Max Payne

Alternating cut-ins and cut-outs

Cut-ins and cut-outs are definitely not limited to one-shot effects. Alternating cut-ins and cut-outs — like alternating zoom-ins and zoom-outs or alternating truck-ins and truck-outs — lend themselves very well to designing long series of shots — even entire scenes Continue reading

Scaling down – Cut out (Part 2)

In part 1, we saw how cut-outs could be used to reveal context and action, but what about exposing characters? How about creating space to unbalance the frame so that we expect a subject to show up and fill the void? Continue reading

Scaling down – Cut out (Part 1)

Like cut-ins, cut-outs are ubiquitous in movies, to say the least. A cut-out is nothing but an instant truck-out or zoom-out, transitioning from one shot to a wider shot along the same axis. Continue reading

Scaling up – Truck in (Part 3)

The emotional meaning of some truck-ins we came across in parts 1 & 2 can be extended in a variety of ways to thrill or scare the audience, sometimes in conspicuous and sophisticated designs. As a reminder, Continue reading

Scaling up – Have subjects come to the foreground (Part 2)

In part 1, we ran into the descriptive power of characters coming to the foreground. We will now investigate the emotional aspect of this technique with characters coming close to the camera 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 – Linking vs isolating

In this article, we will study focus for its natural ability to both link and isolate subjects. Focus is unbeatable when it comes to linking characters to their context. Conversely, focus is the perfect tool for separating Continue reading