DOCSLIB.ORG

Editing 'Transitions'

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Editing 'Transitions' EDITING ‘TRANSITIONS’ ‘EDITING is the process of joining together the different pieces of footage that make up a film. Whilst editing is concerned with thinking about which pieces of film are put together with one another, it is also concerned with how they are joined up-what are known as ‘TRANSITIONS’. As you will see, there are different ways that two pieces of film can be joined together. Depending on which transitions are used in a sequence in a film, there can be different effects achieved with the viewer. For example, the ‘pace’* of the editing can determine the level of excitement or drama. On the other hand, removing a piece of footage in the editing process can create a sense of ‘mystery’ for the viewer. So apart from being a practical process of just taking away the ‘fails’ and outtakes, editing can be a creative process! (* i.e. How long each shot lasts on screen) The ‘cut’ is the simplest form of transition. Because this transition takes place in around 1/24 of a second, cuts are therefore often not noticed by the viewer. In fact, a scene in a film can sometimes be viewed without the viewer really being aware of the editing that has taken place. This effect will be more pronounced if there is no obvious jump from one scene or location to another. Below are the basic types of editing transition (increasing in complexity and visibility on-screen): TRANSITION NAME WHAT IT LOOKS LIKE ON SCREEN POSSIBLE USES ‘STRAIGHT CUT’: • Involves no change of scene or jump in moving from one clip to • To play down or hide the fact that footage has been another. Smooth flow of images onscreen. removed from a sequence. Helps narrative time pass quickly, but still appears ‘realistic’. Used in ‘continuity editing’ ‘JUMP CUT’: • Involves an obvious and sudden jump in the action on screen-perhaps • To move the viewer suddenly and dramatically from from one location to another. one location to another • To create a ‘jump’ moment, when characters or events appear unexpectedly on screen • To highlight the passing of time in a film/scene. ‘FADE TO BLACK’ (also called ‘FADE • The image fades usually into black, but can be into white. • To signal the end of a ‘chapter’ or scene in the film’s DOWN’ or ‘FADE OUT’) : story. • Allows the viewer time to pause for thought before the next scene appears. FADE UP (or ‘FADE IN’) • The reverse of the above -where the screen starts as one • To gradually introduce a film/ new scene. colour (-usually black, but it can also be white), and the image • May signal a ‘new beginning’ fades up through the colour. WIPE: • Wipes can be vertical, horizontal or diagonal and the image on • Often used in films where there is a sense of action screen can be effectively ‘wiped’ either with black or with and movement, which the wipe action ‘mirrors’. another image which is introduced alongside it. • Wipes are often used in animated and children’s films • A ‘classic’ use is to show both parties involved in a telephone conversation • DISSOLVE: • Two shots overlap and create a double image with the second • Dissolves are used to create a symbolic link image gradually merging into (or ‘dissolving’) the first. This may between the first scene and the scene it is merging involve only two shots or multiple shots which continue with into (e.g. to move from a character’s past into their each shot dissolving into the next (as can happen in a ‘montage present. ) sequence’, or in a ‘graphic match’). .
Load more

Recommended publications
  • Cinematic Technique Intended Effect and Purpose Film Examples Shots
    WRITING A STYLE ANALYSIS ESSAY Name ___________________________________ Cinematic Techniques Due Date ________________________________ Cinematic Technique Intended Effect and Purpose Film Examples Shot: A single piece of film, uninterrupted by cuts. Establishing Shot: Often a This is used to establish setting long shot or a series of and to show transitions shots that sets the scene. between locations. Long Shot (LS): A shot from It may suggest the isolation or some distance (also called vulnerability of a character. a full shot). A long shot of a person shows the full body. Medium Shot (MS): The The effect is to ground the most common shot. The story. camera seems to be a medium distance from the object being filmed. A medium shot shows a person from the waist up. Close-up Shot (CU): The Shots and Framing Shots image being shot takes up at least 80% of the frame. Extreme Close-up Shot (ECU): The image being shot is part of the whole, such as an eye or a hand. Two Shot: A scene between two people shot exclusively from an angle that includes both characters more or less equally, it is used in scenes where interaction between the two characters is important. Cinematic Technique Intended Effect and Purpose Film Examples Eye Level: A shot taken Ninety to ninety-five percent from a normal height – that of the shots seen are eye level is, at the character’s eye because it is the most natural level. angle. High Angle: The camera is This angle usually has the above the subject. effect of making the subject look smaller than normal, giving the character the appearance of being weak, powerless, and/or trapped.
