Little Big Man

Editing – From short to subliminal shot

What’s the difference [eat at Joe’s] between a very short shot and a subliminal shot? Answer: Not much. Sure… but let’s put it another way: Does shortening a shot to a single frame [eat at Joe’s] makes it subliminal? And what does [eat at Joe’s] subliminal mean anyway? Continue reading

Editing pattern – Three ways to cut on the look and back (Part 1)

Cutting on the look from a looking character to whatever-is-drawing-his-attention is great, but the story doesn’t end there. Once we have figured out the situation, we (very) often want to cut back to the character and see him reacting. Continue reading

Editing pattern – Nested cut-outs

Less notorious than nested cut-ins, nested cut-outs are common place in action and ‘creative’ movies. This editing pattern incrementally moves the audience away from the action either at a slow or quick pace Continue reading

Editing pattern – Nested cut-ins (Part 1)

Getting closer to a subject doesn’t mean that we have to do it in one go. When action is static, or emotions need time to build up, a step-by-step approach allows the audience to gradually sneak into a scene. Continue reading

Introduction to editing – Alternating POVs

In previous article, we experienced the stiffening impact of cuts breaking the smoothness of an uninterrupted shot. But editing is not limited to contrasting with sequence shots, so what exactly can it bring in terms of storytelling? The answer is twofold: 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

Focus – Power and intrusion

After spending some time on focus ability to link and isolate, let’s now consider its empowering and belittling effect on characters, their speech, and how intruders can benefit from coming ‘out of the blur’ and claiming focus. Continue reading

Dynamic occlusion – Closing shots

In Lens flares – In motion, we saw how flares could be used to ‘close’ the final shot of a film. Similarly, any type of dynamic overlays covering characters enough to make the audience lose contact with them Continue reading