I was able to successfully create a new file on my computer and put it on the main page. Thanks to the ease of use of Premiere Rush, creating a new project was also easy.
Titanic Swede File on the main page of my laptop.
Titanic Swede New Project in Ru
However, the process became complicated when I had to start choosing the shots, since due to certain positions of the ship, characters, or even places, it was almost impossible for the director to give the signals, and therefore his voice was the only thing. Consequently, to my dismay, I had to open and listen to each shot, which led me to spend more time and to unnecessary frustrations, but the circumstances were understandable for example in the shot when we were recreating the machinery, we did it inside an oven and the director was able to move the system but not to do the signals with the hands, since if he decide to do it the system failed every time, and if other person try to hold the system while he was doing the signs it didn't work either..
Voice of Director indicating the Scene and Shot #
Shot taken from inside the oven to simulate a machinery inside the ship.
As I learned in previous blog posts, organization is key, so I plan to create a specific folder for this project. After that, I'll create a new project in Premiere Rush with the same name as the folder so I can keep track of what I'm doing.
Consequently, I need to analyze each shot the cinematographer took and choose the best one. It will be easy to identify by the director's hand signals, and I'll implement it into the project when I download it to my phone.
This reflection is based on my previous blog post (maintaining the order of narration during transitions -Part #2) and the video that I edit.
Planning a Match cut- Lamppost.
What went well: The main idea, which was to maintain a cohesive development and make it easy for the audience to understand, I think was achieved. Seeing the same lamppost at the end of shot 1 and at the beginning of shot 2 creates a connection that is easy to grasp but at the same time separates them.
What went wrong: I ignored everything I had learned. I focused too much on the idea of having the same element in the transition and keeping the development of the shot's environment visible, ignoring everything else, all the basic rules. Even though my job is to be an editor, I ignored the cinematographic errors, such as not taking the shots horizontally, which consequently broke the rule of thirds. But I also failed as an editor, since I didn't review my own research and didn't edit with the correct materials. I got carried away by the excitement and forgot the proportions, resulting in a choppy and completely bad transition.
What I could have done better: I should have kept in mind what I had learned previously and applied it. I should have used the correct materials correctly, and I should have balanced priorities, since although the main purpose was to make a match cut, I should have kept other priorities present, such as a clean transition.
What I will do better: I will apply what I learned not only today but also previously, I will maintain a balance, and I will use the correct tools to edit; in this case, I will use Premiere Rush. And I will communicate with my team to keep all the perspectives and pieces of the scene (cinematography, sound) in cohesion.
In conclusion, editing this video helped me a lot to visualize the importance of balance and using the right tools at the right time.
But also I realize that in the swede that we're doing, there's non transitions instead is just cuts, that makes me happy because is less despair and time consuming, however the purpose and the essence of the extract may be affected, so I must be more cautious.
Plan: Practice creating a match cut transition, in this case using a lamppost, as you can see below.
Reasoning: The reason I changed my previous decision to use a whip pan is because I believe that using an object—in this case, a part of the scene—to create the transition would make it look more logical, and the audience would easily follow the narrative, while if I used the whip cut, the changed it will be too drastic, also I re-review my past research posts in the blog to confirm this .
Planning a Match cut- Lamppost.
This short video shows a transition from a small park with people to a quiet, deserted lake. It depicts two very different settings, but the use of a lamppost for the cut reveals a connection between them.
Plan: Based on what I learned in one of the previous blog posts about transitions, I believe the ideal way to transition from scene one shot one to scene two is a whip pan.
Why: As I learned previously, this transition is perfect for maintaining the tension of the moment, and that's the purpose I personally see in this scene. Since this is the first transition, I think it's fundamental to keep the points connected, the audience engaged, and have a coherent development.
*Below you can see a sketch that the cinematographer and director made to get a basic idea of the setting and the main focus of the shot.
Scene: 1, Shot: 1 Titanic Swede
Scene: 2, Shot:1, Titanic Swede
Prediction: I think this transition can be used effectively, not only contributing to the story and starting off well, but at the same time, I think it captures the originality, since, as this is a sequel, I think this could be a similar "copy." However this transition could also make the opposite effect and confused the audience, so the narration of the story will be lost.
This research was carried out based on the previous research of Practical tips to keep in mind while editing, and its purpose is to clarify what a frame rate is, and how to maintain a balance or how to manage it appropriately.
