Movie transitions are techniques used in the post-production process of movie editing and video editing by which scenes or shots are combined. The most common of these is through normal cuts to the next shot. Most films will also include the use of another selective transition, usually to convey a tone or mood, suggest a passage of time, or a separate part of the story. These other transitions may include dissolution, cutting L, fading (usually black), match pieces, and tissues.
Video Film transition
Shoot transition
Every movie today, whether live-action, generated computer, or traditional hand-drawn animation consists of hundreds of individual images all of which are placed together during editing to form a single film seen by the audience. Transition image is the way in which two of each of these images are combined together.
Caesura
In principle a literary term that denotes a rhythmic pause and breaks in a line of verse. In poetry, caesura is used to diversify rhythmic progress and thereby enrich the accent verse.
Multiple Applications
The term first gained significance in the art of moving images through the editing experiments of Sergei Eisenstein. In applying the concept of montage as a "shot collision", Eisenstein often includes caesuras - rhythmic breaks - in his films. The Battleship Potemkin (1925) action is separated by caesuras which provides rhythmic contrast with previous actions. Intense and frenetic rebellious acts, for example, followed by lyrical trips to shore. Three musical sequences of Burt Bacharach at Butch Cassidy and Sundance Kid (1969) provide caesuras contrast that separates the main action of the film. Several intense series of actions in Master and Commander (2003), including a raging sea storm and battle scenes, followed by a quiet caesuras, a wonderful interlude often accompanied by melodic cello music.
Continuity
The continuity is the development and structuring of movie segments and ideas so that the meaning is clear, and the transition is used to link the film section. In a more specific sense, "continuity" refers to matching individual scene elements from shot to shot so that detail and action, filmed at different times, will be edited together without errors. This process is referred to as "continuity editing". To maintain continuity in sequence, the editor will often truncate characters so that the scene flows together without jumps (see below). Hoses in the action stream can be avoided with the transition and cutaways of the device (see below). Music and sound are often used to give a sense of continuity to a scene or sequence that may contain unmatched shots taken in different locations. For example, in Rocky (1976), the song "Getting High" acts as a continuity device during a highly fragmentary sequence featuring Rocky in various prep workouts for his title fight. The song connects many short shoots so they appear as single and complete units in the film.
Cut
The most basic type of image transfer, cut is the most common way to combine two shots. The bottom line is the continuation of two different shots in the same time and space. This is the most basic in movies that do not undergo a special process for cutting; two strips of film only played one after the other. While watching a movie, this is where one image on the screen is instantly replaced by another, often in the form of a camera angle change. Although simple in construction, the subject matter on each side of the piece can have widespread implications in a film.
Shot A suddenly ended and Shot B suddenly started.
Cutaway
The shot is edited into a scene that presents information that is not part of the first shot. The cutaway shot is usually followed by a return to the original shot, and is often used to compress the time in a scene by eliminating unwanted actions or to cover the loss of continuity in action. For example, a series of shots of a woman sitting alone in a smoking room may not fit properly in editing due to various sizes of cigarette ash from shot to shot. A cutaway to the fireplace clock, ticking the time, will provide enough distraction to cover the loss of continuity. Or a cutaway hour can be inserted between the shot of a smoking woman and one woman reading a book. Cutaway will allow the editor to advance the action in time.
Cut-in
A shot that presents the material in a scene in more detail, usually through the close-up shot. Isolates are cut and emphasize the element mise-en-scÃÆ'¨ne for dramatic value or information. Any progressive movement through the sequence of shots, from long shot to close-up , is a cut-in shape. Cut-ins made remotely to large close distances can have a surprising effect on viewers because of this direct magnification. This technique is often a method of editing tension films.
Related, there is an insert shot , a shot containing the visual details inserted into the scene for informational purposes or for dramatic emphasis. The close-up view of printed material in a book, intercut as a read character, is a type of point-of-view insert of information. Intercutting of the close-up view of guns resting on an indoor table where violent arguments occur is a dramatic type of insert. Detailed image is another term for short inserts.
