Comments on: Transitions http://lfhd.net/2007/08/15/transitions/ High definition editing from the trenches... Fri, 10 Sep 2010 06:31:28 +0000 http://wordpress.org/?v=2.9.2 hourly 1 By: Shane Ross http://lfhd.net/2007/08/15/transitions/comment-page-1/#comment-405 Shane Ross Wed, 22 Aug 2007 23:24:00 +0000 http://postfifthpictures.com/lfhd/2007/08/15/transitions/#comment-405 Good point Christian. If you do a "cool" transition, there needs to be MOTIVATION for it. <br/><br/>Like actors...what's their motivation? Good point Christian. If you do a “cool” transition, there needs to be MOTIVATION for it.

Like actors…what’s their motivation?

]]> By: Christian Glawe http://lfhd.net/2007/08/15/transitions/comment-page-1/#comment-404 Christian Glawe Wed, 22 Aug 2007 22:58:00 +0000 http://postfifthpictures.com/lfhd/2007/08/15/transitions/#comment-404 I also work on a fair amount of broadcast stuff that is supposed to be "flashy" - and an all-cuts approach simply won't.... uh... "cut" it with the producers.<br/><br/>But... that doesn't mean you can't still apply the rules of logic and good editing to your use of transitions. I try to keep it logical: film flashes when changing topic/music, frame pushes for a rapid "list" of people, and really, that's about it...<br/><br/>If it's gonna be a sparkle transition, then there had better be someone with a wand in the outgoing scene...<br/><br/>What really gets me is when it looks like an editor just went down the list and used each of his/her "favorites" once...<br/><br/>Oh, and a sound effect on each and every transition really drives me nuts! I see this all the time....<br/><br/>Even though you're asked to add "flashy" transitions, there's still a logic/syntax behind *why* should that be a frame push, or *why* should that be a film flash...<br/><br/>-Christian I also work on a fair amount of broadcast stuff that is supposed to be “flashy” – and an all-cuts approach simply won’t…. uh… “cut” it with the producers.

But… that doesn’t mean you can’t still apply the rules of logic and good editing to your use of transitions. I try to keep it logical: film flashes when changing topic/music, frame pushes for a rapid “list” of people, and really, that’s about it…

If it’s gonna be a sparkle transition, then there had better be someone with a wand in the outgoing scene…

What really gets me is when it looks like an editor just went down the list and used each of his/her “favorites” once…

Oh, and a sound effect on each and every transition really drives me nuts! I see this all the time….

Even though you’re asked to add “flashy” transitions, there’s still a logic/syntax behind *why* should that be a frame push, or *why* should that be a film flash…

-Christian

]]> By: Tom Meegan http://lfhd.net/2007/08/15/transitions/comment-page-1/#comment-403 Tom Meegan Wed, 22 Aug 2007 11:37:00 +0000 http://postfifthpictures.com/lfhd/2007/08/15/transitions/#comment-403 Three things:<br/><br/>1. I agree with you.<br/><br/>2. Given that the client asks for it, and the editor tried to talk them out of it – adding gratuitous transitions just north of lame and just south of cheesy, is good craft.<br/><br/>3. Much of TV IS barren of substance and needs window dressing to prevent us from noticing that the emperor has no clothes.<br/><br/>Good post, Shane! Three things:

1. I agree with you.

2. Given that the client asks for it, and the editor tried to talk them out of it – adding gratuitous transitions just north of lame and just south of cheesy, is good craft.

3. Much of TV IS barren of substance and needs window dressing to prevent us from noticing that the emperor has no clothes.

Good post, Shane!

]]> By: Shane Ross http://lfhd.net/2007/08/15/transitions/comment-page-1/#comment-401 Shane Ross Mon, 20 Aug 2007 08:00:00 +0000 http://postfifthpictures.com/lfhd/2007/08/15/transitions/#comment-401 I too am guilty of using Graeme's FILM FLASH. It is just too nice of a flash.<br/><br/>I use a lot of funky transitions...don't get me wrong. I just...don't want to most times. Sometimes I do say "this would look better if I add this." It is a style thing...depends on the STYLE of the piece you are editing. That's just it...the transition needs to "fit" what you are editing. Too often I see a cool transition in a show for the sake of having a cool transition. I too am guilty of using Graeme’s FILM FLASH. It is just too nice of a flash.

I use a lot of funky transitions…don’t get me wrong. I just…don’t want to most times. Sometimes I do say “this would look better if I add this.” It is a style thing…depends on the STYLE of the piece you are editing. That’s just it…the transition needs to “fit” what you are editing. Too often I see a cool transition in a show for the sake of having a cool transition.

