Here’s a concise run‑down of “Editing Tips for When the Cinematographer SUCKS” (≈22 min):
Embrace Creative Reframing
Use simple digital push‑ins, pull‑outs or slow zooms on static clips to add motion and hide bad composition.
Crop in tight on actors’ faces or key details to remove distracting edges and clutter.
Lean on Cutaways & B‑Roll
Build a library of generic inserts (hands, textures, environment) you can drop in to cover shaky, out‑of‑focus moments.
Don’t be shy: even a half‑second of a relevant ambient shot can rescue a ruined line reading.
Stabilize & Speed‑Ramp
Run warp‑stabilization on the worst handheld takes—then smooth the motion with very subtle speed‑ramps so it doesn’t look “rubbery.”
Speed‑ramping into or out of a shot can disguise jitter and create dynamic flow.
Color & Contrast Hacks
Underexposed or flat footage can be punched up with local luma masks or simple curves tweaks—letting you hide noise in the shadows.
Add a vignette or diffusion glow to mask soft focus or sensor bloom.
Sound Design as a Distraction
Layer in matched room tone, foley or ambient effects to draw attention away from visual flaws.
A well‑timed whoosh or musical hit can sell a cut that otherwise feels choppy.
Experiment with Transitions
Don’t default to straight cuts—try whip pans, light leaks or speed dissolves to cover jarring mismatches.
A creative wipe or match‑cut can stitch two visually dissimilar shots into one seamless moment.
Communicate & Iterate
Keep notes on recurring issues (focus pulling, bad framing) and share them constructively with your DP for next time.
Always keep your “good draft” safe—then play “what if” edits so you’re free to try wild fixes without losing your base cut.
With these toolbox tricks, you can turn borderline “lost” footage into a watchable, even polished, final cut—no reshoot required.
