Video Editing / Film Editing: Essential Cuts | Communicate Through Transition | Film in Flame | Skillshare

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Video Editing / Film Editing: Essential Cuts | Communicate Through Transition

teacher avatar Film in Flame, Filmmaking Teacher

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.



    • 2.

      The Standard Cut


    • 3.

      Seamless Cuts


    • 4.

      Jarring Cuts


    • 5.

      Animation Cuts


    • 6.

      Final Words


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About This Class

Video Editing and Essential Cuts in Film:

Editing is one of the most important parts of making a video content. Whether it's a film, a vlog, or an advertise video, at one point, you gotta edit your videos. And nowadays, with Cinema, Vimeo, Youtube, Instagram, and the high demand for video content, Editing has become an important skill for everyone.

"Movies become art after editing." - Alejandro G. Iñárritu

In this short class, you're gonna understand 13 essential cuts in video editing and their usages with lots of examples, so you can use them to your advantage and tell your story better.

Here are The Essential Cuts you're gonna learn in this class:

1. The Standard Cut

2. Seamless Cuts

  • Cutting on Action
  • Match Cut
  • L-Cut and J-Cut
  • Invisible Cut

3. Jarring Cuts

  • Jump Cut
  • Smash Cut
  • Cross Cut
  • Montage
  • Cutaway

4. Animation Cuts

  • Cross Dissolve
  • Fade In - Fade Out
  • Wipe

Film in Flame teaches film making; but you can use these cuts in any editing session, be it narrative, documentary, commercial, industrial, or even animation.

I hope you enjoy the class.

Meet Your Teacher

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Film in Flame

Filmmaking Teacher


Film in Flame is an online film magazine which is interested in films that are in flames.

We have such great passion for filmmaking that it makes us smile as large as the half-moon. We love great editings, big emotions, and the moments when you can feel the heat of genius in a film.

We study great masters; and here, we are to share what we’ve learned from them with you. We are willing to teach you all the aspects of filmmaking. Of course, that isn’t possible! Cause many things can’t be learned on a phone or in front of a computer. You gotta get your hands dirty in the work. But we’re gonna try our best to give you the primary knowledge so you can do the rest.

I hope you like our contents, and I wish you good luck.

