Graphics Reference
In-Depth Information
Disney's upcoming feature, Bolt , put it, “I try to keep editing transitions in mind if they help
to tell the story I am boarding—otherwise I let the editor worry about the editing. The more
you can do up front, the better it will help everyone else.” If your are making your own fi lm,
you may be the story artist and the fi nal editor. So it is a good idea to start planning how
you will use transitions to help tell your story.
Technical Editing Transitions
Every change from one shot to the next is called a cut. If the fi lmmaker decides to put some
black frames or white frames between shots or fade one shot out as the other simultaneously
fades in, the shots will read differently. Common technical transitions are the standard cut,
the cut or fade to black or to white, and the cross dissolve. There are many others like the
iris (see Fig. B73-B76) that are used for special reasons, which I will not go into in this
chapter. A fade to black can suggest that time has passed between the end of one shot and
the beginning of the next. This can happen quickly or very slowly and the effect is a sense
of duration. A cross dissolve will show one shot becoming progressively transparent and
fading away as it is simultaneously replaced by the next shot fading in. Such transitions
may suggest we are in another place perhaps at another time. Variables such as the type
of image, duration of transitions, and the story context will have an effect on the way that
our audience reacts to our fi lm transitions. However, these transitions will dramatically affect
your story so you must often consider your story and the technical transitions in tandem. You
can choose to draw these transitions or it may be enough to simply write, fade, or cross
dissolve on your storyboards. If you produce an animatic, you can show the transitions
between your story panels and reveal the effect more completely.
Cross Dissolve
Fade to Black
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