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IAT100 WEEK 11 Motion Literacy: Transitioning with Intention Part 2 WARNING: DO NOT have others complete your work for you. Academic Dishonesty will result in an F. TODAYS AGENDA Current Course Status iClicker update C

SLIDE 1

IAT100 WEEK 11

Motion Literacy: Transitioning with Intention Part 2

SLIDE 2

WARNING: DO NOT have others complete your work for you. Academic Dishonesty will result in an F.

SLIDE 3

TODAY’S AGENDA

¨ Current Course Status ¨ iClicker update

¤ C h e c k m y e m a i l u p d a t e s ¤ M a k e a p p o i n t m e n t w i t h m e i f y o u h a v e a p r o b l e m

¨ Lab Activity: working in AE

¤ P r o j e c t m u s t b e a p p r o v e d b y y o u r TA i n l a b ¤ C a n n o t c h a n g e y o u r p r o j e c t a f t e r t h i s w e e k

¨ Transitions Part 2

SLIDE 4

EXAMPLES

¨ Jump Cuts, Match Cuts & Cutaways ¨ Match Cuts ¨ http://vimeo.com/15614870 ¨ 180 Degree Rule ¨ Ken Burns – Jazz Intro

SLIDE 5

KEY TERMS FOR PROJECT 3 & STORYBOARD ACTIVITY

S h o t : t h e l e n g t h o f t i m e b e f o r e a c h a n g e i n f r a m i n g .
Tr a n s i t i o n : a w a y o f j o i n i n g , c o n n e c t i n g o r l i n k i n g

y o u r s h o t s t o g e t h e r.

S e q u e n c e : l i n k e d s h o t s t h a t f o r m s c e n e s t h a t f o r m a

n a r r a t i v e a r c .

E s t a b l i s h i n g S h o t : i n t r o d u c e s t h e v i e w e r t o t h e

n a r r a t i v e ( t i m e , p l a c e , c h a r a c t e r, m o o d , e t c . )

C u t s : m o v e m e n t b e t w e e n s c e n e s t h a t t r a n s i t i o n t h e

v i e w e r t h r o u g h t h e n a r r a t i v e .

SLIDE 6

REVIEW: MOTION LITERACY

¨ Components:

¤ M o t i o n o f o b j e c t s within the frame ¤ M o t i o n o f t h e frame ( f r a m e m o b i l i t y ) ¤ Tra n si ti o n s b e tw e e n sce n e s

SLIDE 7

OBJECT MOTION WITHIN THE FRAME

Stephan Nadelman, I Say Fever: http://vimeo.com/7354877 http://vimeo.com/33434885

SLIDE 8

MOTION LITERACY

¨ Components:

¤ M o t i o n o f o b je c t s w i t h i n t h e f r a m e ¤ M o t i o n o f t h e frame (frame mobility) ¤ Tra n si ti o n s b e tw e e n sce n e s

SLIDE 9

MOBILE FRAMING

http://bryanheisey.com/blog/?p=1

SLIDE 10

CAMERA MOTION: TRANSITIONS

¨ Fades

¤

F a d e - i n / F a d e - o u t B l a c k o r W h i t e , C r o s s - f a d e

¨ P a n s

¤

C h a n g e i n c a m e r a a n g l e t o d i f f e r e n t s u b j e c t s o r s c e n e s

¨ Zooms

¤

C h a n g e i n f o c u s f r o m c l o s e s h o t s t o w i d e s h o t s

r v i c e - v e r s a

¨ Think Elegant Story-telling: ¨ D O N ’ T O V E R D O t h e Z O O M !

SLIDE 11

FRAME MOBILITY

¨ Panning / whip pan

¤ M i m i c s t h e e y e l o o k i n g a r o u n d

¨ Tilting

¤ H o r i z o n t a l c a n e m p h a s i s h e i g h t ¤ D o w n w a r d , s l o w r e v e a l

¨ Tracking: forward, backward, diagonally,

circular side-to-side

¤ B u i l d a n t i c i p a t i o n a s i t r e v e a l s o f f s c r e e n s p a c e ¤ C r e a t e c o n t i n u o u s s p a c e ( i n s t e a d o f t r a n s i t i o n s o r c u t s ) .