    [Show full text]
  • Digital Video! I Didn't Know You Could Do That…™
    SYBEX Sample Chapter Digital Video! I Didn't Know You Could Do That…™ Erica Sadun Chapter 9: Making Magic Copyright © 2001 SYBEX Inc., 1151 Marina Village Parkway, Alameda, CA 94501. World rights reserved. No part of this publication may be stored in a retrieval system, transmitted, or reproduced in any way, including but not limited to photocopy, photograph, magnetic or other record, without the prior agreement and written permission of the publisher. ISBN: 0-7821-2970-6 SYBEX and the SYBEX logo are either registered trademarks or trademarks of SYBEX Inc. in the USA and other countries. TRADEMARKS: Sybex has attempted throughout this book to distinguish proprietary trademarks from descriptive terms by following the capitalization style used by the manufacturer. Copyrights and trademarks of all products and services listed or described herein are property of their respective owners and companies. All rules and laws pertaining to said copyrights and trademarks are inferred. This document may contain images, text, trademarks, logos, and/or other material owned by third parties. All rights reserved. Such material may not be copied, distributed, transmitted, or stored without the express, prior, written consent of the owner. The author and publisher have made their best efforts to prepare this book, and the content is based upon final release software whenever possible. Portions of the manuscript may be based upon pre-release versions supplied by software manufacturers. The author and the publisher make no representation or warranties of any kind with regard to the completeness or accuracy of the contents herein and accept no liability of any kind including but not limited to performance, merchantability, fitness for any particular purpose, or any losses or damages of any kind caused or alleged to be caused directly or indirectly from this book.
    [Show full text]
  • Transitions Premiere Pro What Are Film Transitions?
    Transitions Premiere Pro What Are Film Transitions? A Film Transitions is an editing technique used in post-production. Transitions are usually used to convey a mood, tone, a change in location or to show the passing of time (forward or backwards). It can also be used as a low budget special effect. How it works Starting from one image(A), combined with a 2nd image (A to B), and final finishing on the 2nd image (B). Most Common Transitions Commonly used at the beginning of a scene or film. Commonly used at the end of a scene or film. Commonly used to suggest a change in location or a change to a different scene. Can be used as a low budget special FX, or a match cut. Commonly used to suggest a change in location or a change to a different scene. Can be used for an opening or end of a film. Manual Cross Dissolve pt1 - Layers Notice the timeline has several tracks you can use for both video and audio. Video tracks go up and audio tracks go down. Much like photoshop, Premiere works in Layers (tracks). Meaning the top track is seen first and anything below is seen 2nd or not at all. Premiere by default, shows a black screen as its background when there is no footage present on the timeline. This black screen can be used to fade in from, or out to (– fade to/from black) . Manual Cross Dissolve pt2 - Tracks Creating a Manual Cross Dissolve requires 2 pieces of footage. One to transition from and another, to transition to.
    [Show full text]
  • 1 Transition, Camera and Continuity Indications for Storyboards Continuity Transitions
    Transition, Camera and Continuity Indications for Storyboards Fade In & Out: Shows and films almost always open by fading in from black and end by fading to black. Fade In and Out usually happen over 48 frames and are indicated like this: Continuity Match Cuts: A Match Cut is necessary when a character is present in consecutive scenes. As well as including a Start Pose of the character or prop in the same position or pose for continuity in your storyboard (and later for the Animatic), it is important to indicate Match Cuts in written form on your storyboard to ensure the Layout Department maintains continuity. In the industry, a Match Cut is also sometimes referred to as a Hook Up or Match Action. Different studios have different preferences. For this course we will be using the term Match Cut. Match Cuts, Hook Ups and Match Action are indicated as follows: Transitions Cross Dissolve: A Cross Dissolve is when one scene fades away or dissolves to reveal a new scene. Cross Dissolves are usually used to show a passage of time or to transition between sequences. They can also be used to come in and out of flash backs or fantasy sequences. It is always good to ask the director of your production if they should be used and how often. Some shows use them all the time, others not so much. Cross Dissolves are indicated as follows: 1 Match Dissolve: A Match Dissolve is when some part of the scene stays constant and in the same position from one scene to the next.
