects job could best be compared to database management. When a film is shot, every piece of picture or sound is coded with numbers and

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where a pitched battle ensues. An armed party of British sailors arrived to defeat the Boxers and rescue the missionary's family. The film used the first "

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Morales, Morante, Luis Fernando (2017). 'Editing and Montage in International Film and Video: Theory and Technique, Focal Press, Taylor & Francis

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to show parallel action in different locations, and codifying film grammar in other ways as well. Griffith's work in the teens was highly regarded by

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The association of collision montage with Eisenstein is not surprising. He consistently maintained that the mind functions dialectically, in the

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The use of film editing to establish continuity, involving action moving from one sequence into another, is attributed to British film pioneer

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James Williamson concentrated on making films taking action from one place shown in one shot to the next shown in another shot in films like

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Early Russian filmmakers such as Lev Kuleshov (already mentioned) further explored and theorized about editing and its ideological nature.

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was briefly a student of Kuleshov's, but the two parted ways because they had different ideas of montage. Eisenstein regarded montage as a

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art, and never failed to see montage in other cultures. For example, he saw montage as a guiding principle in the construction of "

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editor must select only the most quality shots, removing all unnecessary frames to ensure the shot is clean. Sometimes, auteurist

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developed a system of editing that was unconcerned with the rules of the continuity system of classical Hollywood that he called

1608:. The classical style embraces temporal and spatial continuity as a way of advancing the narrative, using such techniques as the 1046:(1903), had a running time of twelve minutes, with twenty separate shots and ten different indoor and outdoor locations. He used 745: 666: 2396: 2682: 969: 962: 936: 2406: 2272: 1322: 98: 905:, made in 1898 and one of the first films to feature more than one shot. In the first shot, an elderly couple is outside an 2362: 141: 5199: 5120: 4072: 3573: 1693:

also pushed the limits of editing technique during the late 1950s and throughout the 1960s. French New Wave films and the

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Assistant editors aid the editor and director in collecting and organizing all the elements needed to edit the film. The

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of the 1920s, "montage" was a method of juxtaposing shots to derive new meaning that did not exist in either shot alone.

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S. M. Eisenstein and Richard Taylor, Selected works, Volume 1 (Bloomington: BFI/Indiana University Press, 1988), 164.

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was not part of the montage school, he was one of the early proponents of the power of editing — mastering

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practice, "montage" has its literal French meaning (assembly, installation) and simply identifies editing.

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was already doing, and he frequently had the same action repeated across the dissolves. His film,

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Post-production editing may be summarized by three distinct phases commonly referred to as the

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The further development of action continuity in multi-shot films continued in 1899–1900 at the

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Discussion and demonstration of a 16mm edit suite and the working environment within it

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the message being conveyed. One famous example of montage was seen in the 1968 film

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and other Soviet filmmakers and greatly influenced their understanding of editing.

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Film technique ; and Film acting : the cinema writings of V.I. Pudovkin

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meaning not contained in the respective shots: Shot a + Shot b = New Meaning c.

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style, was developed by early European and American directors, in particular,

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in which two independent ideographic characters ('shots') are juxtaposed and

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Before the Nickelodeon: Edwin S. Porter and the Edison Manufacturing Company

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Complete Guide to Film and Digital Production: The People and The Process

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The Film Editing Room Handbook: How to Tame the Chaos of the Editing Room

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Creative and technical part of the post-production process of filmmaking

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Translation of Russian language works by Eisenstein, who died in 1948.

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has seen faster editing styles with nonlinear, discontinuous action.

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Other filmmakers then took up all these ideas including the American

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editor, and in some cases, there can be a full team of assistants.

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Demonstration of editing 16mm film using a Steenbeck editing table

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On Film Editing: An Introduction to the Art of Film Construction

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Alternatives to traditional editing were also explored by early

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editing method to show simultaneous action in different places.

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Ellis, John; Hall, Nick (2017): ADAPT. figshare. Collection.

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Demonstration of Picsync machine by former BBC film editors

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catalog, February 1903, 2–3; reproduced in Charles Musser,

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Today, most films are edited digitally (on systems such as

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theorize about the relatively young medium of the cinema

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In the Blink of an Eye: a Perspective on Film Editing

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in England, where it was definitively established by