SLIDE 12

MOBILE FRAMING

http://www.happy-pixels.com/2011/07/11/black-cat-crossing/

SLIDE 13

TRANSITIONS: THE CUT

Two main types:

S t r a i g h t C u t : d i r e c t

m o v e m e n t f r o m s u b j e c t t o s u b j e c t

Optical Cut: fade in/fade
u t

Mobile Framing

C a m e r a m o v e m e n t a s a w a y o f

c h a n g i n g f r a m i n g w i t h o u t a c u t

i . e . c a m e r a f o l l o w s a p e r s o n

w a l k i n g o r d r i v i n g

SLIDE 14

MOTION LITERACY

¨ Components:

¤ M o t i o n o f o b je c t s w i t h i n t h e f r a m e ¤ M o t i o n o f t h e f r a m e ( f r a m e m o b i l i t y ) ¤ Tra n si ti o n s between scenes

SLIDE 15

TRANSITIONS: THE CUT

A c u t o r e d i t i s a n i m m e d i a t e t r a n s i t i o n f r o m o n e s h o t t o t h e n e x t . Yo u w i l l n e e d t o c o n s i d e r h o w t o m a k e c u t s f l o w v i s u a l l y f r o m o n e s h o t t o t h e n e x t . U s e :

¨

G r a p h i c a l M a t c h – c o n n e c t t w o s e p a r a t e i m a g e s

¨

J u m p C u t – d r o p f r a m e s t o c r e a t e a d i s j o i n t e d e f f e c t .

¨

M o n t a g e – s e r i e s o f i m a g e s t o c r e a t e s y m b o l i c m e a n i n g .

¨

E d i t o n a c t i o n – c u t o n t h e m o v e m e n t o f a n o b j e c t .

SLIDE 16

CONTEMPORARY

http://www.youtube.com/watch?v=ej8-Rqo-VT4

Note the use of graphic or match cuts and cutting

n action.

SLIDE 17

PROJECT 3 WRITE UP: SCENES & TRANSITIONS

¨ The shot in AE is the length of time before a

c h a n g e i n f r a m i n g .

¨ Tra n si ti o n i s a w a y o f j o i n i n g o r l i n ki n g yo u r sh o ts

together.

¨ Tw o ma i n typ e s o f tra n si ti o n s: o p ti ca l o r cu t (cu t i s

the most common)

¨ M o bi l e F r a m i n g , w a y o f c h a n g i n g f r a m i n g w i t h o u t a

c u t ( s e q u e n c e s h o t ) .

SLIDE 18

PROJECT 3 WRITE UP WALTER MURCH: WHY WE CUT

6 m a i n c r i t e r i a f o r e v a l u a t i n g a c u t o r d e c i d i n g w h e r e t o c u t . To p 4 o r d e r o f i m p o r t a n c e :

E m o t i o n ( 5 1 % ) — R e f l e c t s w h a t t h e e d i t o r b e l i e v e s t h e a u d i e n c e s h o u l d b e f e e l i n g a t t h a t m o m e n t . S t o r y ( 2 3 % ) — A d v a n c e s t h e s t o r y. R h y t h m ( 1 0 % ) — O c c u r s a t a m o m e n t t h a t i s r h y t h m i c a l l y i n t e r e s t i n g & ' r i g h t . ’ E y e - t r a c e ( 7 % ) — P a y s r e s p e c t t o t h e l o c a t i o n & m o v e m e n t o f t h e v i e w e r ' s f o c u s o f i n t e r e s t w i t h i n t h e f r a m e .

¨

P L E A S E W R I T E T H E S E D O W N

SLIDE 19

EDWARD DMYTRYK’S RULES OF THE CUT

N e v e r m a k e a c u t w i t h o u t a p o s i t i v e r e a s o n

M e a n i n g , p r o g r e s s i o n , f l o w
A c u t s h o u l d m o v e t h e s t o r y f o r w a r d

SLIDE 20

ANALYSIS KINETIC TYPE: “I AM THE DANGER”

http://www.youtube.com/watch? v=31Voz1H40zI http://www.creativebloq.com/typography/ examples-kinetic-typography-11121304#null

SLIDE 21

ANALYSIS: ANIMATED COMIC

¨

N o t e t h e u s e o f p a n a n d z o o m

¨

T h e u s e o f P a r a l l a x

¨

T h e u s e o f t e x t b u b b l e s

¨

L o o k f o r t h e p o s i t i v e r e a s o n s f o r c u t s

http://vimeo.com/12751865 I am Legend--Shelter

SLIDE 22

KINETIC TYPOGRAPHY: SONG

http://www.creativebloq.com/typography/examples-kinetic-typography-11121304#null

Song matters Lyrics matter Font matters Movement matters

SLIDE 23

KINETIC TYPOGRAPHY: SPEECH

What matters? Song/rhythm Lyrics/words Font Movement All work to tell a story

http://www.creativebloq.com/typography/examples-kinetic-typography-11121304#null

SLIDE 24

TRANSITIONS: THE CUT

A cut or edit is an immediate transition from one shot to the next. You will need to consider how to make cuts flow visually from one shot to the next.

