Speaker 1: When you're shooting, you would have taken time and care to think about how you wanted your footage to look. Plus, you would have had one eye on how you wanted it to cut together later on. Once you've arranged your footage into an assemble edit, it's time to start thinking about the rhythm and pace of the scene that you'd like. Let's examine two options in this short scene. A man is at a desk. He hears a noise, then gets up to investigate. The first way you could edit this is with a slow pace using standard match-on-action This would be useful for creating a more drawn out and suspenseful sequence where you wanted to create an atmosphere of menace and tension. However, if you wanted to cut to the chase quickly and get events moving along, you could cut with a greater sense of pacing. Like this. This more montage-based approach ignores the usual rules of cutting on action and instead focuses on the rhythm of the edit, often sticking tightly to the subject's larger scale movements. This rhythmic approach often works best if the edits are of a similar length. It gives the audience a sense of stability in the edit, even if visually the general sense of continuity has been slightly disrupted. The decisions on how you pace your edit are often related to genre. In the lengthier edit that we saw, you might be creating a pace that generates a sense of suspense and tension. This would be good for a mystery or horror film. However, the more rhythmic editing in the second version might be more useful for a film that is more action-packed and thrilling. As always, if you know the material well, you'll know what type of rhythm and pacing the edit needs. For assessment purposes, I'd like you to examine and make some notes on how Peter Hunt edited the opening few minutes of Goldfinger, as his editing utilises very skilfully the more montage-based rhythmic editing and compression of time that we looked at earlier. I'd like you to also shoot and create two edits of a short scene, one using a slower pace that sticks closely to Maxon Action rules, and another faster-paced edit that uses a more montage-based approach. Please keep the edits for later assessment purposes.