Picture the quick-cut transitions and comedic editing style of any Edgar Wright movie (the work of the editor, the flash-bulb cuts and freeze frames of Martin Scorcese films, or the frantic and fabulous opening scene in City of God. These are all different types of edits and cuts that one can make when putting together a story. A good example of the importance of editing is YouTube content. To bring in views there are a number of things you need to do. You can use a shortcut to gain views, and for buying more views on youtube you can go here to find out how. But without this method, your video quality needs to be top-notch. So let’s break down the different editing techniques you could use.
Before the digital era, video editing was done with videotape decks linked together. Editors would use the source deck to play the segments of video they wanted to edit into the program while using the record deck to record the clips into the master program. Thus, editing had to be done in sequential, or linear, order. A non-linear editor like VEGAS Pro allows you to work on your program in any order you want, compiling the final program when you’re finished. Non-linear editors are non-destructive; they do not change your media files. Whatever you do while editing – cuts, effects, color grading, etc. — is saved to the project file, not to your media files. When you export your edited video, the NLE creates entirely new video files, leaving the original files alone.
A jump cut is when a single shot is broken with a cut that makes the subject appear to jump instantly forward in time. Whereas most editing techniques are designed to “hide” the edit, a jump cut is a stylistic choice that makes the edit completely visible. Some filmmakers believe jump cuts are inherently bad because they call attention to the constructed and edited nature of the film. They are seen as a violation of typical continuity editing, which seeks to give a seamless appearance of time and space to the story. A jump cut differs from a match cut in that the latter aims to create a seamless transition between two separate scenes. The usual goal of a match cut is to draw a metaphorical comparison between two different objects, subjects, or settings.
Assembling a rough cut is a key step in the Post-Production timeline for a film. A rough cut in the film is far from the only type of rough-cut. Rough cuts are also key to film-adjacent professions as well such as in the television and advertising industries. Directors, editors, assistant editors, VTR operators, and producers can all be involved with rough cuts, so anyone interested in these filmmaking roles will end up working hands-on with a rough cut eventually. Technically speaking, the first edited version of a film is the “assembly cut.” You could say that the assembly cut is the first iteration of the rough cut, or that the rough cut follows the assembly cut as its own phase.
Colour correction refers to adjusting white and black levels, exposure, contrast, and white balance to give you an image with accurate, unprocessed-seeming colors. The point of color correction is to ensure that subsequent color adjustments have more precision, and do not yield unintended results.
The other purpose of color correction is to create visual consistency for your footage and scenes. You want them to match for better flow.