Newsmeldung von slashCAM: Basic Video Production: Video Production Basics: Transitions of rudi - 25 Jan 2010 06:55:00
Antwort von Axel:
> Transition: Other city and / or any other time, but takes a clear stance on what has been seen.
> Start-and Fade: This is the end of this strand of the narrative, and a new one begins. If no chapter in a novel, but a
part 2 ...
> Effect "Turn the page" (etc.): This feature presents only nice shots, like in a picture book, even turning the pages, we do for you.
> Scene Transitions in
Star Wars: Usually combinations of the above, often displaces a scene to the next, which would then be
> Wipe: What a comic a box "were now".
When one sees the transition function that they normally have, you will use them or not inflationary selbstzweckhaft. A vulnerable, traditional conception of film editing, which I share
for this case says that transitions are remnants of verbal punctuation, and a film is all the more effective the more it without the "hum" and "uh" variety. For three conditions, one must be aware of any case:
> A transition urges the audience, if synonymous, at best, very unobtrusive on, to perceive the movie as an arbitrary construction. The transition is the place s.der shines through the concept of a break which had to be mended. The type of transition (see above) suggests, seeks to understand how to connect the ends of the cutter.
Express> The exclusive cinematic achievement, something (not necessarily a "story") solely in picture successes, is limited. Transitions are a hierarchical level of abstract and thus unfilmischer.
> The other hand, stories are often not of a piece. Even the most classic of all not boring, but thrilling films, Hitchcock's
Psycho, is composed of several (alp) dreamlike sequences. No suspense here exceeds the
attention span of the audience. There are emotional reasons, motivated
fragments. The moment comes when a transition that pulls the viewer out of the trance. The platform of increased expectation and attention, which is achieved to date, and is apprehended of a new fragment continued and. The longest of all - narrative - in this film is the blending of complicity with the thief, we (with fever) on the complicity with the motel owner. Even after the main character is gone, can not in our interest. If the poor can eliminate all traces?
