In this sequence (I apologize in advance for the content!) the editing and manipulations give the impression of a distorted perception of time. The scene also makes heavy use of color and also has some split screen shots. A little bit of everything.
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.
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.
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.
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.
A work by painter, sculptor, designer and choreographer Oskar Schlemmer that is an unlikely collision of dance and geometry.
When you walk along the beautiful alster lake, you notice the unique skyline of the city of hamburg, reflected on the water.
This reflection gives shape to a soundwave….
Oskar Wilhelm Fischinger was a German-American abstract animator, filmmaker, and painter, notable for creating abstract musical animation many decades before the appearance of computer graphics and music videos