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(1991), 2215:(London: Oxford University Press, 1976), 52. 1920:Index of articles related to motion pictures 1878:The Cutting Edge: The Magic of Movie Editing 924:from 1898, was produced with Paul's camera. 1325:. Unsourced material may be challenged and 980:, then there is a cut to the garden of the 64:Learn how and when to remove these messages 5088: 4697: 4610: 4547: 4534: 4439: 4418: 4404: 4396: 4080: 4066: 4058: 3770: 3722: 3588: 3574: 3566: 3296: 3056: 3042: 3034: 2693: 2594: 2580: 2572: 2395:Jones, Chris; Jolliffe, Genevieve (2006). 2158:""A Tedious Job" – Women and Film Editing" 753: 739: 262: 1345:Learn how and when to remove this message 1083:The original editing machine: an upright 241:Learn how and when to remove this message 223:Learn how and when to remove this message 161:Learn how and when to remove this message 2213:The major film theories: an introduction 2180: 2178: 2145:https://doi.org/10.17637/rh.c.3925603.v1 1685:and their American counterparts such as 1168:has included many women editors such as 1078: 876: 186:This article includes a list of general 2022: 274: 2476:. Mentor Books. New American Library. 861:With the advent of digital editing in 1096:Before the widespread use of digital 7: 2225:Jacobs, Lewis (1954). Introduction. 1323:adding citations to reliable sources 1164:mark on the filmmaking process. The 887:, one of the first films to feature 780:which increasingly involves the use 99:adding citations to reliable sources 2507:. Silman-James Press. 2d rev. ed.. 1569:Continuity editing and alternatives 823:edit their own films, for example, 2300:Preston Sturges on Preston Sturges 1658:which starred famous Dada artists 1534:He also found montage in Japanese 192:it lacks sufficient corresponding 25: 2398:The Guerilla Film Makers Handbook 974:Attack on a China Mission Station 45:This article has multiple issues. 3549: 1459:Kuleshov was among the first to 1386: 1375: 1295: 720: 284: 177: 75: 34: 1259:When shooting is finished, the 86:needs additional citations for 53:or discuss these issues on the 2401:. A&C Black. p. 363. 2333:. Peachpit Press. p. xv. 2156:Galvão, Sara (15 March 2015). 1: 1743:According to writer-director 259:A film editor at work in 1946 1930:Motion Picture Editors Guild 1763:Motion Picture Editors Guild 1719:Since the late 20th century 1161:Motion Picture Editors Guild 2452:Towards a Theory of Montage 1032:Life of an American Fireman 942:As Seen Through a Telescope 939:. In that year, Smith made 5216: 5116:Computer-generated imagery 4921:Special effects supervisor 4769:Digital imaging technician 4346:Computer-generated imagery 3888:Unchained camera technique 2367:. CRC Press. p. 209. 2261:Walker, Alexander (1972). 1827:, for the director's call 1572: 1521:Door + Ear = Eavesdropping 1434:classical Hollywood cinema 1405:motion picture terminology 1396: 1266:Directors Guild of America 1217: 1211: 1098:non-linear editing systems 921:The Four Troublesome Heads 884:The Four Troublesome Heads 863:non-linear editing systems 5185:Film and video technology 4926:Visual effects supervisor 4546: 4533: 4451: 4438: 4051: 3773: 3545: 2036:BFI Screenonline Database 1524:Child + Mouth = Screaming 968:Even more remarkable was 4846:Utility sound technician 2432:Dmytryk, Edward (1984). 2418:– via GoogleBooks. 2384:– via GoogleBooks. 2350:– via GoogleBooks. 2284:– via GoogleBooks. 1530:Mouth + Bird = Singing." 1287:Mise en Scene vs Editing 874:was film in the camera. 