Philip Ulanowsky Posted November 16, 2012 Share Posted November 16, 2012 Translating storyboard images or shot-lists into actual shooting is a creative process, with all the variables that entails. Creating a working flow from juxtapositions in the editing room requires one to work from the footage in hand. In my admittedly limited experience in taking video from start to finish, I have found that what I had hoped would cut well from a medium to close-up, often suffers a compositional awkwardness as a result of secondary elements in one or the other shot. For instance, even if both backgrounds have a soft, similar diagonal pattern, the cut from one shot to the next seems less smooth than pre-visualized, due to the displacement of the visual elements from one to the next. (I leave aside, in this consideration, cuts for which a high-precision match involves lining up a transparent template on the monitor for framing the second shot to work with the first.) Even with Walter Murch’s six-element priority list in mind, I wonder if anyone would care to comment on this issue, approaches to filming adn editing, the role of experience, or other observations or advice. Link to comment Share on other sites More sharing options...
Tom Jensen Posted November 16, 2012 Share Posted November 16, 2012 The best thing is to watch a movie and see how a certain scene is done. Try to find one that best resembles what you are trying to achieve. Link to comment Share on other sites More sharing options...
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