Graphics Reference
In-Depth Information
extend all the way to i nishing as the creative team trim and add individual
frames to best tell the story. Editing includes creating transitions (e.g., fades,
wipes, dissolves) between shots, scenes and sequences. In 2D, transitions are
part of visual grammar and largely invisible, except where the storyteller
wants them to be more visible (e.g., a long cross dissolve to convey time
or distance). In 3D, transitions need to be treated with a bit more attention
because Z-depth is not yet part of a widely accepted visual grammar.
“Sometimes if you have a three-shot you might just shoot it wide
instead of going into single coverage, because you can actually
allow the audience to be there as a bystander and actually turn
their heads or move their eyes and “edit” their own movie in their
heads. So experiment with allowing the audience to take part in the
editorial process by allowing them to cut the movie themselves.”
—Keith Collea
3.2.2 On-Set Editorial
In some cases, rough editing or assembly occurs on-set. In others, editing or
conform and i nishing happens at a post facility and/or under a different team
than the rest of the post workl ows. There is no standard; it depends on the show
and its resources. Regardless of when editing and conform activities happen
in a show lifecycle; in this topic we consider part of the editorial workl ow.
“To illustrate the difference between 2D and 3D editing, take an
example where an actor arrives in a car, opens the car door, gets
out of the car, closes the car door, walks to a house, opens the door
and enters the house. You create a sequence of shots. But things
have changed. It takes longer to see things. You do not need to cut
with all of the different camera angles to create a sense of being
there which is what you do with montage. By shooting 3D we are
able to provide this sense of space, so you can stay on single shots
longer. So your pacing is going to change, your number of cuts
decreases, the audience will know where they are because they get
that free from 3D. You do not need all of the angles to establish the
viewer's location. There is a sense of space because there IS space.”
—Keith Collea
 
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