As an editor, I have to keep the following in mind: scenes recreate reality, the work of editing is to manipulate the time of that reality, and visual effects create illusions. The most fundamental illusion, and the one that always comes first, is motion.
This illusion is created as still images are combined. When we talk about frame rate, we are referring to the number of individual frames within one second.
Ideally, if you are trying to do it like old cinema, the number of frames per second (fps) is 24fps; however, if you have to include audio, you have to have control since the fps has to be fast enough so that the image coincides with the audio.
An interesting fact is that the number of frames per second (fps) has been increasing in recent decades, resulting in smoother, less choppy scenes. However, depending on your purpose, you can deviate from the normal frame rate. For example, using a lower frame rate (undercranking) can make the image look choppy because frames are being skipped. This can be used for comedic moments or to create a blurring effect, as the frames are copied and repeated. This can be used to show a person's mental state or to create a memorable but confusing moment.
On the other hand, using a higher frame rate (overcrancking) will create a slow-motion effect. This is used to maintain tension and see if our expectations are met or delayed.
This information is supported by the video and article below:
What is Frame Rate? - Ultimate Guide to Frames Per Second Explained (Shot List, Ep.8)
Article: Lannom, Sc. “What Is Frame Rate? A Filmmaker’s Guide to Frames per Second.” StudioBinder, 13 June 2025, www.studiobinder.com/blog/video-frame-rate/?utm_source=blog&utm_medium=post&utm_campaign=content-marketing-promotion&utm_term=frame-rate&utm_content=[the-shot-list]-[frame-rates].
The best scene I could find to illustrate this is the following:
The Amazing Spider-Man 2 (2014)
This scene that combines a normal frame rate, then a high frame rate, then a low frame rate, and finally a high frame rate again]. Thus creating a roller coaster of expectations and emotions.
The most important concept is that we must have clear what you want to achieve with the scene: there is have to be a purpose always. At the end of the day the presentation rate is what matters.
This research was conducted with the purpose of understanding and learning more about editing techniques. In the previous blog post, we analyzed various cutting methods; however, it's important to emphasize that the fundamental aspect for an editor is knowing what to shoot, when to cut, and what to cut to. This will determine how the scene fragment will look.
During my research, I noticed that there are several ways to show the narrative of the story, not only through actions, as with a cut-on-action shot where the action is break in two so for example: Person A gives a punch to person B, so we see the hand of person A and then the face of Person B, but also how editing can control the perspective from which we see things, for example, using eye traces or eye lines. This can lead us, as the audience, to understand certain characteristics of the character, which also goes hand in hand with using an Intellectual Montage: which is basically putting together fragments of the scene that don't have an obvious relationship and assembling them with editing to help the audience discover and connect the pieces of the puzzle.
This research was also done to learn the correct terminology for certain actions, and I think the most relevant term I found was "Cutaways": This term is used when an editor cuts away from the main action. This information is supported by this video and article:
6 Ways to Edit Any Scene- Essential Film & Video Editing Techniques Explained (Shot List Ep.10)
Now, regarding elements, I actually found this quite specific graphic where we can see everything that needs to be taken into consideration when editing.
Abreu, Rafael. “What Is Film Editing — Editing Principles & Techniques Explained.” StudioBinder, 30 May 2025, www.studiobinder.com/blog/what-is-film-editing-definition/?utm_source=youtube&utm_medium=video&utm_campaign=content-marketing-promotion&utm_term=editing-techniques&utm_content=shot-list-editing-techniques.
Furthermore, when we talk about having this precise coherence between the audio and the visuals, editing is the glue that binds them together and makes the story make sense. I've learned that the most common way to do this is with a "Split Edit," which consists of two types: a J-Cut or an L-Cut, which you can see in the illustration below below.
Chillingworth, Alec. “J-cuts Vs. L-cuts: Examples, How-to, and More | Epidemic Sound.” This Is the Epidemic Sound Blog | Epidemic Sound, 10 June 2025, www.epidemicsound.com/blog/j-cuts-and-l-cuts/#:~:text=J-cuts%20and%20L-cuts%20are%20a%EE%80%80%20core%20part%20of%20the?msockid=3b69401cb02e60302dd85607b13261b4.
Basically, I learned that in an L-Cut, the visuals change from shot 1 to shot 2, but the audio in shot 2 is from shot 1. A J-Cut occurs when the audio from shot 2 plays before shot 2 begins. At first it sounds confusing, however I learned that this gives it more realism and makes the scene smoother.
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