Russian Filmmaker Exploits Drunk Baby!!

film camera drunk baby2Zee Russians are always handy scapegoats for any number of things, da?

In this case, I’m talking about one particular Russian’s film editing brainstorm from the early 1900’s that has a direct effect on YOUR editing today, no matter the project or your editing experience or software.

Keep reading for the drunk baby part.

A certain Soviet filmmaker conducted a film editing experiment in the early 20th century where he showed a shot of an expressionless man, then a shot of a bowl of soup. Back to the man, same expression.

Then a shot of a body in a casket. Back to the man, same expression.

Then to a shot of a woman in a bikini. Back to the same man, same expression.

Audiences at the time remarked at the remarkable breadth of emotion portrayed by the actor – hunger for the soup, sadness at the body in the casket, lust for the scantily clad woman.

But it was the exact same shot of the actor every single time. The differences in the actor’s “reactions” only existed in the mind of the audience by virtue of how the shots were edited together.

This is what is known to generations of film students as The Kuleshov Effect, named for its founder, Soviet filmmaker Lev Kuleshov.

Behold! Through the modern miracle of YouTube, here is the original sequence.

And here’s a cool alternate explanation of the Kuleshov Effect by none other than Alfred Hitchcock. He doesn’t call it the Kuleshov Effect, but it’s the exact same idea: Continue reading

A fable of bagels, coffee, and future editing success

bagels and coffee IMG_5965-smAn editing fable for your consideration:

A team of executives at a major three-letter TV network give each other high fives over the continuously large viewer numbers on their hit show.

The executives draft a note to the large group of producers and editors who bring this hit show into being every week:

“Thank you so much for your hard work this season. The show has become a phenomenon thanks to everyone’s efforts, and we just can’t say ‘thank you’ enough.”

The note is delivered to the offices of said producers and editors atop a ribbon-wrapped gift basket whose contents fill an entire table in the kitchen with a princely spread of bagels, pastries, 6 tubs of cream cheese, and 4 gallon-sized cartons of piping hot coffee with real sugar, fake sugar, cream, stir sticks, the whole nine yards.

Editors #1 and #2 walk into the kitchen and read the note taped on the wall above the spread of food.

“Aww. That’s so cool!” says Editor #1 with a smile. “That doesn’t happen very often these days. They didn’t have to do that.”

“Yeah,” agrees Editor #2. “We really don’t ask for much, just some acknowledgement of our work. Crazy how good that feels.”

Word of the unusual spread of goodies travels through the offices. The kitchen is soon filled with editors and producers.

Editor #3 walks in and reads the note with a snort of disdain. Continue reading

Case Study: 3 Huge Tips to Create Huge Emotion In Your Video Editing

emoticons2You’re four years old, and your mean uncle tells you the story of the Child-Eating Monster Under Your Bed.

Is four-year-old you gonna have an emotional reaction to that?

You kiddin’ me?!

You have nightmares for months. You wet your bed repeatedly.

And you remember that time in your life to this very day.

Why? Because you were scared out of your four-year-old mind, and you felt it to the very core of your being.

one grenHUGE TIP #1: 
The stories that leave the biggest impact on us are the ones that make us FEEL something. Therefore, always look to enhance the emotional impact of your pieces, even if your piece might not seem to be emotionally driven.

I kid you not, this is one of the most important things we can accomplish as editors and storytellers – to tell a story in such a way that the audience gets emotional as a result.

Now here’s one of the easiest things to use to your advantage:

Time, by letting emotion build as you tell longer stories.

That’s why movies are so effective in completely transporting us to different worlds – the movies run 90 minutes or longer, and we’re just sitting there watching. Every minute that ticks by is another minute where the storyteller gains more control over our attention and emotions.

Of course, if you’re gonna tell a long story, you better have a really good story that is deemed worthy of the audience’s time.

And let’s face it: at the end of the day, the bulk of the stories we tell either in person or through editing will be short.

And for the same above reason of time, short form editing is often harder than one might think. You only have a matter of seconds sometimes to put your audience in an emotional state.

Because of this, my practice is: Continue reading

Didgeridoo in church

didgeridoo playerWe’re suckers for singular moments that stand out. Floods of information wash over us, and the vast majority of it, for one reason or another, doesn’t stick.

