“In a certain sense editing is cutting out the bad bits, the tough question is, What makes a bad bit? ”
In Chapter Three we examine the editorial phase of short form content creation. We begin our examination by looking at how important structure is for short form. We then lay out how all properly constructed short form work will have the following elements: A beginning, middle and end that each do unique things and an explicit separation of all major ideas and concepts.
We then turn our attention to what makes individual edits work in short form and begin by laying out the the basic mechanics behind a successful edit.
- The last frame of any shot should be the exact moment where what you want to communicate has been transmitted and not a frame longer.
- For the incoming shot, there must be an immediate and clearly recognized object of interest within the frame.
- The third piece of the puzzle is that each shot must comment and build upon the shot that has preceded it.
VIDEO SAMPLES
Chapter Three
“… structure is imperative to all of the arts, but short form content, with its condensed narratives, rapid shifts in time and space, and need to quickly communicate numerous concepts, is absolutely dependent upon a solid foundation.”
The Art of Short Form Content
“Shapes and movement help define visual editing. It’s an editing feeling more than a sense. Meaning that some things feel weird. You can’t put your finger on why it’s weird – it just is.”
Josh Bodnar – Emmy Award-Winning Editor, Whitehouse Post
“Match cutting, in addition to the flutter cutting, helps the brain piece together the missing elements of one shot and connect them to a different, yet similar shot, making you feel as if it’s one flowing piece of footage. In the end it’s a magic trick.”
Josh Bodnar – Emmy Award-Winning Editor, Whitehouse Post
THE ART OF SHORT FORM CONTENT
Copyright 2016 Bryan Cook. All Rights Reserved