In the annals of cinema history, Thomas Edison is considered the father of the first motion picture cameras and his assistant Edwin S. Porter made the first narrative movies with one shot cutting to the next. The idea of match cutting on motion has been around since D.W. Griffith started to advance the editorial arts that began with Porter. Transitions, especially in the form of cross dissolves entered the moviemaking tool kit within a few years.
When most people think of transitions, they think of a button they press on their computer or on their switcher. There are alternatives to making transitions from one scene to another.
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By still using the standard rules of editing, with match cutting, cutting on motion, you can still use those rules but use them to cross from one scene to another like this. [Video clip playing.] As with all transitions, overuse can lessen the impact. Using different transitions for different effects is far more important to emphasize a change. Sometimes a straight cut can get you from one scene to another, other times you want to emphasize the change in location or time. [Video clip playing.]
In narrative storytelling, the transitions that you find in the computer tend to rip the audience out of the moment, so you tend to want to use more natural transitions in narrative storytelling, and you can leave reality shows and documentary work, where the traditional transitions that you find in the computer or switcher are a little more acceptable to the viewer. [Video clip playing.]
Using natural transitions is especially effective when you're dealing with parallel action or parallel storylines. Jumping from one story to another, the natural transitions help emphasize the similarities between the two events. [Video clip playing.]
When to use transitions and when not to use transitions is really up to you, use your best judgment.
There are always lots of new lenses announced at NAB every year, but this one was truly special. Most of us can’t even afford to rent some of the lenses on the show floor, let alone the camera to use them. Canon’s Compact Servo 18-80mm T4.4 is the exception. While the $5,225 price tag is nothing to scoff at, it’s a steal when compared to Canon’s other EF servo zoom lenses, which approach $30,000.
An optional add-on to the Compact Servo 18-80 is a zoom rocker grip.
The visual style of your video is usually in the director’s head from the start of production, so what happens when you bring the footage into your editing software and you can’t get it to look quite right? Well, when it comes down to crunch time, as editing tends to, any solutions that are "as easy as it gets," are often the ones that editors rely on. You need to get the right tool, and you know that big young Internet has plenty to offer, but do you really want to be searching for, learning and purchasing something you’re checking out for the first time the same day?
Testing the S-Gamut3.Cine Slog3 colour profile in the Sony a7S II. Please note this is 4K down scaled to a 1080P timeline. Canon 16-35 F4 Set to F11 on both cameras. Shutter speed used to get correct exposure. White balance 5500K
We've been screaming about this for years, but Simon Cade at DSLRguide has put it into words more eloquently than we've heard in quite some time. Simon strikes down all the buzz words we industry geeks tend to throw around like dynamic range, aliasing and 4K, but emphasizes that the they all take second fiddle to storytelling.