803:which create a finished 799:and combining them into 359:Breaking down the script 18:Final cut (film editing) 5146:Unit still photographer 4831:Director of audiography 4560:Unit production manager 2436:. Focal Press, Boston. 2327:Hollyn, Norman (2009). 2264:Stanley Kubrick Directs 1444:Although film director 1092:Film editing technology 1057:The Great Train Robbery 1043:The Great Train Robbery 1015:The Great Train Robbery 988:" cut in film history. 957:Excerpt from the movie 478:Daily production report 207:more precise citations. 4836:Production sound mixer 4565:Production coordinator 4139:Dead-character costume 3001:Video editing software 2975:Post-classical editing 2547:Mewa Film User's Guide 2503:Murch, Walter (2001). 2361:Wales, Lorene (2015). 1754: 1721:Post-classical editing 1646:(director of the 1929 1514:into a concept. Thus: 1508:Japanese hieroglyphics 1128: 1112:such as a K.-E.-M. or 1088: 1064:Sometime around 1918, 1022: 965: 892: 260: 5106:Visual effects editor 5101:VFX creative director 4570:Production accountant 3810:multiple-camera setup 3264:Principal photography 2970:Soviet montage theory 2057:"The Brighton School" 1749: 1708:Marie-Josèphe Yoyotte 1599:The Birth of a Nation 1596:in his films such as 1527:Mouth + Dog = Barking 1488:2001: A Space Odyssey 1155:Women in film editing 1126: 1082: 1011: 956: 880: 782:of digital technology 485:Daily progress report 457:Film inventory report 438:Principal photography 258: 5200:Cinematic techniques 5025:Intimacy coordinator 4595:Production assistant 4231:Infrared photography 3597:Cinematic techniques 3502:Guerrilla filmmaking 3476:Digital distribution 3419:Digital intermediate 3259:Cinematic techniques 2990:Linear video editing 1809:Cinematic techniques 1654:(director of 1924's 1629:Intellectual montage 1545:On a leafless bough 1518:Eye + Water = Crying 1399:Montage (filmmaking) 1319:improve this section 1020:Edwin Stanton Porter 1018:(1903), directed by 910:super-positions and 655:Guerrilla filmmaking 95:improve this article 4789:Lighting technician 4645:Production designer 3224:Production schedule 2627:Attentional control 2552:Movie Making Manual 2063:on 24 December 2013 1695:non-narrative films 1677:filmmakers such as 1642:filmmakers such as 1590:classical Hollywood 1466:Kuleshov Experiment 1074:Kuleshov Experiment 933:George Albert Smith 399:Production schedule 5083:Technical director 4856:Re-recording mixer 4585:Script coordinator 4575:Assistant director 4514:Executive producer 4281:Tilted plane focus 4221:Forced perspective 4129:Costumed character 4114:Air bladder effect 3733:Wide / Long / Full 3537:First-dollar gross 2995:Non-linear editing 2965:Continuity editing 2448:Eisenstein, Sergei 2162:Critics Associated 2113:(1957). pp. 72–73. 1993:Point-of-view shot 1884:Edit decision list 1575:Continuity editing 1369:Two editing tables 1362:Methods of montage 1129: 1089: 1023: 966: 912:multiple exposures 893: 889:multiple exposures 406:One liner schedule 261: 5162: 5161: 5158: 5157: 5154: 5153: 5129: 5128: 5020:Acting instructor 4995:Movement director 4784:Best boy electric 4728: 4727: 4631: 4630: 4623:Storyboard artist 4580:Script supervisor 4529: 4528: 4393: 4392: 4389: 4388: 4266:Schüfftan process 4246:Multiple exposure 4159:Prosthetic makeup 4047: 4046: 4024:Freeze-frame shot 4009:Establishing shot 3876: 3875: 3783:Over-the-shoulder 3563: 3562: 3353: 3352: 3229:Shooting schedule 3031: 3030: 3016:Real-time editing 2980:In-camera editing 2917:Establishing shot 2828:Shot/reverse shot 2806: 2805: 2673:Multiple exposure 2564:Portal:Filmmaking 2474:The Liveliest Art 2461:978-1-84885-356-0 2304:Faber & Faber 2032:"Come Along, Do!" 2030:Brooke, Michael. 