Godzilla

Editing pattern – Reverse cut on the look

So far, we have studied the cut on the look for all it’s worth. But equally important is the ‘reverse cut on the lookediting pattern. Cutting from the looking character to what is grabbing his attention is merely done in reverse: The ‘what’ is displayed just before we see the character looking at it Continue reading

Editing pattern – Three ways to cut on the look and back (Part 2)

In part 1, we went over the first two most common ways to cut back to the looking character after a ‘what‘ shot (i.e. using the same or a closer scale). In part 2, we will study editing pattern #3: Cutting to a longer scale shot of the looking character. And we will see how to put all those techniques together Continue reading

Scaling up – Zoom in (Part 2)

With all the pinpointing and focusing of zoom-ins we came across in part 1, it almost seems that we have forgotten about the emotional aspect of magnifying subjects on screen. Continue reading

Introduction to editing – Interrupting a shot

They have the look and feel of sequence shots, but are only parts of cut scenes. Whereas sequence shots can slow down or speed up the pace between scenes, sequence-shot-like shots can slow down or speed up the pace within a scene, which is frequently used to Continue reading

Focus – Perception and confusion (Part 2)

In part 1, we saw how focus could ‘flesh out’ characters’ mental representations of a subject. Let’s dig a little deeper with unawareness and confusion, both closely related with characters’ mind and perception. Continue reading

Dynamic occlusion – Symbolism

In the previous article, we saw the effect of lens flares in motion. Now let’s put that in practice with all other sorts of moving overlays and obstacles. A ‘squeegee’ — think of a sweeping windscreen wiper — is a dynamic obstacle Continue reading