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.
Here’s a nice video that describes and shows examples for a variety of cuts and transitions including jump cuts, match cuts, smash cuts, wipes, dissolves, etc.
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.
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
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.
Here’s a page from Adobe that features all kinds of videos from the basics to color correction to animating elements