SLIDE 25

IAT100 WEEK 11

Motion Literacy: Transitioning with Intention Part 2

WARNING: DO NOT have others complete your work for you. Academic Dishonesty will result in an F.

TODAY’S AGENDA

¨ Current Course Status ¨ iClicker update

¨ Lab Activity: working in AE

¨ Transitions Part 2

EXAMPLES

¨ Jump Cuts, Match Cuts & Cutaways ¨ Match Cuts ¨ http://vimeo.com/15614870 ¨ 180 Degree Rule ¨ Ken Burns – Jazz Intro

KEY TERMS FOR PROJECT 3 & STORYBOARD ACTIVITY

y o u r s h o t s t o g e t h e r.

n a r r a t i v e a r c .

n a r r a t i v e ( t i m e , p l a c e , c h a r a c t e r, m o o d , e t c . )

v i e w e r t h r o u g h t h e n a r r a t i v e .

REVIEW: MOTION LITERACY

¨ Components:

OBJECT MOTION WITHIN THE FRAME

Stephan Nadelman, I Say Fever: http://vimeo.com/7354877 http://vimeo.com/33434885

MOTION LITERACY

¨ Components:

MOBILE FRAMING

http://bryanheisey.com/blog/?p=1

CAMERA MOTION: TRANSITIONS

FRAME MOBILITY

circular side-to-side

MOBILE FRAMING

http://www.happy-pixels.com/2011/07/11/black-cat-crossing/

TRANSITIONS: THE CUT

Two main types:

m o v e m e n t f r o m s u b j e c t t o s u b j e c t

Mobile Framing

c h a n g i n g f r a m i n g w i t h o u t a c u t

MOTION LITERACY

¨ Components:

TRANSITIONS: THE CUT

A c u t o r e d i t i s a n i m m e d i a t e t r a n s i t i o n f r o m o n e s h o t t o t h e n e x t . Yo u w i l l n e e d t o c o n s i d e r h o w t o m a k e c u t s f l o w v i s u a l l y f r o m o n e s h o t t o t h e n e x t . U s e :

G r a p h i c a l M a t c h – c o n n e c t t w o s e p a r a t e i m a g e s

J u m p C u t – d r o p f r a m e s t o c r e a t e a d i s j o i n t e d e f f e c t .

M o n t a g e – s e r i e s o f i m a g e s t o c r e a t e s y m b o l i c m e a n i n g .

E d i t o n a c t i o n – c u t o n t h e m o v e m e n t o f a n o b j e c t .

CONTEMPORARY

Note the use of graphic or match cuts and cutting

PROJECT 3 WRITE UP: SCENES & TRANSITIONS

c h a n g e i n f r a m i n g .

together.

the most common)

c u t ( s e q u e n c e s h o t ) .

PROJECT 3 WRITE UP WALTER MURCH: WHY WE CUT

6 m a i n c r i t e r i a f o r e v a l u a t i n g a c u t o r d e c i d i n g w h e r e t o c u t . To p 4 o r d e r o f i m p o r t a n c e :

EDWARD DMYTRYK’S RULES OF THE CUT

N e v e r m a k e a c u t w i t h o u t a p o s i t i v e r e a s o n

ANALYSIS KINETIC TYPE: “I AM THE DANGER”

http://www.youtube.com/watch? v=31Voz1H40zI http://www.creativebloq.com/typography/ examples-kinetic-typography-11121304#null

ANALYSIS: ANIMATED COMIC

N o t e t h e u s e o f p a n a n d z o o m

T h e u s e o f P a r a l l a x

T h e u s e o f t e x t b u b b l e s

L o o k f o r t h e p o s i t i v e r e a s o n s f o r c u t s

http://vimeo.com/12751865 I am Legend--Shelter

KINETIC TYPOGRAPHY: SONG

http://www.creativebloq.com/typography/examples-kinetic-typography-11121304#null

Song matters Lyrics matter Font matters Movement matters

KINETIC TYPOGRAPHY: SPEECH

What matters? Song/rhythm Lyrics/words Font Movement All work to tell a story

http://www.creativebloq.com/typography/examples-kinetic-typography-11121304#null

TRANSITIONS: THE CUT

A cut or edit is an immediate transition from one shot to the next. You will need to consider how to make cuts flow visually from one shot to the next.

IAT 100 LECTURE 11 fin