1998:Shot reverse shot 1978:Establishing shot 1757:Assistant editors 1732:Vsevolod Pudovkin 1683:François Truffaut 1625:Sergei Eisenstein 1618:Shot reverse shot 1614:Establishing shot 1582:script supervisor 1470:Sergei Eisenstein 1427:Soviet filmmaking 1355: 1354: 1347: 1110:"flatbed" machine 954: 833:Steven Soderbergh 763: 762: 471:Production report 413:Shooting schedule 251: 250: 243: 233: 232: 225: 171: 170: 163: 145: 68: 16:(Redirected from 5207: 5089: 4893:Music supervisor 4698: 4657:Costume designer 4611: 4600:Location manager 4590:Casting director 4548: 4535: 4471:Supporting actor 4440: 4420: 4413: 4406: 4397: 4366:Optical printing 4241:Lighting effects 4226:Front projection 4189:Theatrical blood 4149:Miniature effect 4124:Bullet hit squib 4082: 4075: 4068: 4059: 4002:Other techniques 3791: 3771: 3767:Camera placement 3723: 3590: 3583: 3576: 3567: 3554: 3553: 3552: 3507:Development hell 3437:Film distributor 3340:Costume designer 3317:Daily production 3297: 3291:Dailies (rushes) 3286:Daily call sheet 3214:Production board 3175:Script breakdown 3058: 3051: 3044: 3035: 2694: 2678:Optical illusion 2596: 2589: 2582: 2573: 2465: 2420: 2419: 2417: 2415: 2392: 2386: 2385: 2383: 2381: 2358: 2352: 2351: 2349: 2347: 2324: 2318: 2316: 2296:Sturges, Preston 2292: 2286: 2285: 2283: 2281: 2258: 2252: 2251: 2248:Internet Archive 2245: 2243: 2222: 2216: 2209: 2203: 2200: 2194: 2193: 2182: 2173: 2172: 2170: 2168: 2153: 2147: 2141: 2135: 2134: 2132: 2130: 2120: 2114: 2108: 2102: 2096: 2090: 2079: 2073: 2072: 2070: 2068: 2059:. Archived from 2053: 2047: 2046: 2044: 2042: 2027: 1941:Negative cutting 1825:Cut (transition) 1648:Un Chien Andalou 1556:(枯朶に烏のとまりけり秋の暮) 1482:montage sequence 1438:montage sequence 1390: 1379: 1350: 1343: 1339: 1336: 1330: 1299: 1291: 970:James Williamson 963:James Williamson 955: 937:James Williamson 881:Screenshot from 755: 748: 741: 725: 724: 723: 492:Daily editor log 464:Daily call sheet 385:Production strip 378:Production board 366:Script breakdown 288: 278: 263: 246: 239: 228: 221: 217: 214: 208: 203:this article by 194:inline citations 181: 180: 173: 166: 159: 155: 152: 146: 144: 103: 79: 71: 60: 38: 37: 30: 21: 5215: 5214: 5210: 5209: 5208: 5206: 5205: 5204: 5195:Film production 5165: 5164: 5163: 5150: 5125: 5087: 5055:Post-production 5049: 5040:Stunt performer 4968: 4930: 4913:Special effects 4907: 4851:Dialogue editor 4817: 4747:Camera operator 4724: 4696: 4687:Property master 4637: 4627: 4609: 4542: 4525: 4497: 4481:Character actor 4447: 4434: 4424: 4394: 4385: 4312: 4271:Shutter effects 4256:Rear projection 4192: 4091: 4089:Special effects 4086: 4057: 4043: 3997: 3954: 3881:Camera movement 3872: 3863:Worm's-eye view 3814: 3789: 3762: 3712: 3672: 3599: 3594: 3564: 3559: 3556:Film portal 3550: 3548: 3541: 3485: 3481:Streaming media 3423: 3397:Special effects 3359:Post-production 3349: 3295: 3240: 3219:Day out of days 3187:Shooting script 3161: 3118:film adaptation 3067: 3062: 3032: 3027: 3006:Offline editing 2953: 2932:External rhythm 2927:Internal rhythm 2910:Kuleshov effect 2893: 2884:180-degree rule 2872: 2841: 2802: 2771: 2723: 2692: 2641: 2622:Synchronization 2605: 2600: 2569: 2521: 2488:Further reading 2462: 2446: 2424: 2423: 2413: 2411: 2409: 2394: 2393: 2389: 2379: 2377: 2375: 2360: 2359: 2355: 2345: 2343: 2341: 2326: 2325: 2321: 2314: 2294: 2293: 2289: 2279: 2277: 2275: 2260: 2259: 2255: 2241: 2239: 2224: 2223: 2219: 2211:Dudley Andrew, 2210: 2206: 2201: 2197: 2184: 2183: 2176: 2166: 2164: 2155: 2154: 2150: 2142: 2138: 2128: 