cutting-rhythm

Topics in the source

• Cutting rhythm — why an accurate edit still feels wrong
• 1. Split edits (J/L cuts) — the single biggest flow win
• 2. Where the cut actually goes
• 3. Pause grammar — natural, not dead
• 4. Shot length — the snap
• 5. Cutting on the beat
• 6. The review loop
• Gotchas

Full Production Studio note: this skill drives the toolkit in agamm/video-agent. Clone that repo and run your agent inside it for the scripts/paths below to work; the guidance itself is usable anywhere. Frame-accurate cuts in the right places still watch badly if the timing is wrong. Three levers do almost all the work, and they map onto three concrete things you can set: | Symptom | Lever | Where | |---|---|---| | Choppy, abrupt, "every cut is a slam" | split edits — move the sound edit off the picture edit | audiolead per clip | | Draggy, dead, lots of air | pause length — collapse gaps to a beat | tighten command | | Monotone, mechanical, nothing lands | shot length — vary the holds, accelerate to the climax | clip durations | Run edl --report on any cut list and it will tell you which of the three you're missing. A cut where picture and sound change on the same frame is a butt cut. It announces itself. Real edits stagger the two so the viewer's ear carries them across the visual change and the cut disappears. J-cut — the next clip's sound arrives before its picture. You hear the answer starting under the end of the question. Use on almost every dialogue/interview cut. L-cut — t

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