0:03 in this video we're going to look at the
0:05 history of the jump cut
0:08 what it is and how it can be used i'm
0:09 seeing things that don't make any sense
0:12 so how did the jump cut become a useful
0:14 tool for filmmakers and
0:17 why this is
0:18 what is
0:23 we're going to highlight five different
0:26 ways directors and editors intentionally
0:29 use jump cuts from the purely stylistic
0:31 the visually comedic do i carry my high
0:33 school diploma around with me what do
0:34 you do with your hair in the morning
0:37 what happens if there's inclement
0:40 weather where do you what do you wear
0:47 and at the end of the video we'll give a
0:50 couple of tips on how to avoid unwanted
0:51 jump cuts
0:53 but first things first what is a jump
0:58 a traditional jump cut is when a segment
1:04 and the two ends are spliced back together
1:05 together
1:07 this makes the shot feel like it jumps
1:15 bastard rats
1:17 now to be clear there is another way to
1:20 create the appearance of a jump cut
1:21 this involves cutting together two
1:23 separate shots with similar shot size
1:25 and composition to create a jump cut effect
1:26 effect
1:29 as we see here in eternal sunshine of
1:31 the spotless mind i'm listening i don't know
1:32 know
1:34 you erased me that's why i'm here that's
1:36 why i'm doing this in the first place
1:50 our examples in this video will include
1:52 both methods
1:54 but where did this technique come from
1:56 legend has it that the jump cut was
1:59 discovered by accident as french film
2:02 pioneer georges melliere was filming on
2:04 the street
2:07 his camera jammed as a bus drove by
2:09 but when he started recording again
2:12 a hearse was in the same position
2:14 when he played the footage back the bus
2:16 appeared to instantly change into a hearse
2:18 hearse
2:21 melier then used this newfound trick to
2:28 the jump cut was also one of many
2:30 radical editing techniques used by
2:32 russian filmmakers in the twenties like
2:34 sergey eisenstein
2:36 and ziga vertov [Music]
2:39 [Music]
2:41 then filmmakers like jean-luc goddard in
2:43 the french new wave embraced the
2:46 stylistic and disruptive effects of jump cuts
2:47 cuts
2:49 these filmmakers perfected the
2:52 disjointed and expressionistic qualities
2:54 of discontinuity editing now
2:55 now
2:58 let's discuss how filmmakers today can
3:00 use jump cuts effectively
3:02 one of the most common uses of the jump
3:05 cut is to achieve a heightened style
3:07 watch how jump cuts help create a
3:09 kinetic and stylish opening in guy
3:28 but beyond pure aesthetics
3:30 there are ways to use jump cuts to bring
3:33 this element of style into storytelling
3:35 especially those films that embrace a
3:38 more poetic and not quite realistic presentation
3:40 presentation
3:43 let's take a look at terence malik's the
3:44 tree of life
3:46 a film told through memories of the past
3:50 which are fragmented and impressionistic
3:53 malik uses jump cuts to enhance this
3:55 poetic treatment of memory with a
3:57 dreamlike experience rather than a logic
4:05 but a jump cut isn't only for stylish
4:07 aesthetics let's see what else they can do
4:14 energy
4:16 by jumping through time a jump cut can
4:25 or
4:27 they can turn a simple moment into
4:29 something intriguing
4:31 consider this scene from the usual
4:34 suspects the crew travels to new york to
4:36 pull off a smash and grab heist and as
4:38 the plane lands the jump cuts are timed
4:42 to a booming rhythm in the score
4:43 a shot like this is usually just a
4:45 throwaway transition but with some
4:48 dramatic music and bold jump cuts it
4:51 builds anticipation and momentum leading
5:04 with her boyfriend's life on the line
5:07 lola races against time to save him and
5:10 so the montages use jump cuts to
5:21 [Music]
5:23 they also clue us into lola's emotional
5:25 state which brings us to our next application
5:26 application [Music]
5:28 [Music] emotion
5:29 emotion
5:30 look i'm seeing things that don't make
5:32 any sense and i'm many people that are
5:34 supposed to be dead jump cuts can also
5:36 get us into the mind of a character to
5:38 convey emotions and mental states
5:41 usually this emotion is frantic panicked
5:43 stressed and so on you're not making any
5:46 sense no nothing makes any sense
5:48 nothing makes any sense
5:50 in june when paul snaps out of his
5:53 vision the jump cut combined with a
5:55 sudden jolt in the sound act as a visual
6:08 reality in la confidential bud white's
6:10 anger gets the better of him and he
6:20 if we slow it way down
