Just a fun one here. Producers - whether they sit next to me or produce from afar - will request me to add "a beat here", "two beats there" or "a breath there" or "a pause here"... well you know.
Each brain is different. For mine, "beats" are what I call the "Lucky 7's".
Add a beat = 7 frames. Two beats = 14 frames. A pause = 21 frames (although sometimes 22).
Arrived at those after 15 years of cutting narration for docs. They're the average number of frames I delete when the narrator takes his breaths. Guaranteed, nearly every time, be the narrator David Ogden Stires or Joe from the neighborhood hardware store.
A picture says 1000 words. Editors give them meaning.
I do hear ya on varying terms. I stil get asked for "a chyron here." lol
Can't do it. Don't have one. Not gonna buy one.
The truth is, every piece, like every song has a different beat. Some somgs and pieces we edit have fast paces with quicker beats and others are slower with slower beats. You have to feel this beat and to me, it really is a very accurate thing, regardless of the piece being created. Dialog is what usually creates this (for me) and I have found a beat to usually be the length they naturally pause betweens sentences or thoughts. You are right on when you said this is often 7 frames.... but often it's upward of 20 frames. Because if this, I usally gravitate toward Avi'd steb forward (or back) ten frames button then slide over a frame or two for starters. Makes me think they otta add a beat button that is customizable per show.
Back in the old tape-to-tape days, 99% of the time a perfect dissolve was 17 frames. Didn't matter what I was cutting - 17 frames and the producers loved it. Then I'd hit the "big red button" after 15 previews of the same thing...
ahh yess. Gettin paid the big bucks for previewing all day.
Amazing how folks use to stand in line to pay 400 an hour for cuts wipes and disolves and now it's like pullin' teeth to get 175 an hour for anything they can dream up.