Bingo Night Karate - Cuts Worth Watching
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BINGO NIGHT KARATE: CUT 1
Editor: Nick Phillippi
BINGO NIGHT KARATE: CUT 2
Editor: Mike Pelosi
Partial Notes From EditStock:
- 0:04 - I would start this scene in the close ups of Master Ken and go wide when the class does something or when he starts walking around. Yes, a wide shot establishes a scene, but wide shots are even more dynamic when something exciting is happening in them. For example if the whole class throws a punch then you want to show the wide shot. The way you edited it is not wrong, but I would experiment doing it another way.
- 0:09 - After this shot - who does he own? You need to show those people. That's how you cut a "dining room table scene". That's also what makes them so hard at first.
- 0:50 - When he says "fists up" we want to see the whole class in that big wide shot. Then cut to her putting her fists up. Pick the take where she raises her hands the fastest.
- 0:53 - This is a "pop cut" if you remember from the free sample. You should not cut to the sample camera position very often. You should cut to a shot where the camera angle changes by at least 30 degrees.
BINGO NIGHT KARATE: CUT 3
Editor: Mike Pelosi
Comments For Mike: This is the third version of Mike's cut after he worked through the notes. Look at how far this cut came!
Most new editors (not that Mike is new), want to avoid notes as much as possible because they are lazy about doing more work or don't like being critiqued. However, the more times you go over a cut the more good ideas you have. In any given day an editor only has say 10 good ideas and 90 bad ones. The next day when they re-edit the 90 bad ideas they come up with 10 more good ones. By the end any project an editor should only be left with the 100 good ideas, which is a culmination of many levels of refinement. Great work Mike!
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