# Don't EDIT Scenes Without BEATS ## Метаданные - **Канал:** This Guy Edits - **YouTube:** https://www.youtube.com/watch?v=u3R9aYt4EeE - **Дата:** 17.11.2024 - **Длительность:** 12:38 - **Просмотры:** 28,229 - **Источник:** https://ekstraktznaniy.ru/video/18124 ## Описание Showing a key scene from Mission Impossible, pro editor Josh Beal, ACE shows how editors break down scenes into beats and use story turns for editing strategies. ★- - - - - - - - - - - - - - - - - - - - - - - - - - - ★ THIS GUY EDITS (TGE) is a YouTube channel by film editor Sven Pape, an A.C.E. award nominee whose credits include work for directors James Cameron, Joseph Gordon-Levitt, and Sundance filmmaker Mark Webber. ➜ MY FREE MINI-COURSE- https://secreteditinghacks.com ➜ ONLINE EDITING TRAINING- https://thegotoeditor.com ★- - - - - - - - - - - - - - - - - - - - - - - - - - - ★ ## Транскрипт ### Segment 1 (00:00 - 05:00) [] (glass shattering) (suspenseful music) - [Sven] Josh Beal is a top editor cutting on big television shows like "House of Cards", "Jupiter's Legacy", and "Outer Range". In this video you get to experience how he breaks down a script into beats and story terms to prepare his edits. Using an example of "Mission Impossible", the one directed by Brian De Palma, he lays out a clear cut strategy, how an editor gets ready to cut a scene. All this in this video. - You follow me? - Yeah, I follow. - I wanted to talk about reading scripts. Before you even start editing, you have to read the script, and you have to kind of think about it and analyze it, and that's gonna begin to inform your cut in a way before you even sit down with footage. So that's what we're gonna talk about today. But first, what's a slug line? I'm gonna show you a screenplay. A slug line usually has three, sometimes kind of four components. It's either gonna say interior or exterior. It just tells you whether it's an indoor scene or an outdoor scene. Then it's giving you a location, where it takes place, and a time of day. Then this is action. You've got your parentheticals also with dialogue, like this, reassuringly, those are things that you're sort of looking for when you're reading it, obviously to kind of understand what the screenwriter's intent for performance might be. When you first get a script, is simply to read it. Try to do it in one sitting and just read it to enjoy it and try to visualize it. And then you're gonna pick it up and read it again the next day. And this time you'll probably make some notes. I'm looking to see how the script then is structured in its totality, and then that kind of is broken into acts. And if you're working in television, that might literally be broken into acts. And if you study screenwriting a little bit, which I do recommend any editor do, because screenwriting and editing are very closely related, it's gonna help you kind of wrap your head around the superstructure of the story of the narrative. After acts, you have sequences. Sequences are groupings of scenes that all have the same sort of narrative. After sequences, of course, you have scenes, I think everybody knows what a scene is, but how many people are familiar with the term of a beat? It's literally a beat is a building block for the scene. A beat is like a smaller component. It's like a scene within a scene. It's delineated by, like, a change in topic, who's driving the scene? It's a change in direction within a scene that starts a new idea within the scene. So like a classic example of that might be thriller or something where you have two characters talking in the shadows, and then all of a sudden one of them pulls a gun and reveals that they are in fact the mole. And so the scene was one thing until that gun comes out and the scene takes a very noticeable turn. So now we're into a new beat, there's the before and the after. The reason that I think, like, understanding specifically beats more than anything else and identifying them when you approach a scene, it's gonna help you really provide shape and meaning to the story that you're telling. And I don't mean like the big story, I mean like the micro story within the scene. It's a type of emotional and informational clarity that you at some point need to have. Because again, I think that like you're writing with moving pictures and sound. So just like you would need to understand what each paragraph is doing and saying, you need to sort of understand what all the different parts of your scene are doing and saying, and so what you're trying to communicate to the audience. Now we are going to watch a scene from the first "Mission Impossible". It's a great example about beats in a scene. It's just a dialogue scene. I want you to pay attention to how beats are influencing a lot of things. It's influencing the pacing, it's influencing shot choice and music. De Palma, he didn't choose these cool, like, low canted angles just 'cause he is like, "Hey, I'm Brian de Palmer, this is what I do. " They say something and they're setting up what is gonna be part of the stunt later. A lot of other directors who aren't as good will kind of copy this kind of thing, they might do canted angles and stuff. You see this a lot in TV where you just see a lot of bullshit angles. So we've just got him arriving. This is a number of shots that are all exterior of him walking up and setting up the location up through the point where he sits down. (suspenseful music) So in your dailies, you will have received all these different shots, all this coverage of the restaurant, and you're gonna need to organize that for yourself. And you can just focus on that small grouping of material ### Segment 2 (05:00 - 10:00) [5:00] because it's all part of this one mini movie within this scene, which is Ethan Hunt walking up, going into the restaurant after just