Acknowledgments
Introduction
Film Editor Biographies
1. PROJECT ORGANIZATION
Cards on a Wall
Project Organization
Scene Bin Organization
Scene Bin Organization with JPEG Markers
Selects or KEM Rolls
Sequence Organization
Organizing a Timeline Layout
ScriptSync
2. APPROACH TO A SCENE
Screening Dailies (Rushes)
Watching Dailies Backwards
Finding a Starting Place
Fast and Rough to Start
Using Select Reels
3. PACING AND RHYTHM
Pacing is Musical
What Determines Pacing?
Letting it Breathe
Pacing Due to Screen Size
4. STRUCTURE
Length of First Assembly
Working the First Assembly
Hitting Beats
Structure
Intercutting
Killing Your Babies and Eliminating Shoe Leather
Screening
First Assembly in TV
5. STORYTELLING
Editing is Foundational to Storytelling
Speaking into the Script
Character
Perspective
Structure
A Student of Story
6. PERFORMANCE
Editing as Stewardship
Finding the Performance
Performance That Tells the Story
Shaping Performance
Editing Bracketed Performances
Using Audio from Different Takes Than Picture
Split Screen: The Invisible Weapon
Performance Needs Context
7. SOUND DESIGN
Sound to Sell Visual Edits
Selling the Environment
Collaboration with Sound Team and Assistants
ADR (Automated Dialogue Replacement)
8. MUSIC
The Purpose of Temp Music
Choosing Temp Music
Cutting Without Temp
Songs and Diegetic or "Source" Music
Temping a Franchise Film
Using Score
9. COLLABORATION
Landing the Gig
Styles of Collaboration
Notes
Social Skills
Don’t Edit the Way You Think the Director Wants
TV’s Collaborative Environment
10. DOCUMENTARY
Schedule
Approaching the Material
ScriptSync
Shot Selection
Pacing and Rhythm
Structure
Sound Design
Music
Collaboration
Notes and Revisions
Miscellaneous Documentary Wisdom
11. MISCELLANEOUS WISDOM
How Did You Break Into the Business?
Emotion
Geography
Learn From Your Mistakes
How Do You Judge the Editing of Others?
Steve Hullfish is a feature film and TV editor with credits including, "Courageous," "War Room," "Champion" and the theatrically-released feature documentary, "Clinton Inc." Hullfish is the author of five other books, including The Art and Technique of Digital Color Correction and Avid Uncut. Hullfish also trains editors and colorists around the world.
"The greats like Schoonmaker and (the late) Coates are here. But so
are the current blockbuster cutters like Eddie Hamilton . . . their
methods and style are as individual as the individual themselves.
And you as a reader will find yourself muttering ‘Absolutely’ or
‘Nope…that does not work for me.’ And you find yourself seated at
the table as this masterclass is going on. And it’s a really big
freakin’ table."—Book Review, by Jonathan Dowler, Canadian Cinema
Editors"Steve Hullfish has interwoven great swathes of interview
and made them flow like a well-constructed movie. You get
concentrated information fired at you from the most eclectic,
dynamic range of editors from all genres, mediums and nationalities
. . . Most editors, when asked how they do what they do (a question
we are all perhaps a little tired of now) answer ‘Instinct!’ This
marvellous book is the first I’ve read (sourced from many horses’
mouths rather than books written from a single perspective) to
refute that. There are concrete techniques to learn here as well as
aesthetic considerations that stay our hand or entice an ‘I’ and an
‘O’ on a favoured shot. There is something for every editor on
every page whether they’re new to the industry or, like myself,
with many decades behind me."—Book Review by Alan Miller, GBFTE’s
First Frame, Spring 2018Art of the Cut may indeed be the essential
tool for the cutting room. Here is a reference where you can
immediately see how our contemporaries deal with the complexities
of editing a film. In a very organized manner he guides the reader
through approaching the scene, pacing and rhythm, structure,
storytelling, performance, sound design and music. I am placing
this book on my shelf of editing books and I urge others to do the
same.—Jack Tucker, ACE"In addition to having ready access to the
experiences of so many editors in one volume, the book also makes
great use of its formatting, structure and layout to enhance the
learning experience and make sure you take away some practical
wisdom."—Jonny Elwyn, Film Editor
"The greats like Schoonmaker and (the late) Coates are here. But so
are the current blockbuster cutters like Eddie Hamilton . . . their
methods and style are as individual as the individual themselves.
And you as a reader will find yourself muttering ‘Absolutely’ or
‘Nope…that does not work for me.’ And you find yourself seated at
the table as this masterclass is going on. And it’s a really big
freakin’ table."—Book Review, by Jonathan Dowler, Canadian Cinema
Editors"Steve Hullfish has interwoven great swathes of interview
and made them flow like a well-constructed movie. You get
concentrated information fired at you from the most eclectic,
dynamic range of editors from all genres, mediums and nationalities
. . . Most editors, when asked how they do what they do (a question
we are all perhaps a little tired of now) answer ‘Instinct!’ This
marvellous book is the first I’ve read (sourced from many horses’
mouths rather than books written from a single perspective) to
refute that. There are concrete techniques to learn here as well as
aesthetic considerations that stay our hand or entice an ‘I’ and an
‘O’ on a favoured shot. There is something for every editor on
every page whether they’re new to the industry or, like myself,
with many decades behind me."—Book Review by Alan Miller, GBFTE’s
First Frame, Spring 2018Art of the Cut may indeed be the essential
tool for the cutting room. Here is a reference where you can
immediately see how our contemporaries deal with the complexities
of editing a film. In a very organized manner he guides the reader
through approaching the scene, pacing and rhythm, structure,
storytelling, performance, sound design and music. I am placing
this book on my shelf of editing books and I urge others to do the
same.—Jack Tucker, ACE"In addition to having ready access to the
experiences of so many editors in one volume, the book also makes
great use of its formatting, structure and layout to enhance the
learning experience and make sure you take away some practical
wisdom."—Jonny Elwyn, Film Editor
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