![]() ![]() I can't find any rationale for these two shots to be cut together, but again, if separated by a fade to black, I wouldn't spend any time trying to connect them. Same goes for the shot of Watto and Jango Fett's ship. If there was a fade to black between these two shots, you wouldn't even consider trying to find a connection. The best I can figure is these two are paired together because they're recognizable characters which will get fans excited. There doesn't seem to be any story or scene connection at all. The shot of the space ship and C-3PO is pretty easy to connect too because they're both in similar looking environments.īut look at cut of Yoda and Jango Fett. While these shots are from different scenes, the framing makes it look like they're facing each other. In some places it makes perfect sense like the cut between shots of Padme and Anakin. ![]() When there's a straight cut, we expect for a connection to be made we'll make every effort to see how they connect. The fade out says: "This idea is done", and the fade in says: "Here's something new." It's almost impossible for shots connected by a fade to black to be confusing or dissonant.īut look at the straight cuts. Notice how easy it is to transition between shots connected by dips to black we don't question or even ask for there to be a connection. The structure is simple: fade into a shot, cut to another shot, fade out, and repeat. You can think of editing as taking control of a person's eyes. Our eyes functionally "cut" from one image to another thousands of times a day. It's quite rare that we slowly "pan" from one thing to another. You might've even blinked before you looked at the second object. Read this text, then look at anything else.ĭo you remember focusing on anything that exists in the space in between this text, and what you looked at? Of course, because of peripheral vision you still saw everything between this text and whatever it is you looked at, but it's less likely you paid attention to everything in between. Even when we're not blinking, we tend to look at things one at a time our eyes dart quickly from one point of focus to another everything between is filtered out. In his book In the Blink of an Eye, famed film editor Walter Murch makes a lot of references to how even audiences during the birth of cinema understood editing because a montage of images is very similar to how humans look at things in our day to day lives. Where do dips to black fit in film language? I'll fully admit my use of it is frequently just me throwing up my hands and saying "I don't know how to transition between these two shots." I tend to think excessive use of dips to black can be a sign of a less experience editor, but they're effective in moderation. I'm an unabashed user of dipping to black as a means to transition between two shots. The video is made with the previous Filmora version, but the steps are similar.Let's dive deep into editing techniques, specifically the fade to/from black (also known as dip to black). We’ve made a video tutorial about how to fade in and fade out video easily in Filmora. In case that you don’t want to hide any frames in your video, you can add a black screen or blue screen or whatever color screen at the beginning and end of the clip first, and then apply Dissolve or fade transitions or motion fade effect. Add Sample Colors at the beginning and end of the video clip
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