Every once in a while, though, something does, and it leaves a mark. An impression, a reference point.

These moments usually evoke a distinct feeling or emotion in our minds.

Sometimes these singular moments leave their mark for minutes, others literally leave a mark for the rest of our lives.

Case in point:

This past Sunday, my wife and I were standing in church, singing along with the band. As of this writing, I can’t even remember which songs we sang.

Here’s what I do remember:

As the stage full of musicians came to the end of a fairly loud song with everyone playing at once, everyone stopped playing except for the keyboardist holding out one sustained chord on a synth pad… Continue reading

Am I actually creative?

Who in their right mind would disagree that this is an example of creativity?
Who in their right mind would disagree that this is an example of creativity?

I’ve heard editors wonder at times: “Am I creative?  Really, genuinely creative? I’m not writing a screenplay, I’m not directing the shoot, I’m just the editor putting together stuff that other people handed off to me.

“Is that actual creativity?”

Consider a similar scenario.

Chantel, my wife, regularly questions whether she’s at all creative in the kitchen.

“I could never come up with these recipes on my own,” she tells me with a sad shake of her head. “I mean, how on earth do people figure out all these random ingredients to put together into a brand new thing?”

She then proceeds to examine the recipe at hand with a practiced eye.

“Are you kidding me? This says it’ll take 15 minutes to prepare. Not a chance.”

She strides over to the cabinets that hold the needed ingredients.

Saint, Minister of Propaganda and VP of Canine at The Power Edit, perks up from his position under the kitchen table to gauge his chances of scoring a snack from food falling on the floor.

“The recipe says to use half a cup. I think I’ll make that a quarter cup,” Chantel announces. She decides on an alternate ingredient to make up the extra quarter cup.

“What do you think about wine to go with this?” she asks, striding around the kitchen island to give a quick stir to the bubbling contents of a saucepan on the stove, sticking a spoon in for a quick taste.

“Hmm,” I say. “Well, what about –“

“Needs a little something more,” she mumbles distractedly before I can finish. She opens up the spice cabinet, spins the rotating platter of spice bottles until she finds just the right one. Continue reading

Why cutting on the beat is KILLING your edit

Hey, it's corn. Fascinating stuff.
Look, it’s a cornfield! More on this in a bit.

Years ago, I edited a music video containing shots of the artists walking down various sidewalks and alleys until they ran into each other.  The song was a hipster-ish, minimally produced track, and I started experimenting with jump cuts of the artists walking on specific beats of the music track.  It worked pretty well, and both the director and I were happy.

Unfortunately, for a while after cutting that video, I relied too heavily on idea of putting the edits right on the beats of the music.  What worked well for a hipster music video looked downright clunky in other contexts.

And time after time, amateur and professional editors alike try to “give the piece more energy” and “add some flash” by doing edits – usually a bunch of them – right on the beats of the music.  Sometimes it works, often it doesn’t.

Here’s why:

Choosing an edit point exactly on a noticeable music beat calls attention to the edit.

Which of course raises a question that goes far beyond just editing of music:

Do you want your audience to notice the edit?

Now like many questions in life, it’s difficult to answer this question with a simple “yes” or “no”.  Personally, speaking in broad strokes, I strive for my editing to be invisible, for nothing to call attention away from whatever message I want to communicate.  So in most cases, I’d say “no, I don’t want the edit to be noticeable.”

Having said that, there are times when my job as an editor is to present something in an engaging, energetic way, but the subject matter just kind of sits there and does nothing exciting.  Like a cornfield in Iowa.  In that case, I may very well want to add extra edits to the beats of the music to say “Hey, check out this cornfield.  Isn’t it cool?!”

Trust me. Cornfields are anything but riveting. I have permission to say this because I spent a good chunk of my younger years growing up in Iowa.

So yes, there will be times when you do want to call attention to your edit point by putting it directly on a music beat.  More often than not, though, you will want to keep the edit point OFF the beat… and let the ACTION in the shot do the talking.

This is just one of my Top 5 Tips For Picking The Perfect Edit Point Every Single Time that I’ve used over and over again throughout my career editing TV here in Hollywood for some of the biggest media outlets in the world.

These ideas work on literally any project, whether you’ve been cutting for decades or mere days, no matter your editing tools.

See the instant improvement in your editing when you check them out here.