    [Show full text]
  • Video Editing Guidelines
    VIDEO EDITING GUIDELINES Log and Label your Shots You can pay me now or you can pay me later. It will take a little time to log and label all your shots in the beginning, but it will pay off in the long run. Use a topic and descriptor for each shot, i.e. Capitol Front, Med, Pan R Common Descriptors: Wide MW (Medium Wide) Med (Medium) C/U (Close) XC (Extreme Close up) Pan R Pan L Tilt Up Tilt Down Zoom In Zoom Out Low (Low Angle) High (High Angle) C/A (Cut Away) 2 Shot Rev (Reverse Angle) Tell a Story With Your Video The same way you would construct a story with words, construct your video with building blocks to develop the visual story. Each Frame is a Word Each Shot is s Sentence Each Sequence is a Paragraph Multiple Sequences make a Chapter Choose the Best Footage It may sound a little silly, but be selective. It is common to shoot more footage than you actually need and choose only the best material for the final edit. Often you will shoot several versions (takes) of a shot and then choose the best one when editing. If a shot it too shaky, don’t use it. If it’s out of focus, don’t use it. Develop Your Sequences A basic sequence might be: Wide Shot Medium Shot Close Up Extreme Close Up Cut Away/Transition Shot Repeat But you could just as easily do: Medium Shot Medium Shot Close Up Medium Wide Shot Extreme Close Up Close Up Medium Shot Wide Shot Cut Away/ Transition Shot Think about continuity when building your story.
    [Show full text]
  • Editing A/B Rolling
    Editing Continuity editing - The majority of film sequences are edited so that time seems to flow, uninterrupted, from shot to shot. Within a ‘continuity editing’ sequence, only cuts will be used. Continuity editing can also involve ‘cross-cutting’, where a sequence cuts between two different settings where action is taking place at the same time. Montage - In montage, different images are assembled to build up an impression. This is often used in title sequences. The most famous example of this technique is the Odessa Steps sequence from Battleship Potemkin. Transitions describe the way in which one shot replaces the previous one: Cut - One image is suddenly replaced by another, without a visible transition. Cross-dissolve One image dissolves into another. This can be used to make a montage sequence - eg the title sequence - flow smoothly; it can also be used in continuity editing to show that we have moved forwards in time and/or space. Fade up - An image gradually fades in Fade out - An image gradually fades out. (Fades to and from black usually mean that time has passed ) Wipe - One image replaces another without dissolving, with the border between the images moving across or around the screen. A/B Rolling A/B rolling is a technique used in film editing to hide ugly splices. When a splice (two pieces of film stuck together with splicing tape or glued with cement) rolls through a projector, the area of tape or glue will appear fuzzy. To eliminate this nasty blip in a finished film, the negative is a/b rolled.
    [Show full text]
  • Film Terms 1
    Film Terms 1 Film Terms Cutaway - A shot, usually a closeup of some detail, or landscape, that is used break up a matching action sequence, and is often very helpful in editing to rescue you from an impossible break in continuity or coverage. A cutaway, as the name implies, is a shot that does not focus on some detail of the shot before or after it but cuts away from the action at hand, unlike an Insert Shot . However, the two terms are sometimes used vaguely or interchangeably, although this is not always a useful practice. The best cutaways are the ones that have some logic to them, that relate to the scene. Dissolve - A transition between two shots, where one shot fades away and simultaneously another shot fades in. Dissolves are done at the lab in the printing phase, but prepared by the negative cutter, who cuts in an overlap of the two shots into the A&B rolls. Labs will only do dissolves in fixed amounts, such as 24 frames, 48 frames, etc. Dolly Shot - A dolly shot is one where the camera is placed on a dolly and is moved while filmming. Also known as a tracking shot. Edit - 1.: The cutting and arranging of shots. 2.: In the different stages, or at the completion of editing the edited film itself can be referred to as “the cut” or “the edit.” Fade - A transition from a shot to black where the image gradually becomes darker is a Fade Out ; or from black where the image gradually becomes brighter is a Fade In .