Cutting contrast
An editor can strategically cut out to pair two subjects. For example, someone dreaming of a beautiful flower field, shoot A, may suddenly wake up inside a burning building, shoot B. The voice will be calm and peaceful in picture A, and suddenly hard and painful in shooting B. This contrast between peace and chaos intensified through a sudden transition.
Dynamic Cutting
Dynamic Cutting is a movie editing approach in which cuts from one shot to the next are made abruptly for the viewer. In matching cuts or invisible edits , the deductions are not very clear to the viewers because they adhere to sustainability procedures designed to hide editing-for example, cutting action. Dynamic cuts, on the other hand, are self-conscious and will often surprise viewers by moving abruptly in time or space or by fast cuts in a scene for both expressive and narrative purposes. Bob Fosse's All That Jazz (1979), Richard Rush The Stunt Man (1980), and Oliver Stones JFK (1991) and Natural Born Killers (1994) uses extensive dynamic cutting. Dynamic Cutting is a feature editing element in the Quentin Tarantino movie, from Dog Reservoir (1992) to Django Unchained (2012).
Instantly cut
Associated with dynamic cuts, direct cuts are real-time image changes, usually to a new locale or time frame, and run without an optical transition device. Direct snippets serve to replace, dynamically, one shot with another.
L cut
L Cut is an editing technique that results in cuts that occur at different times for audio rather than for video. For example, we may hear a character's voice a few seconds before we see it in the movie. To achieve this effect, the editor must create an L-shaped cut on the strip of the movie itself. Even today with the advent of computerized non-linear editing systems, the digital representation of movies in the program still takes this L-shaped display.
Cut match
The cut match joins together two pieces of film containing two similar shaped objects in the same position in the frame. One of the most famous examples of this is editing in 2001: A Space Odyssey where bones cast by prehistoric monkeys cut into futuristic space stations.
Invisible Cutting
Like match cuts, invisible cuts try to combine two portraits with the same frame. Unseen pieces, however, are designed to completely conceal the transition from the audience. The audience can conclude the cuts have occurred, but they will have difficulty determining the right time. For example, if a character walks toward the camera, closing it completely, the snippet will be introduced when the back of the character is displayed walking away. Unseen pieces can also be hidden by a whip, entering/leaving a very dark or very bright environment, or with objects that cross the screen.
Parallel editing cut
For example, imagine an action scene in which a criminal pursues a movie hero. To spend the entire chase scene trying to keep both heroes and villains in the frame at the same time will be very difficult and unattractive after a while. A better way to approach this problem is through the use of parallel cuts . In this example, the scene will consist of several shots of the hero who ran in one direction, and some criminal shooting ran in the same direction. Maybe the hero looks back, out of the frame, at his pursuers. At this point, the editor will insert a criminal shot. No characters occupy the same screen space, but the audience still understands that one is chasing the other. The technique is parodied in the movie "Naked Gun 2Ã,½" where editing edits between show heroes and criminals shooting each other, then finally in a long shot we realize that they are actually only about four feet from each other.
Jump jump
jump jump is usually the result of a continuity error, and not a style choice by the director. The jump jump occurs when the cut, which is designed to act only as a camera angle change (less than 30-degrees), reveals the difference in continuity between the two shots. For example, if a character has their hands above their mouth in a medium shot, and not in their short range, this little detail, which may not have been noticed on the set, is now very clear to the viewers.
Defocus transition
Defocus transition is the type of transition achieved by rotating the focus lens until the scene becomes blurred. Time travel in a scene can be suggested by refocusing the shot after a change is made in the scene: changes to costumes, lighting, and other continuity elements. Defocus devices are also often used in transition to dream sequences or fantasies .
Fade in/out
A fade occurs when the image gradually changes to one color, usually black, or when the image gradually appears on the screen. Fade in usually occurs at the start of a movie or acting, while fade out is usually found at the end of the movie or acting.
Dissolve
As fading, dissolves involves gradually changing the visibility of the image. However, instead of moving from one shot to the color, the dissolution is when a shot turns into another gradual shooting. Dissolving, like a wound, can be used to make connections between two different objects, a man telling a story, and visually from his story, for example.
