Providing and Withholding Information

Often editors will show someone looking at something, but with hold what it is that the person is looking at. They will then withhold this information for the audience. This will build tension to the scene. For example, the shot is in a close up of someones face and this person is astonished at what they can see, but then it cuts to a different shot, or scene that is about something else happening in the film, make the audience want to know what that was person was shocked about.

Motivated

Film Makers and Editors use shot motivation to drive the narratives forward, this is when one shot completely motivates the following shot. For example, we see shots being fired at a person, just like James Bond. Naturally the audience of this film will want to see the effect of the shots being fired the person and then there is a reason to cut to the victim to see what happens after that gun shot. After the shot that has shown James Bond getting shot, the audience will also want to see what happens immediately.

Editorial Rhythm

Editorial Rhythm is how fast or slow the editorial pace is and how the pace changes through the sequence depending on how many cuts the editor chooses to use in a given sketch film time. So for example, in a action, during a fight scene, if there are explosions the editor might decide to put that shot in slow motion. This adds tension and adds impact to the fight. It could also make the audience enjoy this fight scene and then hopefully enjoy the overall whole film.

Cutting and Splicing

Cutting and Splicing is when you cut scenes out of rushes and then you splice the shot before the cutting shot and after the cutting shot. How they used to do, or even people still do it now, is they would use a Flatbed to cut out shots that they don't want and also splice in shots that they want. The editor will make these decisions, while the Director leaves it in there hands. Sometimes the editor will not like two shots that are together, so the editor will go to his Rushes Log and try to find a shot that they would want to splice in between the two shots, making the scene flow smoothly. The editors assistant will get told by the editor to find them a shot that he/she has decided from the rushes log, that can flow smoothly between these two shots. After that the editor will cut the two shots and then splice in the new shot in between the two shots.

Jump Cutting

The camera technique, 'Jump Cutting', only occurs when the angle between shots of different distance and size has not been varied quite efficiently. The resulting effect is a jolt, this is when the shots are cut together. Jump cuts were often used in the films that are in the french new wave; as directors tried to brake with condition.

Parallel Editing

Parallel Editing is where you cut backwards from the entire action from only one sequence to the action ostensibly. An ostensibly unrelated scene in order to fully abstract and imply relationship between the two. At the start it cuts to the first person and that may be brushing their teeth and then the the camera cuts to the second person, also brushing their teeth. So this implies the two people doing the same thing at the same time. Eventually when it cuts from each of them doing the same, or similar things at the same time, at the end they meet and then that is the end of the sequence.

Crosscutting

Crosscutting is where we cut the entire action from one sequence at a point where that complete action has reached a high level of drama, to a completely use of action. The only reason the Crosscutting technique is used, is to only leave in suspense about for example, what happens next in the scene cut away from. This greatly raises both tension and suspense as the audience actively imagines possible chances.