    [Show full text]
  • Avid Media Composer and Film Composer Effects Guide • Part 0130-04528-01 Rev
    Avid® Media Composer® and Film Composer® Effects Guide a tools for storytellers® © 2000 Avid Technology, Inc. All rights reserved. Avid Media Composer and Film Composer Effects Guide • Part 0130-04528-01 Rev. A • August 2000 2 Contents Chapter 1 Preparing to Work with Effects About Effect Types. 29 About Horizontal, Vertical, and Nested Effects . 30 Effects Creation Tools . 31 About Real-Time and Downstream Key Effects . 32 About Downstream Key Effects. 32 About Real-Time Effects . 32 Playing Real-Time Effects . 33 Playback Capabilities for Two-Stream Video . 33 Playback Capabilities for Single-Stream Uncompressed Video. 35 Additional Suggestions for Playback . 35 Hardware Limitations for Real-Time Effects . 36 Combined Rendering of Real-Time and Non-Real-Time Effects . 36 Displaying Effects On-the-Fly . 36 Interrupting Render On-the-Fly. 37 About Effects in 24p or 25p Projects . 37 Using the Effect Palette . 39 Displaying the Effect Palette . 40 Resizing the Effect Palette. 41 Understanding the Color Coding. 42 Displaying Effect Templates . 44 Using Third-Party Plug-in Effects. 46 AVX Plug-Ins and Memory Usage . 47 3 Installing Photoshop-Compatible Plug-in Effects (Macintosh) . 47 Installing AVX Plug-Ins. 49 Locating the AVX_Plug-Ins Folder (Windows) . 51 Upgrading AVX Plug-ins and Effects . 52 Assigning Multiple Tracks in Plug-in Effects . 53 Using AVX Plug-in Controls. 54 Accessing an AVX Custom Interface . 55 Custom AVX Controls in the Effect Editor . 55 Troubleshooting AVX Plug-Ins. 56 Changing Timeline View Settings for Effects . 58 Adjusting Trim Settings for Effects . 59 Chapter 2 Basics of Effects Editing Deconstructing Effects.
    [Show full text]
  • Moms Storytelling Field Guide
    STORIES FROM MAIN STREET STORYTELLING GUIDE developed by Museum on Main Street and MuseWeb Foundation This Field Guide is adapted from the Museum on Main Street Storytelling Toolkit available for download at museumonmainstreet.org/content/resources. Museum on Main Street Museum on Main Street (MoMS) is a partnership between the Smithsonian Institution and state humanities councils nationwide that serves small-town museums and their patrons. This innovative project provides one-of-a-kind access to Smithsonian exhibitions and educational humanities programs. Most importantly, MoMS provides community museums and libraries an opportunity to showcase their strengths and reinforce their meaningful contributions to small-town life. MuseWeb Foundation The MuseWeb Foundation is a new nonprofit offshoot of the international Museums and the Web Conference (MW), which began in 1997 and has since showcased and documented leading work in the cultural field. The MuseWeb Foundation was conceived as an accelerator of cultural innovation to help develop and fund some of the most promising projects and initiatives from the conference and the cultural heritage field at large. Learn more atwww. museweb.us. TABLE OF CONTENTS STORYTELLING 7 Nonfiction Narrative 9 Storytelling Structure 10 Writing a Nonfiction Script 14 Audio Elements 16 Video Elements 20 RESEARCH 25 Basic Steps of Research 27 Citing Sources 30 Archives 32 INTERVIEWING 35 Introduction to Interviewing 37 Audio Recording 42 Voiceover Narration 44 Audio Equipment 46 Video Recording 48 Interview Footage 50 Video Equipment 52 PRODUCTION 55 Software 57 Editing Audio 59 Editing Video 63 Intellectual Property Rights 65 Publishing Your Project 68 Since we began to gather ourselves together into towns and cities, our stories have helped us organize ourselves.
    [Show full text]
  • Ross Carbonite 2 Operation Manual
    Carbonite & Carbonite eXtreme OPERATION MANUAL v8.0 www.rossvideo.com times of company or customer crisis - do what you Thank You For Choosing know in your heart is right. (You may rent helicopters if necessary.) Ross You've made a great choice. We expect you will be very happy with your purchase of Ross Technology. Our mission is to: 1. Provide a Superior Customer Experience • offer the best product quality and support 2. Make Cool Practical Technology • develop great products that customers love Ross has become well known for the Ross Video Code of Ethics. It guides our interactions and empowers our employees. I hope you enjoy reading it below. If anything at all with your Ross experience does not live up to your expectations be sure to reach out to us at [email protected]. David Ross CEO, Ross Video [email protected] Ross Video Code of Ethics Any company is the sum total of the people that make things happen. At Ross, our employees are a special group. Our employees truly care about doing a great job and delivering a high quality customer experience every day. This code of ethics hangs on the wall of all Ross Video locations to guide our behavior: 1. We will always act in our customers' best interest. 2. We will do our best to understand our customers' requirements. 3. We will not ship crap. 4. We will be great to work with. 5. We will do something extra for our customers, as an apology, when something big goes wrong and it's our fault.
