Our subject at the bar, in a medium shot, turns their head to look off-screen to the right. Her POV (Point of View) shot of the inside naturally follows our expectations.Īnother example: A diner with a bar at the center, and a door to the right of the bar. A woman looks through the window screen right. Let’s establish the geography above: A porch with a window that looks into a space screen right. Natural human curiosity begs for a cut when the actor changes their eye line to something offscreen. This is useful for cutting into or out of a shot. If the eye is tracking a moving subject such as an actor or vehicle, it makes a smoother cut, even if the shot itself is static. As we move down the list, the conditions will still work to make an edit but require a bit more maneuvering. In theory, ideal transitions can be placed on a hierarchy of six of these common conditions shown below.Īt the top of this hierarchy, we start with the easiest type of transition for seamless, invisible edits. We established that the editor has a number of common conditions where he or she can make seamless edits if the director delivers sufficient coverage with a well-thought-out plan on how the shots will cut. Our related article “ Scene Coverage: You Can’t Film It All” explores the balance between Scene Coverage and available resource, you will see how important the planning of your transitions plays a part in the impact on time and money. You’ll be a hero to the producer as well. Such foresight also lightens the burden on the production side. If you follow a few theoretical rules below and take some care with our shooting style, you’re a hero in the eyes of the editor by offering him or her enough room to maneuver. It’s the director’s job to deliver the editor matching action in different shot sizes and angles, but also with an idea of how those shots will transition from one to the other. The role of the editor is to get an emotional impression of the material, read the director’s intent, and deliver the story in a seamless sequence of shots. The transition should not attention to itself, so the technique makes the transition unnoticeable, or ‘seamless.’ To make a ‘continuity cut’ between two shots, the editor wants that cut ‘invisible’. Version 2.0 now available at Apple Books. This post is a support article for the chapter “Five Phases of Film Production” inĬyber Film School’s Multi-Touch Filmmaking Textbook. Now let’s think about how those shots may cut together. We looked at ways to cover a scene in Building Your Shot List. For refined visualization of a scene, we must have an idea of how the shots are going to cut together where one shot ends and the next one begins.Įven if we do not know the exact moment for the perfect transition, we should have a general idea of where the editor will have at least a few choices on how the shots may cut together. We should not just plan how we will execute a shot during production, but how each shot might cut to the next during the picture edit. In this post, “transition” refers simply to a cutting point between shots within a scene. Alternatively, a transition between scenes with starkly contrasting shots. Stavridesįirst let’s clarify what we mean by “Transition” for the purpose of this article.Ī common reference to a film transition is the visual style of the transition between shots, such as fades or dissolves. This practice gives the editor enough material to create ‘invisible cuts’, or ‘continuity cuts’.īy Glen Berry, Edited by Stavros C. As you plan your shot list for scene coverage, also visualize the transition points (cutting points) between the shots.
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