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Level: Beginner

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1. Trailer: As Mr Coppola said, Theus sense of cinema is editing. Editing means inside Feli putting a clip after another As an editor, you're gonna half 24 choices a second to cut to the next clip. And when you finally decide to come again, you're gonna have different choices because there exist different kinds of cutting. In this class, we go food, the essential costs and editing. Try to investigate their usages, Ellicott some examples of each so you know them and use them to your vanished. Tell your story better. This class is a sense shown for filmmakers, screenwriters and beginner feel. Editors. Film and flame teaches filmmaking, but you can use these same cuts in any editing session. Be narrative, documentary, commercial, industrial or even animation. Not I should know what this glasses about. Let's begin 2. The Standard Cut: standard car, also known as the heart card. It's the basic type of card in editing. It puts two clips to get her connecting the last frame, a want and beginning frame off the next. The standard cut is very common and can be seen in any type of scene. Although the Satyr cut provides the least amount of visual meaning on its own, it's the most important cut in filmmaking. The meaning and emotion that the standard cut provides are highly dependent on the content of the clips that are being connected to each other. For example, if you show a man beating his dog and then cut to a clip off a woman, a smiling than woman and her smiling will seem evil. But it's said if you show a baby happily playing in the park and then cut to the very same clip off that woman, a smiling that woman and here smiling will seem sweet, so the meaning of a shot can change depending on what it's gonna be connected to with the standard car. And that's the importance of editing in movies. Besides the meaning because of movies often mostly made off the standard cuts the standard cut plays the most important role in the rhythm and the pacing of the editing of a fail. How can you establish a good rhythm when you're editing? You need to know how much time is necessary to give the audience a breather to absorb a moment or when to trim and cut out of a shot before it lingers on for too long and Vance a matter of instinct, it cannot be taught as much as it is felt. You will know when you have made a good editing decision. When it feels right emotionally. Imagine a scene that two people going to room and close the door behind them. You can cut instantly and show the people in the room. Or you can let the audience stay behind the closed door for a while to give them an uneasy feeling. Whatever you decide to do as an editor, you should have an emotional reason for your decisions. 3. Seamless Cuts: or the cost you some tricks to make it flow in connectivity, the moments off car, so you don't notice them that much. And even if you notice them, you still get a feeling off low and continuity, and it won't be jarring to you. Here are some of the essentials cutting on action Cutting on action is what it sounds like . The editor comes from one shot to another and matches the action off the shots. The technique of cutting on action is a huge component. Off action fails, but it can also be used on subtle action as well. Your film will develop a better floor if you caught on action instead of waiting for pauses . This results in a much smoother transition in a way that sometimes you don't even notice them. Match card. A match God is a cut from one shot to another, where two shots are matched by the action or composition or subject matter. Here are some examples. A match. God gives a context and continuity to the scene and pushes it in a certain direction without disorienting the viewer. It's most effective when you need to move the narrative along, but she need to find a way to connect them to get her seamlessly. And it's also great for showing contrast. Making a simile or metaphor. Elkhart and Jake are J and L counts are incredibly common. They get their names from how'd eclipse lineup in the editing software, and Elkhart is used when you want to have audio from the first clip. Continue when the next clip comes in. So the audience is looking at the second clip, but a still hearing audio from the first clip. It makes you still hear the previous scene and related with what you're seeing Now here are some examples they don't serve fried chicken and watermelon on a daily basis. In my mess hall dream last night you were in time. The J card is the opposite, where the audio from the second clip comes in. When you are sale, sing the first clip. So the audience is a sale. Looking at the first clip, but hearing audio from the second clip, it gives you an idea what the next scene is gonna be before you see it. Here are some examples. Then hide me somewhere somewhere, really buried. I can't. I gotta go home shutting so the go invisible car. The goal of these types of cuts is to keep the shot looking like one continuous take. You can replicate this by filling the end of one frame entirely with something black or low let, or of a similar color in general and blending it with the beginning of the next clip. Here are some examples or doing something like a whip pan at the end of one shot, and it's starting in another shot with a weapon in the same direction off the previous shot and then connect those shots within the pan to make it invisible. Here are some examples 4. Jarring Cuts: jarring cuts don't ever try to be invisible, but on the other hand, they have meaning and emotion within them and are great tools for telling some part of your stories. Here are some of the essentials Jump card jump Khat is a con that pushes for war in time. It's normally done within the same frame or composition smash card. If you've got a loud seen that immediately goes to a quiet scene or vice versa, this is where you use the smash car. You want to use it when you're transitioning between two completely different scenes, emotions or narratives, and you need to make an abrupt transition. Here are some examples Well begun is half done. Cross card parallel editing Cross card, also known as parallel editing, is where you car between two different scenes that are happening at the same time in different spaces. When done effectively, you can tell two simultaneous stories that wants, and the information being given to the audience will make complete sense. Utilizing this type of car, you'll need to be careful in how you structure your multiple storylines. If not done correctly, you'll just confuse the audience more. Here are some examples montage. A montage is an editing technique that is normally underscored by music, and it uses quick comes to signify the passage of time. It also helps given overall context to the story. You will often see athletes training or preparing for a big matching montages, but it can really be use for almost any type of context. Here is an example, and cut away cutaways are used primarily as transition pieces to give the audience a view of what is happening outside of the main characters environment. This also goes a long way in helping you emphasize the specific details off the Maison San and allowing you to add meaning to them. They give extra context of the scene and can create mawr tension on foreshadowing. Here are some examples 5. Animation Cuts: animation cults or the cults that take a little time to be finished. They don't happen instantly. Here are some of the essentials Cross dissolve. Cross dissolve is a gradual transition or one clip to another. It's when eclipse slowly becomes invisible and at the same time the next collapse slowly becomes visible. Here are some examples. - Fade in, fade out, fed and fade out is pretty self explanatory. It's the combination of fading out on fading and you fade out one clip and fade in the other. This implies a passage of time like and night today switch or someone falling. Sleep here is an example. Wipe the wife is a transition that uses an animation that wipes the first scene way into the next scene. There are basic wives and their arm or complex wants. If used wisely, they can represent that the journey is still continues, but when done poorly, they can be seen as corny or cheesy, and sometimes people use them poorly on purpose. As a joke, 6. Final Words: congratulations for finishing the class. Don't forget to leave a review on help. Others to make a choice about this class on, please follow film, Inflame form or classes on filmmaking. Thank you for watching this Class Audio's.