The craft of editing
Video editing, from the first cut to the final rhythm
Logging gets you organised; this is what happens next. Four deep-dive guides on the craft of the edit itself: building the first assembly, finding the rhythm, and the specifics of cutting documentary and music video.
By Hanna Eng·Video editor, Free Conservatory of French Cinema
Footage organised, the real work begins: the edit. This is where a pile of rushes becomes a film with rhythm, structure and intent. No tool does it for you, and no template fits every story. This guide maps the craft of the cut and links to a focused, factual deep-dive for each part.
The craft, step by step
- 1From logged footage to the first cutThe paper edit, the string-out and the first assembly: how a long, rough first cut becomes the foundation you tighten everything from.Read the guide→
- 2Find the rhythm of the cutWhy you cut (emotion first), cutting on action, J-cuts and L-cuts, and how music and sound drive the pace of the picture.Read the guide→
- 3Edit a documentaryFinding the story in the rushes, working with interviews and verite, archive and B-roll, and locking picture before the mix.Read the guide→
- 4Edit a music videoCutting to the beat, syncing performance takes, multicam, and matching the editing energy to the structure of the song.Read the guide→
What does editing a video actually mean?
Editing a video is not gluing shots end to end: it is building a story and a rhythm. You choose what to keep, in what order, and above all when to cut. The edit decides what the viewer feels, shot after shot, far more than effects do.
This guide follows the craft of the edit, from the first assembly to the two flagship genres, documentary and music video, with a detailed guide for each step.
The editing passes, in order
An edit is built in successive passes, from the roughest to the finest: the string-out to see the material, the assembly to set the structure, the rough cut to shape it, then the fine cut to chisel. You don't aim for perfection on the first pass: you tighten on each one.
Rhythm is worked at the cut: where to cut, and on what. That is what separates an edit that holds from one that drags.
Types of cut and when to use them
| Type of cut | What it does |
|---|---|
| Straight cut | the default cut, often placed on the action |
| J-cut | the next shot's sound starts before its picture |
| L-cut | the current shot's sound continues over the next picture |
| Match cut | a transition on a movement or shape between two shots |
Reference: the grammar of editing (straight cut, J-cut, L-cut, match cut).
Frequently asked questions
What is video editing?
It is the craft of choosing what to keep, in what order, and when to cut, to build a story and a rhythm. The edit decides what the viewer feels, far more than effects do.
How do I edit a video, where do I start?
With logging, then a first assembly (the string-out) that puts the useful moments in story order. You then tighten in passes: the assembly, the rough cut, the fine cut.
What are the editing passes?
The string-out to see the material, the assembly to set the structure, the rough cut to shape it, then the fine cut to chisel. Each pass tightens the previous one; you don't aim for perfection on the first pass.
What are J-cuts and L-cuts?
In a J-cut, the next shot's sound starts before its picture; it pulls the viewer in. In an L-cut, the current shot's sound continues over the next picture; it lets a moment linger.
Should I edit sound at the same time as picture?
Sound drives the rhythm of the edit, so you work it with the picture, not last. The fine mix comes after picture lock, but the cutting decisions account for sound from the start.
Rather have the edit handled for you?
If you have the footage and want someone to shape it into a finished cut, that is what the video editing service is for.
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