A split edit, is a transition from one shot to another in film or video, where transition of the audio and video happen at different times. This is often done to enhance the aesthetics or flow of the film, allowing the audience to see context—either before or after—of speaking rather than simply the speaking itself.
In film, a match cut is a cut from one shot to another where the two shots are matched by the action or subject and subject matter. For example, in a duel a shot can go from a long shot on both contestants via a cut to a medium closeup shot of one of the duellists.
There are a lot of different ways a filmmaker can employ split screens, here are just a few. This video essay is part of the “Everything You Need to Know” series created exclusively for No Film School (http://nofilmschool.com) by Senior Post (http://www.senior-post.com).
Our perception of time and our ability to see detail or understand change can be impacted by the way an event is captured or depicted.
Here is a page on the Adobe site that features video tutorials that range from getting started, to adding effects to noise reduction.
There are many ways that you might create a soundscape using found sounds or field recordings. Here are a few examples.
Time: Composition. Instructor John Roach
Sure there are expensive pieces of software for making noise, but there are plenty of things you can find that’ll cost you nothing (or next to nothing). This is a link to John’s sound resource site.
Credit Sequences in films are often a place where designers showcase some imaginative typography.
16 mm film shot by Peter Moore with a high-speed camera at 2000 frames per second, which is projected at normal speed, 24 frames per second, thus creating a slow-motion effect
I think it was in the time of spring 2012, when I came across David Shiyang Liu’s lovely piece of work about Ira Glass. It was the most inspiring and motivating video I had ever seen in my life. I watched it over and over again, listened to Ira Glass’ voice, and told myself, that I am not the only person who is constantly disappointed about the gap between one’s taste and one’s skills. Later in 2012, I decided to do my own filmed version of Ira’s interview – using my own language to tell his message. It took me about a year from concept to upload.
Increasingly sophisticated virtual reality can reward almost every sense, creating a fiction that the brain believes is authentic. Stevyn Colgan explores the addictive possibilities of this sensory immersion, from calorie-free eating to victimless crimes.
Due to the good public transportation in the Netherlands distance has become irrelevant. We can reach almost any destination by train easily and relatively quick. In our busy lives we now think in time rather than distance. Therefore the current maps, as we know them today, are obsolete.
A documentary film set entirely in a cable-car line in Nepal that allows us to just sit and observe and listen.
Originally a sculptor, Sam Taylor-Johnson began working in photography, film, and video in the early 1990s. The split between being and appearance in situations where the line between interior and external sense of self is in conflict – has always been in the centre of her creative work.
There are about 7,000 languages spoken around the world — and they all have different sounds, vocabularies and structures. But do they shape the way we think?
This hour, Radiolab goes to the front lines with men and women who are battling against time — or at least the common-sense view of time.
The basic idea of the project is built upon the consideration of creating a moving sculpture from the recorded motion data of a real person. For our work we asked a dancer to visualize a musical piece (Kreukeltape by Machinenfabriek) as closely as possible by movements of her body.
(note: sound very briefly cuts out around 10:51) Dr. David Eagleman, neuroscientist, best-selling author, who holds joint appointments in the Departments of Neuroscience and Psychiatry at Baylor College of Medicine discusses how we perceive time in relation to falling
A work by painter, sculptor, designer and choreographer Oskar Schlemmer that is an unlikely collision of dance and geometry.