Fat paycheck or trip to the ER?

Emergency-RoomLast week sucked. Bad.

Not only were editing deadlines upon me – NBC wants two hours of TV a week from us – but for the better part of the week, I had a strained chest muscle, a random swelling in my elbow with spidery streaks of red stretching down my arm, and a temperature that peaked somewhere around 102.5. And flu symptoms that left me feeling like I got hit by a 20-ton grip truck.

Twice. In the same place.

Those who know me will attest that I barely ever get so much as a sniffle. I maybe get a little 2-day cold twice a year, and that’s about it. It’s literally been years since my temperature crossed into triple digits.

As to the chest thing, well, I’m not exactly sure how that happened. I have some ideas, but nothing for sure. That’ll just take some time to rebuild itself.

The flu – as much as it sucks, I know that it’s temporary. The achy, sensitive skin, hit-by-a-truck feeling usually goes away in a couple days or so with the fever.

But that whole swollen elbow thing with the streaks going down my arm?

That ain’t cool.

I texted an elbow selfie to my wife, and she proceeded to freak out.

I didn’t though… because I knew what it was. I’d experienced this sort of thing before.

It was a number of years ago when I was still a freewheeling bachelor. I was cutting on a really cool show with really cool people… and we put in REALLY long hours. As in every week, I as the senior editor had to pull an all-night edit, chugging 7-11 coffee and Monster drinks just to get a complete pass at an episode for the weekly network screening.

One Saturday (weekends were pretty normal on this gig too), my executive producer was in the bay with me and happened to see my leg.

“Holy ****, Jefe, what is up with your ankle?!” Continue reading

Editor lunch ala Steve Jobs

I eat the same take-out lunch every weekday when I’m editing. Come lunch hour, I pick up the phone and order what everyone at Sharky’s Woodfired Mexican Grill knows as The Usual: a half-sized Power Plate with chicken and a double serving of grilled vegetables.

Sharky's Power PlateOh, Power Plate. How I love thee.

Some folks say, “Jeff, how on earth can you stand to eat the same food every day?” Easy – it keeps me mentally sharp. It’s protein and veggies with almost no processed carbohydrates… which means that nasty mid-afternoon crash that happens all the time to everyone else doesn’t happen to me.

At least not anymore… eat tortilla chips with that Power Plate, and it’s a different story – 2:30 rolls around, and I’m about to fall off my chair in the bay from sleepiness.

But eating the same lunch every day is about more than avoiding the Afternoon Carb Crash – and here’s where Steve Jobs jumps into the picture, more on him in a bit – Continue reading

Why brown candy matters

Eddie Van HalenRock star legend Eddie Van Halen became notorious for a clause in his contract forbidding the presence of brown M&Ms in the backstage candy bowl at his concerts.  Here’s the flip side of that story and why it matters.

aretha franklin performingCelebrities have had all sorts of random requirements included in their contracts over the years.  Aretha Franklin contractually insists that her hotel rooms must never be higher than the 5th floor, and that all air vents must be taped shut.

john kerryJohn Kerry, when appearing for speaking engagements, requires a recumbent (not upright) exercise bike.

Though in the heyday of big hair rock and roll, Van Halen’s prohibition of brown M&Ms was particularly singled out with disgust as the classic example of rock stars run amok with infantile delusions of grandeur. Most of those critics never found out what you’re about to read. Continue reading

Defending your choices – or not

A week ago today, I was in Crazy Man Mode. My team and I put on a three-hour live webcast, opening up a private meeting of our Los Angeles-based Power Edit Academy coaching group to the public. We screened Academy member edits and interacted with Power Edit friends from all around the world.

It was pretty sweet, and folks watching the livecast asked some really great questions. Here’s one of them taken from the event transcripts:


How do you argue for a music cue you really think works? It can be so subjective. Sometimes producers want almost everything changed.

Answer from Jeff

You’re absolutely right. A lot of the times it comes down to “It’s their project not ours.” And a lot of the time we as editors say, “This is what I offer out of my experience and out of my gut, and if it meshes with the people who are making the decisions, fantastic. If it’s not, it’s not my piece. It’s not ultimately my responsibility.”

Now it IS my responsibility to do everything within my power to make sure that the piece is as good as humanly possible. Continue reading

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