2126: 2122: 2121: 2117: 2109: 2105: 2097: 2093: 2080: 2076: 2066: 2064: 2055: 2054: 2050: 2040: 2038: 2029: 2028: 2024: 2014: 2009: 1946:Outline of film 1925:Kuleshov effect 1891:Film transition 1788:180-degree rule 1783: 1759: 1745:Preston Sturges 1737:Stanley Kubrick 1729: 1699:French New Wave 1691:John Cassavetes 1679:Jean-Luc Godard 1675:French New Wave 1610:180 degree rule 1577: 1571: 1548:One autumn eve. 1401: 1395: 1394: 1393: 1392: 1391: 1382: 1381: 1380: 1371: 1370: 1364: 1351: 1340: 1334: 1331: 1316: 1300: 1289: 1230: 1224:Offline editing 1216: 1214:Post-production 1210: 1208:Post-production 1166:history of film 1157: 1137:Final Cut Pro X 1094: 1027:Edwin S. Porter 1002:The Big Swallow 982:mission station 948: 929:Brighton School 902:Come Along, Do! 871: 791:works with raw 770:post-production 759: 727:Film portal 721: 719: 712: 711: 677: 660: 659: 640: 632: 631: 623: 622: 589: 579: 578: 570: 569: 552:Special effects 517: 515:Post-production 507: 506: 450:Shooting script 426: 418: 417: 392:Day Out of Days 354: 344: 343: 298: 276: 247: 236: 235: 234: 229: 218: 212: 209: 199:Please help to 198: 182: 178: 167: 156: 150: 147: 104: 102: 92: 80: 39: 35: 28: 23: 22: 15: 12: 11: 5: 5213: 5211: 5203: 5202: 5197: 5192: 5187: 5182: 5177: 5167: 5166: 5160: 5159: 5156: 5155: 5152: 5151: 5149: 5148: 5143: 5137: 5135: 5131: 5130: 5127: 5126: 5124: 5123: 5118: 5113: 5108: 5103: 5097: 5095: 5093:Visual effects 5086: 5085: 5080: 5075: 5070: 5065: 5059: 5057: 5051: 5050: 5048: 5047: 5042: 5037: 5032: 5027: 5022: 5017: 5012: 5007: 5002: 4997: 4992: 4987: 4982: 4976: 4974: 4970: 4969: 4967: 4966: 4961: 4956: 4951: 4949:Visual effects 4946: 4940: 4938: 4932: 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Arthur 2467: 2460: 2444: 2422: 2421: 2407: 2387: 2374:978-1317349310 2373: 2353: 2340:978-0321702937 2339: 2319: 2312: 2287: 2273: 2253: 2217: 2204: 2195: 2174: 2148: 2136: 2115: 2103: 2101:(1957). p. 25. 2091: 2081:Originally in 2074: 2048: 2021: 2020: 2013: 2010: 2008: 2007: 2002: 2001: 2000: 1995: 1990: 1985: 1980: 1975: 1963: 1958: 1953: 1951:Re-edited film 1948: 1943: 1938: 1933: 1927: 1922: 1917: 1912: 1911: 1910: 1905: 1899: 1887: 1881: 1874: 1869: 1868: 1867: 1862: 1857: 1852: 1847: 1842: 1837: 1822: 1816: 1811: 1806: 1801: 1795: 1793:30-degree rule 1790: 1784: 1782: 1779: 1758: 1755: 1728: 1725: 1660:Marcel Duchamp 1573:Main article: 1570: 1567: 1554: 1553: 1552: 1551: 1550: 1549: 1542:A lonely crow 1532: 1531: 1528: 1525: 1522: 1519: 1446:D. W. Griffith 1442: 1441: 1430: 1423: 1397:Main article: 1385: 1384: 1383: 1374: 1373: 1372: 1368: 1367: 1366: 1365: 1363: 1360: 1353: 1352: 1303: 1301: 1294: 1288: 1285: 1238:director's cut 1228:Online editing 1212:Main article: 1209: 1206: 1198:Blanche Sewell 1190:Adrienne Fazan 1186:Anne V. Coates 1182:Barbara McLean 1178:Margaret Booth 1156: 1153: 1133:Media Composer 1093: 1090: 1038:Georges Méliès 916:Georges Méliès 907:art exhibition 897:Robert W. Paul 870: 867: 825:Akira Kurosawa 821:film directors 805:motion picture 761: 760: 758: 757: 750: 743: 735: 732: 731: 730: 729: 714: 713: 710: 709: 704: 699: 694: 689: 684: 678: 675: 674: 671: 670: 662: 661: 658: 657: 652: 647: 641: 639:Related topics 638: 637: 634: 633: 630: 629: 621: 620: 614: 609: 602: 598: 597: 596: 590: 585: 584: 581: 580: 577: 576: 568: 567: 561: 554: 550: 549: 548: 543: 538: 532: 531: 525: 524: 518: 513: 512: 509: 508: 505: 504: 500: 499: 494: 488: 487: 481: 480: 474: 473: 467: 466: 460: 459: 453: 452: 447: 441: 440: 434: 433: 431:Cinematography 427: 424: 423: 420: 419: 416: 415: 409: 408: 402: 