Cut (transition)

Source: Wikipedia, the free encyclopedia.

In the

dissolve, and wipe
serve as the three primary transitions. The term refers to the physical action of cutting film or videotape, but also refers to a similar edit performed in software; it has also become associated with the resulting visual "break".

History

Due to the short length of early

shooting to record for longer periods of time. Narrative
directors, on the other hand, preferred shooting for shorter lengths, editing together shot footage. In either case, film was cut (and subsequently joining the cut segments) to remove excess footage, focusing attention on significant elements.

The cut has retained its purpose to this day, with alternative uses arising to achieve special effects.

Verbal command

To signal the end of media capture, this command is issued primarily by the director, to cast and crew. (It is very unusual for others to yell "cut" without an exceptional reason; mistakes are reshot during the same take, if possible.) In contrast, a "roll" command signals the beginning of shooting.

In between these commands and the actual footage to be captured, various marking elements (the

extras
, effects, or other costly elements), and the director's "Action!" command are also recorded. These are edited out to effect a seamless presentation.

Proper cut

In practice, the cut does not break the

setting and time—in turn, the dissolve and wipe respectively identify changes in time and setting. In many cases, cuts are also used in place of dissolves or wipes for minor changes, or to edit away insignificant details to maintain pace. Usage of the cut in this manner conforms to the goals of continuity editing
, which deemphasizes the presence of the film crew.

Cuts serve as transitions between camera angles, such a wide establishing shot and a medium shot. Footage of a moving character may be captured from multiple angles rather than a tracking shot, either for aesthetic reasons or to lessen the risk of damaging a camera while in motion.

Cuts are often used in sections of dialogue so that the director may employ close-ups without unnecessary (and visually disturbing) movement of the camera. Such cuts usually follow the 180-degree rule, where the camera angles are kept on the same side of an imaginary border drawn between the subjects.

On a broadcast television

master reel
.

Variations

  • An
    L-cut
     is when video and audio are edited asynchronously. For example, the sound of approaching cars in an interior shot alerts the viewer that the next scene will most likely involve traffic or take place outside.
  • A
    dissolve or wipe
    would be (perhaps more) appropriate.
  • A cutaway is when footage extraneous to a scene is overlaid, visually interrupting the narrative but perhaps displaying some important action taking place simultaneously, or an action referenced in dialogue. Audio cutaways are much less common, as they do not achieve the same effect.
  • A cross cut is similar to a cut used in dialogue, but where the subjects are not necessarily in the same setting (or even time frame). It establishes the same intimate relation as a dialogue cut.
  • A match cut, like the cross cut, links together two scenes that visually or otherwise resemble each other.
  • champagne
    cork firing off.

References

  1. ^ "Cuts and Transitions". Scotland on Screen. Scotland on Screen. Retrieved 5 January 2024.

See also

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