Ripple dissolves
A ripple dissolve is a transition type that is characterized by a shaky image typically used to indicate a change to the flashback material, generally the character memory of an event. Sometimes a soluble ripple is used as a transition to an event or action imaginable. A series of three soluble ripples appear in Mamma mia ! (2008) as Donna (Meryl Streep) finds three ex-boyfriends in the attic of her Greek villa. Short ripples interrupt everyone's transportation visually back in time to reveal their 1960 "hippy", "love children" looks, as Donna remembers them.
Washout
The washout is the optical transition used for editing purposes similar to fading. In contrast to fade-outs, where the image fades to black, in the washing the image suddenly begins to whiten or color until the screen becomes a white or colored light frame. A new scene will follow.
Also, washout is the most extreme form of action, the act of exposing each frame of the film to more light or for a longer period of time than is necessary to produce a "normal" exposure of the same subject. There is little or no detail seen in the highlight - the bright areas of the image - and the images look white, more or less washed. The effect is achieved by directing the camera to a bright light source that will wash most, if not all, of the frame area, or by having the effect processed in the film lab. While in 2014 some film directors still opt for photographic materials based on film emulsions rather than digitally captured images, the number doing so decreases rapidly.
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Ingmar Bergman extensively uses the singing in this psychological film Cries and Whispers (1972). Bergman varied techniques for both transition purposes and to continue the expressive use of color in the image. Washing will bring one color, rich to the end of the scene to symbolize emotions and psychological passion at work in the story. Washing is also effectively used in the fantasy sequence Catch-22 (1970). Monster (2003) ends with washing when Aileen Wuornos (Charlize Theron) leaves the courtroom after she is sentenced to death. Similarly, the slow washing of white brought Clock (2012) to a tearful but happy conclusion in a shot where a father (Paul Walker) hugged his premature daughter, whose life he had kept at home sick New Orleans without electricity while Hurricane Katrina went berserk.
Delete
The removal involves one shoot replacing another, running from one side of the frame to another. Think of the vertical line passing from the right side of the frame to the left. On the left side of this line, we have shot A, and on the right side of this line shot B. When this line reaches the left edge of the frame, shooting B will completely fill the scene, and the transition is complete. This example illustrates the deletion of vertical lines, although this is just one type of deletion.
Other common types of wipe use objects in the scene, rather than invisible vertical lines. One of these appealing applications creates the illusion of a camera that passes through the ceiling downstairs of a terraced house with the floor above. In this case, A shoot will consist of a camera that goes up to the ceiling, and B shots will keep the camera up from the ground. The lap transition gives the impression that the camera passes between the floors of the house.
Natural wipe
The transition technique is achieved by elements in mise-en-scÃÆ'¨ne not by laboratory processes. Characters or objects are taken to the camera lens and remove the scene by completely blocking or obscuring the frame. The closing doors often serve as natural wipes. Natural sweep followed by a new scene. A head-on, tail-away transition is a natural deletion type used to end a scene and reveal others.
Iris delete
The wipe shape can also be circular through the use of camera irises. By closing the iris, the opaque circle sweeps inward to the center of the frame, drawing attention to the subject that occupies this living room.
Morph
Although not necessarily limited to image transitions, morph can be considered as a mixing in combination with visual effects. Instead of merely combining colors together, the morph can gradually reshape the object to become another object, creating a connection much more powerful than can be provided by simple dissolution. One of these famous examples can be found towards the end of the movie Saving Private Ryan . Ryan's young private face (played by actor Matt Damon) is slowly transformed into an older personal Ryan (played by Harrison Young), while at the same time the background is disbanded from a besieged town during World War 2, modern era; there is no doubt in the minds of the audience about two men being one and the same.
Sound effects
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The overlapping sound is usually a sound effect of or a continuous speech from one shot to the next. Overlapping sounds can be advanced voice , in which a speech or sound effect in an incoming shot is heard briefly in the outbound shot. Overlapping sounds can be used to connect, dynamically, two separate parts of a dramatic action or to increase the rate of story development. Sound advance/sound bridge
This is the sound progression, to be heard in a shoot or a new scene, taken from the end of the previous scene. Sound progression, common in modern films, is actually combined with cut transitions to dynamically pull the action of the story forward.