401: 395: 394: 388: 387: 381: 380: 374: 373: 368: 362: 361: 355: 352:Pre-production 350: 349: 346: 345: 342: 341: 335: 334: 332:Film budgeting 329: 323: 322: 317: 311: 310: 308:Film treatment 305: 299: 294: 293: 290: 289: 281: 280: 272: 271: 249: 248: 231: 230: 185: 183: 176: 169: 168: 110:"Film editing" 83: 81: 74: 69: 43: 42: 40: 33: 26: 24: 14: 13: 10: 9: 6: 4: 3: 2: 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4781: 4780: 4777: 4775: 4772: 4770: 4767: 4763: 4760: 4758: 4755: 4753: 4750: 4749: 4748: 4745: 4743: 4740: 4739: 4737: 4735: 4731: 4721: 4720:Scenic design 4718: 4716: 4713: 4711: 4710:Matte painter 4708: 4707: 4705: 4703: 4699: 4693: 4690: 4688: 4685: 4683: 4680: 4678: 4677:Set decorator 4675: 4673: 4670: 4668: 4665: 4663: 4660: 4658: 4655: 4651: 4648: 4647: 4646: 4643: 4642: 4640: 4634: 4624: 4621: 4620: 4618: 4616: 4612: 4606: 4603: 4601: 4598: 4596: 4593: 4591: 4588: 4586: 4583: 4581: 4578: 4576: 4573: 4571: 4568: 4566: 4563: 4561: 4558: 4557: 4555: 4553: 4549: 4545: 4541: 4536: 4532: 4520: 4519:Line producer 4517: 4515: 4512: 4511: 4510: 4509:Film producer 4507: 4505: 4502: 4500: 4499:Film director 4496: 4492: 4489: 4487: 4484: 4482: 4479: 4477: 4476:Ensemble cast 4474: 4472: 4469: 4467: 4466:Leading actor 4464: 4462: 4459: 4458: 4457: 4454: 4453: 4450: 4446: 4441: 4437: 4432: 4428: 4421: 4416: 4414: 4409: 4407: 4402: 4401: 4398: 4382: 4379: 4377: 4374: 4372: 4369: 4367: 4364: 4362: 4359: 4357: 4354: 4352: 4349: 4347: 4344: 4341: 4337: 4334: 4332: 4329: 4327: 4324: 4323: 4321: 4319: 4315: 4309: 4306: 4302: 4301:Speed ramping 4299: 4297: 4294: 4292: 4289: 4288: 4287: 4284: 4282: 4279: 4277: 4274: 4272: 4269: 4267: 4264: 4262: 4259: 4257: 4254: 4252: 4249: 4247: 4244: 4242: 4239: 4237: 4234: 4232: 4229: 4227: 4224: 4222: 4219: 4217: 4214: 4212: 4209: 4207: 4204: 4203: 4201: 4199: 4195: 4190: 4187: 4185: 4182: 4180: 4177: 4175: 4172: 4170: 4167: 4165: 4162: 4160: 4157: 4154: 4150: 4147: 4145: 4142: 4140: 4137: 4135: 4134:Creature suit 4132: 4130: 4127: 4125: 4122: 4120: 4117: 4115: 4112: 4109: 4105: 4102: 4100: 4098: 4094: 4090: 4083: 4078: 4076: 4071: 4069: 4064: 4063: 4060: 4054: 4053: 4050: 4040: 4037: 4035: 4032: 4030: 4027: 4025: 4022: 4020: 4017: 4015: 4012: 4010: 4007: 4006: 4004: 4000: 3994: 3991: 3987: 3984: 3982: 3979: 3977: 3974: 3972: 3969: 3968: 3967: 3964: 3963: 3961: 3957: 3951: 3948: 3946: 3943: 3941: 3940:Walk and talk 3938: 3936: 3933: 3931: 3928: 3926: 3923: 3921: 3918: 3916: 3913: 3911: 3908: 3904: 3901: 3900: 3899: 3896: 3894: 3891: 3889: 3886: 3885: 3883: 3879: 3869: 3866: 3864: 3861: 3859: 3856: 3854: 3851: 3849: 3846: 3844: 3841: 3839: 3836: 3834: 3831: 3829: 3826: 3825: 3823: 3821: 3817: 3811: 3807: 3804: 3802: 3799: 3797: 3794: 3792: 3786: 3784: 3781: 3779: 3776: 3775: 3772: 3769: 3765: 3759: 3756: 3754: 3751: 3749: 3746: 3744: 3741: 3739: 3736: 3734: 3731: 3730: 3728: 3724: 3721: 3719: 3715: 3707: 3706:Sound effects 3704: 3702: 3699: 3697: 3694: 3693: 3692: 3689: 3687: 3684: 3683: 3681: 3679: 3675: 3669: 3666: 3664: 3661: 3659: 3656: 3654: 3651: 3649: 3646: 3644: 3641: 3639: 3636: 3634: 3631: 3629: 3626: 3624: 3621: 3619: 3616: 3614: 3611: 3610: 3608: 3606: 3602: 3598: 3591: 3586: 3584: 3579: 3577: 3572: 3571: 3568: 3558: 3557: 3544: 3538: 3535: 3533: 3530: 3528: 3525: 3523: 3522:Film industry 3520: 3518: 3515: 3513: 3510: 3508: 3505: 3503: 3500: 3498: 3495: 3494: 3492: 3488: 3482: 3479: 3477: 3474: 3472: 3469: 3465: 3462: 3460: 3457: 3455: 3452: 3451: 3450: 3447: 3443: 3440: 3439: 3438: 3435: 3434: 3432: 3430: 3426: 3420: 3417: 3415: 3414:Negative cost 