]]> By: AndrewK http://lfhd.net/2007/08/15/transitions/comment-page-1/#comment-399 AndrewK Mon, 20 Aug 2007 01:05:00 +0000 http://postfifthpictures.com/lfhd/2007/08/15/transitions/#comment-399 Horses for courses as they say. There are projects that benefit from being more "visually stimulating" and there are projects that benefit from being 99.9% hard cuts w/the .1% being a dissolve. Like Matt said, you just have to know when you need to whip out the transitions and when you need to keep holstered. Horses for courses as they say. There are projects that benefit from being more “visually stimulating” and there are projects that benefit from being 99.9% hard cuts w/the .1% being a dissolve. Like Matt said, you just have to know when you need to whip out the transitions and when you need to keep holstered.

]]> By: Alex Gollner http://lfhd.net/2007/08/15/transitions/comment-page-1/#comment-398 Alex Gollner Mon, 20 Aug 2007 00:13:00 +0000 http://postfifthpictures.com/lfhd/2007/08/15/transitions/#comment-398 When I designed presentations for CEOs for multi-billion dollar companies I managed to convice them to use my favourite slide transition ('none') and my favourite way to animate builds ('appear'). <br/><br/>Now I'm making their corporate videos I stick with 'cut' between shots and scenes. If they are desperate for some razzle-dazzle by adding 3D navigation animations between sections. <br/><br/>They then think their programme is 'special', and I haven't used any corny transition effects. When I designed presentations for CEOs for multi-billion dollar companies I managed to convice them to use my favourite slide transition (‘none’) and my favourite way to animate builds (‘appear’).

Now I’m making their corporate videos I stick with ‘cut’ between shots and scenes. If they are desperate for some razzle-dazzle by adding 3D navigation animations between sections.

They then think their programme is ’special’, and I haven’t used any corny transition effects.

]]> By: Matt Jeppsen, FreshDV http://lfhd.net/2007/08/15/transitions/comment-page-1/#comment-397 Matt Jeppsen, FreshDV Sun, 19 Aug 2007 14:31:00 +0000 http://postfifthpictures.com/lfhd/2007/08/15/transitions/#comment-397 In general, I try to remind myself (and the client) that the best transition is the one that you don't see. This is particularly true when cutting together a story of real substance...distracting from that storyline would be an affront. Unfortunately, and as you noted, we don't always have a compelling story to work with. So be it.<br/><br/>But here's what's so great about being an editor...there are always exceptions, and we get to play around and twist, bend, and in some cases break the rules of convention. Certainly it is occasionally desirable to play off a swell or breakdown in the soundtrack and grab the viewer's attention with a quick dip to black or flashframe. Certain content or edit pacing begs for something more flashy and in your face. But I always believe one should start with a cut, and "feel" the need for a change from there.<br/><br/>So far I've never "felt" a sparkle transition. Maybe someday I will be so lucky. :-) Though I am certain that I have abused Graeme's "Film Flash" transition in a few edits. <br/><br/>One of the things that I enjoy about the show "24" is their never ending confidence in trampling all over "traditional" editing convention in the quest to tell a story. And I think that is the crux of the matter...when the rules restrict your ability to efficiently tell a story, sometimes those rules must be broken.<br/><br/>Matt Jeppsen<br/><a HREF="http://www.freshdv.com" REL="nofollow">www.FreshDV.com</a> In general, I try to remind myself (and the client) that the best transition is the one that you don’t see. This is particularly true when cutting together a story of real substance…distracting from that storyline would be an affront. Unfortunately, and as you noted, we don’t always have a compelling story to work with. So be it.

But here’s what’s so great about being an editor…there are always exceptions, and we get to play around and twist, bend, and in some cases break the rules of convention. Certainly it is occasionally desirable to play off a swell or breakdown in the soundtrack and grab the viewer’s attention with a quick dip to black or flashframe. Certain content or edit pacing begs for something more flashy and in your face. But I always believe one should start with a cut, and “feel” the need for a change from there.

So far I’ve never “felt” a sparkle transition. Maybe someday I will be so lucky. :-) Though I am certain that I have abused Graeme’s “Film Flash” transition in a few edits.

One of the things that I enjoy about the show “24″ is their never ending confidence in trampling all over “traditional” editing convention in the quest to tell a story. And I think that is the crux of the matter…when the rules restrict your ability to efficiently tell a story, sometimes those rules must be broken.

Matt Jeppsen
http://www.FreshDV.com

]]> By: Rudy Garrido http://lfhd.net/2007/08/15/transitions/comment-page-1/#comment-396 Rudy Garrido Sun, 19 Aug 2007 14:00:00 +0000 http://postfifthpictures.com/lfhd/2007/08/15/transitions/#comment-396 Amen! :) Amen! :)

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