Combining Shots Into Sequences

The editor's primary responsibility is to cut selected shots together in such a way that the story told in the script and captured through image, sound and performance in production is preserved.

This is achieved in all genres by establishing settings with wider shots, exploring character dynamics with medium coverage and emphasising key detail.

Shots are combined into sequences in two ways:

• Continuity editing aims to make cuts invisible in order to achieve a seamless, fluid rendering of the story through successive shots and sequences drawing any attention to the editing itself. 
• Montage editing makes the editing process more conspicuous by juxtaposig less clearly related material challenging viewers to make abstract connections between shots and sequences. 

Creating Pace

An editor can create pace in a scene by moving from:

• Longer takes to shorter takes;
• A few cuts in a given stretch of film time to many cuts in a given stretch of film time. 

An editor might increase the pace in a scene to communicate:

• Rising action
• Diminishing time
• Mounting tension
• Heightening of stakes

Creating Motivation

Shot motivation is when one shot motivates another shot. Action in one shot can imply another kind of action in a subsequent shot or call for it or demand it.

When a unit of action demands some sort of responsive action from a subsequent shot, we feel a provocative force driving the narrative forward.

Filmmakers usually agree on the point that all shots, whether static or moving, should be motivated. Many filmmakers and editors would commit themselves further and most directors such as David Mamet make sure every shot drives the scenes action forward, and also the narrative. Most filmmakers view shot variation as a crucial mechanism for keeping the viewer engaged in what is going on.

Point of View Shots

A point of view shot shows a persons perspective. In most POV shots it is edited in such a way that it is obvious as to whose POV is it. This can be referred to as "subjective camera".

POV shots are usually put between a shot in which a character is looking at something and what their reaction is showing by looking. When the camera switches back and shows what the character is feeling, this is called a reverse shot. It is common when using POV that filmmakers tend to use other filming techniques to help it.

Cutting and Splicing

Film is edited by cutting sections of the film reel and rearranging them or disposing of them. In principle a film could be edited with a pair of scissors and some splicing tape, however their is a splicing machine which is the only practical solution. A splicing machine permits film footage to be lined up and help in place while it is cut or spliced together.

Types of Splicers

Cement Splicers - Cement splicers join films together by utilizing a chemical known as film cement which is produced from film base dissolved into a solvent.

Tape Splicers - A bit of thin transparent sticky tape is utilized to join the two ends.

Ultrasonic Splicer - This splicer uses an ultrasonic signal to melt the film together and is generally used with polyester film.

Thermal Paper Splicer - This is used in film processing labs to join film into large rolls before processing.

A film splicer is a device which can be used to physically join together lengths of photographic film. It is mainly used in film motion pictures.

Jump Cutting

A jump cut is a transition between two shots which appears to "jump" due to the way the shots are frames in relation to each other. Jump cuts are usually quite similar as it looks the same except the object or person is closer to their destination except the audience misses out on the time.

Jump cutting can add impact and tension in the right place which can put the audience on the edge of their seat.