Drop-in
Also known as: dropping in, roll-in
The moment a rider enters a run, wave, ramp or line from the top, and the opening shot that sets up the action that follows.
Updated
What it means
Dropping in means committing to the start: a mountain biker rolling off the start ramp, a skier sliding over a cornice, a skater tipping into a bowl, a surfer taking off on a wave. The word varies by sport, but the moment is the same - the point of no return.
In editing, the drop-in is a natural opener for a sequence. It builds anticipation, shows where the run starts and gives the viewer a reference for how steep or big the terrain is. A good drop-in clip followed by the best part of the run is a compact version of a story arc, and it pairs well with a musical build before the first big hit, a technique related to beat sync.
How it works in practice
Start recording before you drop in. A few seconds of breathing, looking down the line and adjusting gloves add tension that no music can replace. With a helmet camera, look down the run briefly so the viewer sees what you see.
From a second camera, film the drop-in from below or from the side, framing the rider against the sky. A tripod or a friend standing still gives a steady shot that contrasts with the shaky POV that follows.
Drones can catch a drop-in from above, especially on big mountain faces where the scale only shows from the air.
What to watch out for
Long waits at the top fill cards and batteries. If you record every drop-in from minutes before, you will have hours of standing around. Use loop recording or start the camera just before you go.
Exposure often changes at the drop: a bright ridge into a shaded gully. Auto exposure needs a moment to adapt, so the first seconds of the run may look too dark or too bright.
Repeated drop-ins look identical. Use one or two in the final edit, not every lap, and vary the angle so the viewer feels progress rather than repetition.
How RawClip handles it
RawClip removes dead time such as long waits at the top and keeps the moments with motion and peak action. Drop-ins that lead directly into big moves usually survive, cut to the beat of the music in the final highlight.