3412: 3408: 3405: 3403: 3400: 3399: 3398: 3395: 3393: 3390: 3388: 3385: 3383: 3380: 3378: 3375: 3373: 3370: 3368: 3365: 3364: 3362: 3360: 3356: 3346: 3343: 3341: 3338: 3336: 3333: 3330: 3328: 3325: 3323: 3320: 3318: 3315: 3313: 3310: 3308: 3305: 3304: 3302: 3300:Daily reports 3298: 3292: 3289: 3287: 3284: 3280: 3277: 3275: 3272: 3270: 3267: 3266: 3265: 3262: 3260: 3257: 3255: 3252: 3251: 3249: 3247: 3243: 3235: 3232: 3231: 3230: 3227: 3225: 3222: 3220: 3217: 3215: 3212: 3208: 3205: 3203: 3200: 3199: 3198: 3195: 3193: 3190: 3188: 3185: 3181: 3178: 3177: 3176: 3173: 3172: 3170: 3168: 3164: 3158: 3157:Working title 3155: 3153: 3150: 3146: 3143: 3142: 3141: 3138: 3136: 3133: 3129: 3126: 3124: 3121: 3119: 3116: 3114: 3111: 3109: 3106: 3105: 3104: 3101: 3099: 3096: 3092: 3089: 3088: 3087: 3084: 3082: 3079: 3078: 3076: 3074: 3070: 3066: 3059: 3054: 3052: 3047: 3045: 3040: 3039: 3036: 3022: 3021:Vision mixing 3019: 3017: 3014: 3012: 3009: 3007: 3004: 3002: 2999: 2996: 2993: 2991: 2988: 2987: 2986: 2985:Video editing 2983: 2981: 2978: 2976: 2973: 2971: 2968: 2966: 2963: 2962: 2960: 2956: 2948: 2947:Stock footage 2945: 2943: 2940: 2939: 2938: 2935: 2933: 2930: 2928: 2925: 2923: 2920: 2918: 2915: 2911: 2908: 2907: 2906: 2905:Reaction shot 2903: 2902: 2900: 2896: 2890: 2887: 2885: 2882: 2881: 2879: 2875: 2869: 2868:Walk and talk 2866: 2864: 2861: 2859: 2856: 2854: 2851: 2850: 2848: 2844: 2838: 2834: 2831: 2829: 2826: 2824: 2821: 2819: 2818:Cut on action 2816: 2815: 2813: 2809: 2799: 2796: 2794: 2791: 2789: 2788:Invisible cut 2786: 2784: 2781: 2780: 2778: 2774: 2768: 2765: 2763: 2760: 2758: 2755: 2753: 2750: 2746: 2743: 2742: 2741: 2738: 2736: 2733: 2732: 2730: 2726: 2720: 2717: 2715: 2712: 2710: 2707: 2705: 2702: 2701: 2699: 2695: 2689: 2686: 2684: 2681: 2679: 2676: 2674: 2671: 2669: 2666: 2664: 2663:Eyeline match 2661: 2659: 2656: 2654: 2651: 2650: 2648: 2644: 2638: 2635: 2633: 2630: 2628: 2625: 2623: 2620: 2618: 2615: 2614: 2612: 2608: 2604: 2597: 2592: 2590: 2585: 2583: 2578: 2577: 2574: 2570: 2565: 2562: 2561: 2560: 2559: 2553: 2550: 2548: 2545: 2544: 2543: 2542: 2536: 2533: 2531: 2528: 2526: 2523: 2522: 2518: 2514: 2513:1-879505-62-2 2510: 2506: 2502: 2500: 2499:1-138-24408-2 2496: 2492: 2491: 2490: 2489: 2483: 2482:0-02-564210-3 2479: 2475: 2471: 2468: 2463: 2457: 2453: 2449: 2445: 2443: 2442:0-240-51738-5 2439: 2435: 2431: 2430: 2429: 2428: 2410: 2404: 2400: 2399: 2391: 2388: 2376: 2370: 2366: 2365: 2357: 2354: 2342: 2336: 2332: 2331: 2323: 2320: 2315: 2313:0-571-16425-0 2309: 2305: 2301: 2297: 2291: 2288: 2276: 2270: 2266: 2265: 2257: 2254: 2249: 2238: 2234: 2230: 2229: 2221: 2218: 2214: 2208: 2205: 2199: 2196: 2191: 2187: 2186:"Esfir Tobak" 2181: 2179: 2175: 2163: 2159: 2152: 2149: 2146: 2140: 2137: 2125: 2119: 2116: 2112: 2111:Arthur Knight 2107: 2104: 2100: 2099:Arthur Knight 2095: 2092: 2088: 2084: 2078: 2075: 2062: 2058: 2052: 2049: 2037: 2033: 2026: 2023: 2019: 2018: 2011: 2006: 2005:Video editing 2003: 1999: 1996: 1994: 1991: 1989: 1986: 1984: 1981: 1979: 1976: 1974: 1971: 1970: 1969: 1968: 1964: 1962: 1959: 1957: 1954: 1952: 1949: 1947: 1944: 1942: 1939: 1937: 1934: 1931: 1928: 1926: 1923: 1921: 1918: 1916: 1913: 1909: 1906: 1903: 1900: 1898: 1895: 1894: 1893: 1892: 1888: 1885: 1882: 1880: 1879: 1875: 1873: 1870: 1866: 1863: 1861: 1858: 1856: 1853: 1851: 1848: 1846: 1843: 1841: 1840:Cross-cutting 1838: 1836: 1833: 1832: 1830: 1826: 1823: 1820: 1817: 1815: 1812: 1810: 1807: 1805: 1802: 1799: 1796: 1794: 1791: 1789: 1786: 1785: 1780: 1778: 1776: 1771: 1767: 1764: 1756: 1753: 1748: 1746: 1741: 1738: 