6:22 you can see there are only a couple of
6:23 frames missing [Music]
6:29 [Music]
6:32 but this simple edit gives his anger an
6:34 extra push
6:43 director martin scorsese and his editor
6:46 thelma schoolmaker use this trick all
6:52 in the departed after a suspicious phone
6:54 call billy frantically packs in case he
6:57 needs to run watch this sequence and see
7:15 these jumps are only fractions of a second
7:16 second
7:18 they might even go unnoticed to the
7:20 untrained eye and yet they add a layer
7:22 of frantic energy to this moment that is
7:26 achieved by simply removing a few frames
7:29 in a previous video schoolmaker explains
7:31 the jump cut in this moment from the
7:33 irishman marty said just leave it as a
7:35 jump cut so we did
7:37 hello hello joe
7:38 joe joe
7:38 joe
7:41 the video is linked in the description
7:44 moving on montage
7:45 montage [Music]
7:47 [Music]
7:49 the primary function of the montage
7:52 sequence is to compress time
7:56 which makes the jump cut a natural fit [Music]
7:58 [Music]
8:00 even a training montage can utilize the
8:02 jump cut
8:03 go webb go
8:04 go
8:13 in bottle rocket jump cuts help us share
8:15 dignan's childlike exuberance [Music]
8:25 bobby one for you anthony far away
8:27 somebody hand me one i'm gonna throw it
8:30 out the window cherry bomb
8:31 did you hear that
8:33 director steven spielberg is a master of
8:35 blocking and staging
8:37 knowing where to place the characters in
8:39 the camera to tell a complete story with
8:40 images alone
8:42 let's take a look at this sequence from
8:44 schindler's list in which oscar
8:46 interviews candidates to be his new secretary
8:48 secretary [Music]
8:49 [Music]
8:51 pay attention to how spielberg keeps the
8:54 camera in a single angle but lets the
8:57 jump cuts and oscars body language tell
8:58 the story [Music]
9:24 but what if we use a jump cut with a
9:27 very deliberate shift in perspective
9:34 a subtype of the jump cut is called an
9:36 axial cut
9:39 this is a cut that punches in
9:42 or away from a subject along the same axis
9:53 the axial cut functions similarly to a
10:09 [Music]
10:11 axial cuts can be used to visualize a
10:13 jarring realization
10:15 like in catch me if you can
10:16 would you happen to have a picture of
10:30 okay okay
10:45 [Music]
10:47 i went to cricket craig newton i just
10:49 put down the royal edinburgh college to
10:51 help get the job here's a moment from
10:53 trainspotting that uses back and forth
10:56 axial cuts to accentuate spuds frenzied
10:58 energy when he interviews for a job on
11:01 drugs like what school did i go to how
11:03 many organs did i get could be like sex
11:05 could be none it's not important what is
11:09 important is that i am yes
11:11 this type of cut can be used in horror
11:13 movies like the ring to heighten
11:16 samara's supernatural powers [Music]
11:22 alfred hitchcock in particular was a fan
11:25 of the axial cut [Music]
11:33 in the birds lydia discovers her
11:44 two axial cuts are used to amplify her
11:46 shock and horror giving the audience a
11:48 similarly aggressive and unsettling experience
11:50 experience
11:52 as we mentioned jump cuts or the
11:54 appearance of jump cuts are often an
11:57 intentional technique
11:58 but if that is not the effect you are
12:00 looking for
12:03 remember the 30 degree rule
12:05 the 30 degree rule states that the
12:07 difference in angle between shot a and
12:10 shot b should be at least 30 degrees
12:12 assuming you're keeping the same shot size
12:13 size
12:14 this will give enough of a visual
12:24 if the angle is less than this it can
12:27 create the appearance of a jump cut [Music]
12:32 another option to avoid this would be to
12:34 keep the same angle but change the
12:37 shot's eye significantly
12:38 for example
12:45 feels much more natural than cutting
12:47 between two slightly different white shots
13:01 before you go be sure to subscribe and
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13:06 for more filmmaking techniques
13:08 that's all for now jump on your next
13:11 project do you have any special skills
13:12 oh yes
13:15 i do i i do voices
13:17 yes we've come to this planet looking
13:18 for intelligent life oops we made a
13:20 mistake we're happy to be in america
13:22 don't ask for a green card
13:25 i want you in the worst way
13:26 well this is certainly a rough meeting
13:27 and it's not going very well for me i'll
13:29 tell you that i do a great impression of
13:34 nancy and i are still looking for the
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