This movement shot is more urgent than a scene of them sitting and discussing the problem. Nothing is worse than a section that drags on with meaningless dialogue and no action.
Edits are made to carefully support the illusion of a continuous track shot, and are only made in support of the overall stylistic goal. The editor must have plenty of film to work with when deciding where to make that pivotal cut. Let us know in the comments below.
He used his own experience to pave the way for future editors. He understood that the film itself was the most important product. The movement of a scene is one of its most important parts. His techniques are important. Further in the clip, when the movie transitions to a ship, there is a shot of the ship from afar to show the audience where the film has moved.
However he understood that the flashing light added to the drama of the scene and decided to leave it in.
This is why the cast and crew used to greet her after a long take, knowing that she would see these scenes and cut them for the perfect action sequence. At the end of the day, Dmytryk stressed that the substance of the film was paramount to all of his rules.
The scene is not in one continuous shot, so the editor must create continuity and make the actions look the same throughout each take, editing down the shot so that it looks like the actor never stops moving.
In order to maintain fluidity in a film, cuts must be as precise as possible — especially in action films where two shots will be fast-paced and must be perfectly timed. When undecided about the exact frame to cut on, cut long rather than short.
The examples below will show how his rules are still used in contemporary films today. Never make a cut without a positive reason. These rules are an excellent resource for New York Film Academy students in our digital editing programs.On Film Editing: An Introduction to the Art of Film Construction.
In On Film Editing, Dmytryk contends that many technicians and professionals on the film crew-- from the cameraman and his assistants to the producer and director-- must understand film editing to produce a truly polished work.
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Edward Dmytryk photos, including production stills, premiere photos and other event photos, publicity photos, behind-the-scenes, and more.
In On Film Editing, director Edward Dmytryk explains, in clear and engaging terms, the principles of film editing, using examples and anecdotes from almost five decades in the film industry, offering a masterclass in film and video editing.
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