Picturization
 Visualization is the framing of a single
shot.
 Picturization is the control or
structuring of a shot sequence.
It is also known as editing.
Basic Transition Devices
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Cut
Dissolve
Wipe
Fade
The Cut
 an instantaneous change from one image
(shot) to another.
 most common and least obtrusive transition.
 basically used for clarification and
intensification.
 clarification means that you show the viewer
the event as clearly as possible.
 intensification means that you sharpen the
impact of the screen event.
Main reasons for using a cut
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to continue the action
to reveal detail
to change time and place
to change impact
to establish an event rhythm
The Dissolve
 a gradual transition from shot to shot,
whereby the two images temporarily overlap.
 unlike the cut, the dissolve is a clearly
visible transition.
 when you hold the dissolve in the middle,
you create a superimposition (super).
 do not overuse dissolves - they are very
visible and create no rhythmic beat.
The main reasons
for using a dissolve
 as a smooth bridge for action.
 to indicate a change of locale or time.
 to indicate a strong relationship
between two images.
The Wipe
 there are a great variety of wipes available.
 normally classified as a special effect.
 tells the viewers that they are definitely
going to see something else.
 use carefully - overused or inappropriate
wipes easily upstage the shots they are to
connect.
 used to signal the end of one scene and the
beginning of another.
The Fade
 the picture either goes gradually to black
(fade-out) or appears gradually on the
screen from black (fade-in).
 used to signal a definite beginning (fade-in)
or end (fade-out) of a show or scene.
 cross-fade decisively separates the
preceding and following images from each
other.
Continuity Editing
Continuity editing means to achieve
story continuity despite the fact that
much of the story is actually missing,
and to assemble the shots in such a way
that viewers are unaware of the edits.
Continuity Editing
Observe these aesthetic factors:
 subject identification
 mental map
 vectors
 movement
 color
 sound
Subject Identification
Avoid editing between shots of extreme changes in
distance or angle.
Subject Identification
Jump Cut
Avoid editing between shots that are too similar.
Mental Map
Tells viewer where things are or are supposed to be
on- and off-screen.
Continuity and the 2 Shot
With both cameras shooting a standard 2-shot, the
central talent appears to jump from one side of the
screen to the other as we take between the shots.
Vectors
Continuity editing is little more than
using the graphic, index, and motion
vectors in the source material to
establish or maintain a mental map onand off-screen.
Index Vectors
An index vector is created by something that points
unquestionably in a specific direction, such as an arrow
or person’s gaze.
Graphic Vectors
A graphic vector is created by stationary elements that
guide our eyes in a specific direction.
Motion Vectors
Continuing
Converging
Diverging
A motion vector is brought about by something moving.
Vector Line
Motion vector line
Index
vector line
The vector line is formed by extending the converging
index vectors or a motion vector.
Vector Line With Correct
Camera Positions
1
Camera position
for shot 1
Index
vector line
A
A
shot 1
B
A
shot 2
B
B
2
Camera position
for shot 2
Crossing the Vector Line
1
Camera position
for shot 1
vector line
A
shot 1
B
B
shot 2
A
A
B
2
Camera position
for shot 2
Crossing the Vector Line
B
A
Index vector line
B
A
Index vector line
Crossing the Motion Vector Line
Motion
vector line
Camera position
for shot 2
2
shot 2
1
Camera position
for shot 1
shot 1
Crossing the Vector Line
If cameras are placed on both sides of the vector line,
the screen direction will be reversed when cutting
between cameras.
Vector Line
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b
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Vector
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between
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cameras
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When both cameras are placed on the same side of the
vector line, they will both perceive the action moving in
the same direction.
n
e
Vector Line
Crossing the Vector Line
If you must edit together shots in which the car changes
direction, you can insert a neutral shot (or head on-shot)
between the two opposing shots.
Movement
When editing, or cutting an action, try to
continue the action as much as possible from
shot to shot.
Cut during the motion, not before or after it.
If one shot contains a moving object, do not
follow it with a shot that shows the object
stationary.
If you follow a moving object in one shot with
a camera panning, do not cut to a stationary
camera.
Movement
 Do not cut from a stationary camera to a
moving one.
 When working with footage in which the
action has been shot from both sides of
the motion vector line (resulting in a
reversal of directions), separate the two
shots by a cutaway or head-on shot so
that the reversed directions can be
perceived as continuing.
Color
 Color continuity must also be maintained
from shot to shot.
 Pay careful attention to white-balancing
cameras to the prevailing color temperature
of the lighting.
Sound
 Make sure to preserve general speech
rhythm.
 In an interview the cut usually occurs at the
end of a question or answer.
 Reaction shots are often smoother when
they occur during, rather than at the end of,
phrases or sentences.
 Action is always a stronger motivation for a
cut than dialogue.
Sound
 Maintain background sounds.
 In music, try to cut with the beat.
 If the general rhythm of the music is casual
or flowing, dissolves may be more
appropriate than hard cuts.
 Cutting “around the beat” (slightly earlier or
later than the beat) can make the cutting
rhythm less mechanical.
Complexity Editing
Complexity editing is the juxtaposition of
shots that primarily, thought not
exclusively, helps to intensify the screen
event.
Complexity Editing
 Editing conventions as advocated in
continuity editing are often purposely
violated.
 The selection and sequence of shots is no
longer guided by maintaining visual and
aural continuity, but by ways of getting and
keeping the attention of the viewers and
increasing their emotional involvement.
Complexity Editing
 Complexity editing does not mean that you
are free to ignore the rules and conventions
of continuity editing.
 It means that you may deliberately break
them to intensify your communication intent.
Context and Ethics
 In all types of editing , but especially editing
news and documentaries, you must preserve
the true context in which the main event took
place.
 In editing nonfiction, the most important
principle is to remain as true to the actual
event as possible.
 There is a fine line between intensifying an
event through careful editing and distorting
an event through careless or unethical
editing practices.
Basic functions
of a production switcher
 To provide the fundamental transition
methods between video sources.
 To create special effects.
 To permit previewing of any video source or
special effect before putting it on the air.
Super (superimposition)
In a super one image overlaps the other.
Super (superimposition)
Super vs. Key
Internal Key
In a key one image is electronically "cut out" of the other.
Background
image
Key signal cuts hole
and fills it
Matte Key
Matte Key in Edge Mode
Matte Key in Outline Mode
Matte Key in Drop-Shadow
Chroma Key
The photo on the right was created by chroma keying
the model into the beach scene. Although any color can
be used in chroma key, royal blue and a saturated
green are the most commonly used.
Chroma Key
The photo on the right was created by chroma keying
the weathercaster into this computer-enhanced satellite
photo. Although any color can be used in chroma key,
royal blue and a saturated green are the most
commonly used.
Chroma Key
The source for this background image is a video frame
of the museum exterior from the ESS file. The studio
camera focuses on the actor playing a tourist in front of
the blue chroma key background. All blue areas are
replaced by the background image; the tourist appears
to be in front of the museum.