Everywhere in today’s professional video media, motion graphics are filling in the gaps where straight video shots fall short.
Picture an action scene. Do you see: A gunfight? A car chase? A battle?
(Ed Note: In last months issue Dr. Robert Nulph took us through Multicam Shooting. We continue with the techniques of the multicam edit with Morgan Parr.) If you shoot the same event/scene with more than one camera and try to edit the multiple cameras' footage together, you are multicam editing.
From the earliest days of making movies there has been misunderstanding and confusion about what exactly an editor does in the creation of a movie, television program or today, the multitude of other types of “dynamic media” that are emerging both scripted and unscripted.
When Oliver Stone turned over the massive amount of raw footage that became JFK, editor Joe Hutshing knew it would be a challenge.
Continuity editing is pretty much the only way Hollywood and mainstream movies like to edit.
The first few minutes of a film will often either leave the audience full of excitement and eager to see how the story of the movie will play out, wondering what hints they were shown in the opening credits to what they're about to watch. Sometimes these opening moments are grander than the film that follows them. Sometimes you talk to your friends about the notebooks instead of the head in the box, or the silhouetted men running around more than the prodigy delinquent. Ian & Alex of The Art of the Title Sequence are two curators of a collection of title sequences best described as fine art.