Why cutting on the beat matters
A shot change is a small jolt for the viewer. Placed on a beat or an accent in the choreography, it feels like part of the dance. Placed between beats, it feels like a mistake. Most dance edits that look effortless follow this rule closely, while leaving some long takes so the movement can breathe.
Working from counts
Dancers think in counts of eight. If you send the counts for the piece, even rough ones, we'll place the angle changes on the counts you mark: the entrance, a formation change, a lift, the final pose.
- Count 1entrance5, 6, 7, 8
- Count 2first phrase1 to 8
- Count 3turn sequence1 to 8
- Count 4formation change1 to 8
- Count 5lift1 to 8
- Count 6final pose1 to 8
Multi-angle footage
Two or three cameras give the edit choices: a wide for formations, a side angle for lines and extensions, a close shot for faces and hands. Every camera is synced to the music first, so any angle can be picked at any count without drifting off the beat.
Questions
Do I need to send counts?
No. Without counts we cut from the music itself and the accents in the movement. Counts help when you want specific moments to change shot.
What if the cameras started at different times?
That's normal. We sync each camera to the music track, which keeps all of them in line.
Recital footage on a card or a drive? Tell us how many routines, how many cameras and when families or judges need the videos.
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