1733: 1726: 1724: 1722: 1717: 1715: 1714: 1713:The 400 Blows 1709: 1704: 1700: 1696: 1692: 1688: 1684: 1680: 1676: 1671: 1667: 1665: 1661: 1657: 1653: 1649: 1645: 1641: 1637: 1632: 1630: 1626: 1621: 1619: 1615: 1611: 1607: 1606: 1601: 1600: 1595: 1594:D.W. Griffith 1591: 1586: 1583: 1576: 1568: 1566: 1563: 1562: 1557: 1547: 1546: 1544: 1543: 1541: 1540: 1539: 1537: 1529: 1526: 1523: 1520: 1517: 1516: 1515: 1513: 1509: 1505: 1501: 1496: 1492: 1490: 1489: 1483: 1478: 1475: 1471: 1467: 1462: 1457: 1455: 1451: 1450:cross-cutting 1447: 1439: 1435: 1431: 1428: 1424: 1421: 1417: 1416: 1415: 1412: 1410: 1406: 1400: 1389: 1378: 1361: 1359: 1349: 1346: 1338: 1328: 1324: 1320: 1314: 1313: 1309: 1304:This section 1302: 1298: 1293: 1292: 1286: 1284: 1282: 1278: 1273: 1271: 1267: 1262: 1257: 1255: 1251: 1245: 1243: 1239: 1235: 1229: 1225: 1221: 1215: 1207: 1205: 1203: 1199: 1195: 1191: 1187: 1183: 1179: 1175: 1174:Anne Bauchens 1171: 1167: 1162: 1154: 1152: 1150: 1144: 1142: 1138: 1134: 1125: 1121: 1117: 1115: 1111: 1107: 1103: 1099: 1091: 1086: 1081: 1077: 1075: 1071: 1067: 1062: 1059: 1058: 1051: 1049: 1048:cross-cutting 1045: 1044: 1039: 1034: 1033: 1028: 1021: 1017: 1016: 1010: 1006: 1004: 1003: 998: 994: 989: 987: 986:reverse angle 983: 979: 975: 971: 964: 960: 946: 944: 943: 938: 934: 930: 925: 923: 922: 917: 913: 908: 904: 903: 898: 890: 886: 885: 879: 875: 868: 866: 864: 859: 856: 852: 848: 844: 840: 838: 837:Coen brothers 834: 830: 829:Bahram Beyzai 826: 822: 817: 813: 808: 806: 802: 798: 794: 790: 785: 783: 779: 775: 771: 767: 756: 751: 749: 744: 742: 737: 736: 734: 733: 728: 718: 717: 716: 715: 708: 705: 703: 702:Screenwriting 700: 698: 695: 693: 690: 688: 685: 683: 680: 679: 673: 672: 669: 668: 664: 663: 656: 653: 651: 648: 646: 643: 642: 636: 635: 628: 625: 624: 618: 615: 613: 610: 608: 604: 603: 601: 595: 592: 591: 588: 583: 582: 575: 574:Negative cost 572: 571: 565: 562: 560: 556: 555: 553: 547: 544: 542: 539: 537: 534: 533: 530: 527: 526: 523: 520: 519: 516: 511: 510: 502: 501: 498: 495: 493: 490: 489: 486: 483: 482: 479: 476: 475: 472: 469: 468: 465: 462: 461: 458: 455: 454: 451: 448: 446: 443: 442: 439: 436: 435: 432: 429: 428: 422: 421: 414: 411: 410: 407: 404: 403: 400: 397: 396: 393: 390: 389: 386: 383: 382: 379: 376: 375: 372: 369: 367: 364: 363: 360: 357: 356: 353: 348: 347: 340: 337: 336: 333: 330: 328: 325: 324: 321: 318: 316: 313: 312: 309: 306: 304: 301: 300: 297: 292: 291: 287: 283: 282: 279: 273: 269: 265: 264: 257: 253: 245: 242: 227: 224: 216: 206: 202: 196: 195: 189: 184: 175: 174: 165: 162: 154: 143: 140: 136: 133: 129: 126: 122: 119: 115: 112: – 111: 107: 106:Find sources: 100: 96: 90: 89: 84:This article 82: 78: 73: 72: 67: 65: 58: 57: 52: 51: 46: 41: 32: 31: 19: 5175:Film editing 5068:Sound editor 5062: 5035:Stunt double 5030:Stage combat 5010:Talent agent 4980:Acting coach 4903:Orchestrator 4898:Music editor 4861:Foley artist 4752:Focus puller 4650:Art director 4504:Screenwriter 4376:Split screen 4371:Smallgantics 4361:Match moving 4169:Pyrotechnics 4119:Animatronics 3959:Lens effects 3820:Camera angle 3808: / 3691:Non-diegetic 3547: 3449:Film release 3429:Distribution 3372:Re-recording 3367:Film editing 3366: 3279:Videographer 3140:Film finance 3098:Step outline 2863:Slow cutting 2837:Flashforward 2823:Contrast cut 2811:Storytelling 2783:Fast cutting 2683:Split screen 2637:Parallel cut 2617:Choreography 2603:Film editing 2602: 2568: 2557: 2556: 2540: 2539: 2504: 2487: 2486: 2473: 2451: 2433: 2427:Bibliography 2426: 2425: 2412:. 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