Noam Kroll considers a few non-technical approaches that could improve your editing.
If you’ve been editing for any substantial amount of time, you probably have fallen into some sort of rhythm or workflow that helps you get through every project. Many editors are accustomed to choosing their shots based on general editing principles that will always get the job done, but don’t always translate to the best final product.
For example, the most common approach to a scene would be to use a wide shot to introduce it, then cut to the coverage of each respective character (usually closeups), inject cutaways as needed, and possibly go back to the wide to end the scene. This formula in my opinion is very TV-like and doesn’t leave a lot of room for creativity.
There are many issues that come along with working in this fashion, but perhaps the biggest oversight when editing this way is that the wide shot is completely underused. While there may be instances that you want to intentionally avoid wide shots in the edit to create a certain mood, in many cases they can give the audience a break from the usual coverage and help to emotionally guide them through the scene.
Cutting to a wide is especially helpful during comedic moments that might live in a dramatic film (and that you don’t want to feel too funny), as the wide shot will make it less personal and allow the viewer to feel more like an observer than a participant.
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