having lost his team in this operation gone wrong. There's a beat, as we say, because there's literally something of a lull, and now a new idea. We introduced Kittridge and he is offering this kind of false sympathy. - I can't tell you how sorry I am. I know how much Jim, in particular, meant to you, Ethan, personally as well as professionally. - Yeah. - And then it immediately turns, just one little short moment, but I need to know that now there actually is a new idea. He said his sorrys to Ethan, little outstretched, and now he's gonna get him outta here, so he thinks. - That's it, passport, visa, usual drill. We'll work the exfiltration through Canada, debrief you at Langley, throw the Prague police a bone or two, you know, toss 'em a few suspects. Do you follow me? - Yeah, I follow. - A beat can often be delineated when a character who hasn't been asking questions might suddenly start asking questions. - Why was there another team? - What? - Of IMF agents at the embassy tonight? - I don't quite follow you. - So here, Ethan's poking at Kittridge, he's suspicious, why was there only one team? Now he knows, and it's the first time we've gone to this very, you know, dramatic angle. We didn't use this angle before. Like, this is a huge moment for this character and that's why we're going to a closeup here, this kind of closeup. - Well, let's see if you can follow me around the room. The drunk Russians on the embankment at seven, eight o'clock. (suspenseful music) The couple waltzing around me at the embassy at 9 and 11. The waiter standing behind Hannah at the top of the stairs. Bow tie, 12 o'clock. The other IMF team. You're worried about me, why? (suspenseful music) - See, Ethan is very much driving everything now. He wasn't when he first sat down. - Why? - You've worried about me, you don't trust me. Now Kittridge is gonna push back. This is a new change in the scene, a new beat where now Kittridge reveals his hand. And it's also the first time where now we've revealed Kittridge to be kind of a villain in this scene. (suspenseful music) - Well, for a little over two years we've been spotting serious blowback in IMF operations. We have a penetration. The other day we decoded a message on the internet from a check we know as Max. - The arms dealer. - That's right. Max, it seems, has two unique gifts, capacity for anonymity and for corrupting susceptible agents. This time he'd gotten to someone on the inside, he'd gotten himself in a position to buy our NOC List, an operation he referred to as Job 314, the job he thought Gulitzen was doing tonight. (suspenseful music) - But the list Gulitzen stole was decoy. - That's correct. The actual list is secure at Langley. Gulitzen was a lightning rod, he was one of ours. - Then he gets the low angle, swimming with sharks, establishing the aquarium up above. So now we're in these canted close angles as Kittridge lays out his whole thing. And then he accuses Ethan of being the mole. - Yeah, the mole's deep inside. And like you said, you survived. (suspenseful music) I wanna show you something, Ethan. - Now Ethan needs an escape, he knows he is in trouble. This is all about the gum. - Why don't we quietly get outta here onto a plane. - [Josh] And the pacing of the cutting picks up, it escalates as this beat goes on. - You've never seen me very upset. - Alright, Hunt, enough is enough. You have bribed, cajoled, and killed, and you have done it using loyalties on the inside. You wanna shake hands with the devil, that's fine with me, I just wanna make sure that you do it in hell. (suspenseful music) (glass shattering) - And here, that beat is being delineated by a speed change in the way ### Segment 3 (10:00 - 12:00) [10:00] that they're shooting the scene even, like, you know, we go into slow motion. (glass shattering) (suspenseful music) The reason that this really matters, you have all these takes, maybe you have this long film that's being shot, and you're trying to decide what portions of all of this do I use? And everything that I've outlined is gonna help you shrink the available options to you, because you have an idea of what you're trying to say and you're gonna do it in such a way so that you're providing structure. Usually my process is that I'll sit down, I'm about to cut a scene, and I'll read that scene again and I'll kind of get an idea of where it fits within the film. I've kind of broken this out a little bit into beats here where I've just drawn these lines. So it's got this little moment at the top that's just all about Gregory's illness, his hand, and then we have the fan interrupting, that's like a little moment. And then Gregory wants more from the fan than the fan wants from Gregory, that's what I'm saying. That's going to influence what takes I pick, what angles I pick, and I just delineate these beats for the scene for myself before I cut it. Here's an example of when I read the script and I had written, "Too much time? " This was a transition question that I had, meaning I already kind of know from reading the script at where we're picking up this action in scene eight seems weird to me after a very long dialogue scene of scene seven. I know that we're gonna be spending a lot of time in scene seven, so it feels like too much time will have gone by for scene eight to function quite this way. That's just a little window into how I approach it. You don't have to draw anything on the script. I would say your job is to make a completed film out of this material and out of this script that you like the most. You can see, this is my Avid bin. - [Steven] So this was part of a coaching session with Josh and a bunch of students cutting a short film. I want to invite you to EditRave, which is free, where you get to meet Josh and many other professional editors. Check out EditRave. com.