To aid in the seamlessness of editing a sequence of action together several basic rules of movement, frame entry, and frame exiting, were developed by classical Hollywood cinema.
Where a moving body exits a frame, and the next shot is to show them again, then the following conditions are to be followed:
where a figure has left the frame in shot A, they can be shown already present in shot B.
where a figure remains in shot A, they must enter frame during shot B.
where a figure remains in shot A, they must enter frame during shot B.
These rules only apply to those shot sequences where a character, or other moving object, is to be shown moving across the sequence produced by the edit, where there is to be a change of shot but no movement across the frame, movement is regularly co-opted to motivate the edit.
Such rules of movement can be seen in Written on the Wind, though it helps if you use the movie controller. Where this is not followed a jump cut results, and while uncommon prior to the French New Wave film movement of the 1960s, it, like crossing the line, does not appear to significantly compromise intelligibility.
Such rules of movement can be seen in Written on the Wind, though it helps if you use the movie controller. Where this is not followed a jump cut results, and while uncommon prior to the French New Wave film movement of the 1960s, it, like crossing the line, does not appear to significantly compromise intelligibility.
Adrian Miles: Hypertext syntagmas: cinematic narration with links A performative hypertext presented by Journal of Digital Information
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See that post with different algorithms in metabole
See the journal French Metablog with today different posts
See that post with different algorithms in metabole
See the journal French Metablog with today different posts
