Insufficient conceptual elaboration of visual communication of adjacent shots in terms of the interplay of their compositional elements in modern debate on screen space calls for examination of the editing process as a specific element of creating video footage. Using relevant case studies, the author dwells on both inter-shot juxtapositions and the construction of an intra-screen composition via various methods of designing the visual concept.The study consists of three main paragraphs: the first one presents the juxtaposition of adjacent shots in a video sequence, the second examines intrashot editing, during both shooting and post-production, the third paragraph outlines the features integrating the two types via truncated reality, additional visuals and the artistic effect.The article summarizes the options for creating an audiovisual product in linear, nonlinear and on-set editing as «horizontal» assembling of the footage, provides examples of the current methods for the overlay of visual objects on the main image in modern media, clarifies the direct dependence of the composite shot structure on its location in the television footage, looks into the endogenous process of visual communication of adjacent shots in the interaction of their compositional elements within the TV screen space given the bigeminality (duality) of intra-shot and inter-shot editing.Based on the results of the work, the author proposes to introduce such terms as horizontal editing, volumetric editing, structural editing, as well as bigeminal editing, representing modern methods of organizing the TV screen space. The present scientific publication is addressed to TV and film industry professionals, Internet content creators, and may also be of interest to TV viewers and a wide range of readers.