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Alfred Hitchcock quite well patented the sound progression in his classic 1929 Extortion . A young woman (Anny Ondra) roams the streets of London in shock after killing a man, who comes on a drunk lying on the sidewalk, her arms extended in the same way as the artist who had just been murdered by a woman in her studio apartment. The shadow of the arm seemed to spark a scream from the young woman. The piece, however, reveals that the screams came from a landlady who had just found the body of the dead artist in her apartment. The progress of sound also has the possibility of conceptual, satirical, and dramatic. In Five Easy Pieces (1970), the unexpected sound of a bowling ball rolling in the bowling lane was heard in the last seconds of the scene in the motel room where Jack Nicholson had taken a girlfriend. Just as the ball strikes tenpin, the pieces are made for a new scene where Nicholson plays bowling with the lady. The combined sound progression and cut transition together serve as sexual metaphors .
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asynchronous sound is a term for voice that has not been synced with screen image . Asynchronous sound also includes the use of sound aesthetics for expressive purposes. Due to the composite nature of film art, sound elements (music, dialogue, sound effects) are highly manipulative. Squeaky chickens can be juxtaposed with shots of nagging politicians because of the satirical effect.
Popular asynchronous variations in contemporary filmmaking have been used in sound advance in the editing scene. The progress of the asynchronous sound can occur when the editor shows the screaming character's face, and instead uses the natural sound of a frightening voice, inserting a sharp and piercing siren from a police car, to be seen in the following scene.. The advanced sound device combines asynchronous and synchronous sound in a unique cinematic way. Francis Ford Coppola extensively used the sync-asynchronous sound mixture in the baptism scene of The Godfather (1972). Toward the end of the film, a serious religious ceremony shoots juxtaposed with revenge scenes that occur simultaneously in various parts of the city. The voices of great church music and the intonations of the baptismal priesthood priesthood continue uninterruptedly when armed men carry out their duties. Through the use of synchronous-asynchronous sound, and visual crosscutting , the psychological, ironic relationship of the past, present, and future occurs. Asynchronous sound can serve to create the irony between sound and image, to mock and parody the dramatic situation, and connect the moments of time apart in an expressive way.
Psychological time
Psychological time is a term that refers to the use of shooting tools which, in the continuity of the motion picture narrative, suggest not the chronological time but the time as perceived by the character's mind. A dissolve (see above) for example, most often reveals a part of the time when it is used in the ongoing scene . Dissolving, with tradition, serves to incorporate intervention time and action. However, if dissolving rather than bypass is used in continuous action without interruption, unconventional placements carry psychological implications. Subjectively inspired psychodramas by experimental filmmakers, such as Maya Deren's "Afternoon Curd (1943), often exploits psychological dissolution for mind-time effects. Psychological time can also be suggested by the repeated use of a piece of action. The last attempt of a traitor who was cursed in the 1950's Ghost Bridge (1962) to reach his wife was delivered in a psychological time by repeated telephoto shots from the man who ran down the road to his home. He seems to be hanging in time and place, which he really is; shortly after the repetition of the shot, viewers discovered that the entire flight of the traitor has become a fantasy revealed through the use of extended psychological time. The use of a very interesting and sometimes confusing psychological perception occurs in Memento (2000), a film about a man looking for his wife's killer. The search was complicated by the fact that the man lost his short-term memory. Events come and go on screen without meaning they become clear on the first revelation. Psychological time is a distinguishing element in Shane Carruth's experimental science fiction film in 2013 Upstream Color . Avoiding well-crafted narrative structures, plots of the Upstream Color Center in men and women targeted by parasitic engineering and whose lives are dissolved in mental and psychological disorders. Time is given abruptly, fragmented fragments, with daily reality mingling with mental appearance and abstract imagery.
Maps Film transition
References
External links
- Adobe Premiere Pro Help | Video effects and transitions
Source of the article : Wikipedia
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