    [Show full text]
  • Sergei M. Eisenstein Notes for a General History of Cinema
    EDITED BY NAUM KLEIMAN & ANTONIO SOMAINI SOMAINI & ANTONIO KLEIMAN NAUM BY EDITED FILM THEORY FILM THEORY IN MEDIA HISTORY IN MEDIA HISTORY SERGEI M. EISENSTEIN NOTES FOR A GENERAL HISTORY OF CINEMA EDITED BY NAUM KLEIMAN & ANTONIO SOMAINI An iconic figure in twentieth-century cinema, Ser- NAUM KLEIMAN is a film his- gei M. Eisenstein directed landmark films such torian. He was previously cura- as Battleship Potemkin and Ivan the Terrible and tor of the Eisenstein Memorial authored a vast body of theoretical texts. This is Apartment and director of the the first English-language edition of his recently Cinema Museum in Mos cow. rediscovered notes for a “general history of cine- He has participated in recon- ma.” In these, Eisenstein presents a fascinating structions of Eisenstein’s films genealogy of the media and art forms that preced- and unfinished books and has ed the birth of cinema and accompanied its first edited several volumes of his decades. Cinema is presented as a medium in con- texts. Since 2013 he serves as stant flux and as heir to an expansive tradition, the chief-editor of the journal ranging from Dionysian mysteries to death masks Kinovedcheskie Zapiski. and mummies, from wax museums to dioramas and panoramas, pursuing a breathtaking trajectory ANTONIO SOMAINI is Profes- SERGEI M. EISENSTEIN “from Dionysus to television.” Eisenstein’s notes are sor of Film, Media, and Visual accompanied by a series of previously unpublished Culture Theory at the Universi- critical essays by internationally recognized Eisen- té Sorbonne Nouvelle – Paris 3. stein scholars. He has published extensively on the work of Eisenstein and Vertov, Benjamin and Kracauer, Balázs and Moholy-Nagy.
    [Show full text]
  • Outline of Key Areas 1. Definition 2. Dimensions 3. Continuity Editing 4
    EDITING ESSENTIAL CONCEPTS OUTLINE OF KEY AREAS 1. DEFINITION 2. DIMENSIONS 3. CONTINUITY EDITING 4. ALTERNATIVES TO CONTINUITY EDITING 1. DEFINITION • The coordination of one shot with the next • Shot: – One or more exposed frames in a series on a continuous Length of fiLm stock. – An uninterrupted run of the camera • These joins of shots can be of different sorts fade-out fade-in dissolve wipes Types of joins • Fade-out: gradualLy darkens the end of a shot to bLack • Fade-in: Lightens a shot from bLack • DissoLve: briefLy superimposes the end of shot A and the beginning of shot B • Wipe: shot B repLaces shot A by means of a boundary Line moving across the screen. Both images are briefLy on the screen at the same time, but they do not bLend, as in a dissolve Types of cuts - cont • In the production process fades, dissoLves, wipes are optical effects • They are typicalLy executed in the Laboratory • The most common means of joining two shots is the cut 2. DIMENSIONS OF EDITING • GRAPHIC • RHYTHMIC • SPATIAL • TEMPORAL 2. DIMENSIONS OF EDITING - cont • Editing offers the fiLmmaker four basic areas of choice and controL: 1. Graphic reLations between shot A and shot B 2. Rhythmic reLations between shot A and shot B 3. Spatial reLations between shot A and shot B 4. Temporal reLations between shot A and shot B Graphic reLations between shot A & shot B • Graphic may be edited to achieve smooth continuity or abrupt contrast • The fiLmmaker may Link shots by graphic simiLarities, making a graphic match • Editing need not be graphicalLy continuous • GraphicalLy discontinuous editng can be more noticeabLe – cLash from shot to shot, e.g.
    [Show full text]