Camcorder Masterclass Index
Editing: Jump cuts, cut-aways and cut-ins

During our discussion about camera heights and angles Ron said "When making Pandas of Peking (which finished midway in our video club's newcomers competition) I video'd from several positions but the edited version didn't look right. For instance, one shot finished with a panda, sitting down and chewing a bamboo shoot but, by the time I got round to the next one, the beast had got up and was walking away. How can I get over this problem?" In "How to edit in-camera" we referred to this familiar situation which arises whenever the camcorder is stopped and restarted during the course of an action. The effect, which is also present when the subject has inexplicably moved, in the succeeding shot, to a different location is known as a "jump-cut".

Another form of jump-cut arises where, instead of moving the camcorder and changing the angle for, say, a long shot, followed by, a medium shot and/or a close up, the operator reframes with the zoom lens and shoots from the same position. In this instance the subject will appear to jump forward on the screen. In most cases obvious jump-cuts may distract the viewer and the editor will therefore wish to avoid them - but see below.

Use Buffer Shots

The usual remedy is to sandwich one or more cut-aways and/or cut-ins between the jumped action shots. This disguises the continuity break by inferring that the unseen part of the action occurred during the period of the buffer shots.

• A cut-away is an object or person within the vicinity of the action, but not directly involved. Spectators at a sporting event, stained glass windows and flowers etc. at a church wedding are typical examples.
• A cut-in is within the action but may not (unless otherwise required) show the actual stage of the activity. Perhaps it is a big close up of the eyes of a potter at work, or his feet moving the treadle.

Before inserting buffer shots the editor must ensure that they match the scene, otherwise the viewer may be puzzled and the illusion of time compression spoilt. That doesn't mean they couldn't have been shot elsewhere - merely that they look authentic and fit the action.

Cut-aways and cut-ins can also be used to expand real-time, sometimes for the purpose of creating suspense; a situation generally more pertinent to drama movies. We've all seen the mountaineer fighting for his life as his rope starts fraying, strand by strand. You'll notice that between each strand breaking there are buffer shots of the climber; his feet desperately trying to get a toe-hold; his swaying body, determined face and grasping hands, all dragging out the a moment when we learn whether he survives. When editing you can't have too many buffer shots. Ideally, two buffers for each action shot. If there's a surplus - so what - you've had more choice.

Jumping on Purpose

Occasionally, rather than use cut-aways etc. to condense time an experienced movie-maker deliberately initiates a series of jump-cuts. 15 minutes of a glass-worker making an ornate vase, becomes 50 seconds of a dozen or so brief close ups of all the salient operations such as heating, rolling, twisting and blowing the glass. The final shot is the completed product. Done properly the audience will accept that time has been compressed and, the change of pace created by the boom-boom treatment adds variety and maximises impact. This approach is frequently used in TV adverts.

A final tip, which really pertains to filming but will assist the editor. Concentrate on getting the action shots. Cut-aways and frequently cut-ins, can be taken before or after the action, or, if necessary, faked.

Camcorder Masterclass Index
Camerawork: Drag the audience into the action

We have recently seen about 20 videos made by newcomers and, with few exceptions, because they contained very few close ups, they failed to impress. The audience must feel involved. We make no apologies for repeatedly labouring this point, throughout our lessons, it is so important. I told Eric and Ron "In our club when you see a newcomer's work containing lots of close-ups it's odds on that within a short time that person will be amongst the competition prize-winners. Even if you don't intend to enter competitions there's no reason why you shouldn't aim for winning standards."

The trouble seem to be a natural reluctance, when shooting, to invade other peoples personal space, a trait which has to be overcome. It had not been surmounted by a so-called professional, whose work I recently viewed, (with frequent use of fast-forward). He'd made an incredibly bad and boring wedding video, commencing with twenty minutes of guests arriving at the church. The overlong, often hose-piping, sequence was shot from the opposite side of the road, with many of the shots being nicely framed between a bonnet and boot of two parked cars. The rest of the two hour video was little better.

We're not suggesting that you poke the camcorder in people's faces, that is objectionable (the professionals do it all the time - Ed). Instead, use your loaf. You will frequently find that in crowd situations, especially at carnivals and the like (and most certainly weddings), it is easy to shoot close ups without so much as a by-your-leave, whilst on other occasions it is better to consult the intended victims. They usually consent. You'll soon become aware of the best approach, but if in doubt, ask.

Apart from just looking good on the screen, close ups can constitute an integral part of a movie, such as in the glass-worker sequence referred to earlier. I once made a competition film for the theme "Out of the frying pan into the fire". We decided to create an air of mystery, so the first few minutes consisted almost entirely of close ups of a big fry-up being cooked, served and eaten. Apart from hands, faces, the food, and about a dozen pair of feet (the first clue) beneath a very long table, there was no indication as to the location or who was involved. The second clue came when an alarm bell sounded, followed by the feet rapidly moving from the table and then hands dumping the plates, containing partially uneaten meals, by a serving hatch. From thereon other types of shots revealed the setting, commencing with firemen sliding down the pole and setting off to the fire. Thanks to the co-operation of the fire service and the close ups, the film was well received.

When shooting close ups of faces remember that with the lens at the wide-angle position the shot may distort prominent features such as the nose. It is unlikely to flatter. So set the lens a little higher up the scale and experiment. This will enable you to judge the best setting for future occasions.