Introduction
Film and video are expressive and a genuine form of media for communication and entertainment, but the profound cost and struggle of obtaining, manipulating, and distributing these media has been vastly limited due to the fact of production to the domain of Hollywood. Recently, however, as technology is constantly developing and getting a lot cheaper cameras, bandwidth, and memory/storage has become gradually affordable, an extensive field of users produce digital video in mass production volumes. Unfortunately, existing methodologies interacting with digital video have not been able to keep up with the flood of raw material. Although skilled methods such as: searching, browsing, annotating, and editing video material are far too complex and often lack the juxtaposition of interactivity essential for novice users.
In this dissertation, I will present an outline for video annotation, visualization, and interaction that binds computer vision to assist users in creating and perceiving digital video. I will debate a series of related projects that state some of the precise tasks collective to various video applications. These projects focus on the complications of video object annotation, motionless visualization, and chronological navigation within a video clip.
1.1 Encounters of video
Video is a fundamentally difficult medium to grasp because its temporarily fluctuating nature cannot be caught in a single instant. In video editing software designed for specialists, video is signified using individual frames, but unpremeditated authors and consumers of digital video do not want the hassle to be concerned by the unintuitive perception of video frames. Instead, they are more attentive in the higher level peripher...
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...egment of the sequence, and comes to terms with his surroundings in which men are running out of the boats which are blazing with fire, men are also being constantly shot at, at this point being as close as possible to the floor would be the best option. The cameras movement in this sequence tend to be fast paced pans swinging from left to right at a fast pace, in order to keep up with the momentum of the movement from the soldiers. When again there are no crane shots, dolly shots, or aerial shots being used, decided that the camera will most definitely move but the camera has been held by the cameraman. However a steady cam has not been used because obviously the movement within the scene is not steady. Also there are sudden upward and downward tilts, once again because in war everything is very sudden; therefore this brings out even more realism within the film.
The close up shot of the sheriff overlooking the people on the beach with the look of concern and distress, opposed to the family in the background, smiling and enjoying the nice sunny day. This shot of him explains his perturb feeling that he knows what awaits in the water, unlike everyone else. The long shot of the person floating in the middle of the sea exposed makes the audience feel relaxed but also cautious. Over the shoulder shot shows the attention is not on the man talking to the sheriff but on the woman in the sea, which was a false alarm, of the woman screaming, but also keeps the audience alert. Another long shot is shown when the children get up to go to sea, makes the audience anxious for danger that is about to happen.
The user could also be flustered by the editing and broadcasting software. Paumgarten explains the editing software, “As Schmidt has said, you don’t hunt shots, you capture them. (This approach requires lots of work in the cutting room, or what Surfing called ‘a time-warping pain in the edit-ass.’)” (333). Paumgarten also expresses his view towards the broadcasting software, “As for broadcasting applications, we are still in a relatively primitive stage.” (334).
This creates a distorting view keeping Brody’s face in the same position but stretching and distorting the view behind him. This shot disorients the audience for a second indicating Brody’s own disoriented emotions when seeing the attack. This shot takes the air out of the situation and throws Brody right into action. Chief Brody’s fear of another shark attack has become reality. The scene then breaks out into complete chaos. A wide-angle lens is used and it shows how helpless Brody is to the situation as he and the rest of the crowd are forced to watch the boy be ripped apart. The scene ends with Alex’s raft washing up on the shore to lower the tension for the next scene.
When I watching this movie, I notice that I felt less separation from the movie. Initially I could not find a reason for that but, soon after I realize that the camera is not static but it wobbling slightly. In most movie, camera does not move and it creates the frame. In the other hand, this movie’s handheld camera type of camera works imitate the human eyesight feeling and make people feels like to experience the event in a movie as a one of the character. In this perspective, do not explain too much about the detail is emphasizing this experience. Consider these things, I really excited and enjoyed couple of scene which are the running through battle field and engaging to the baby. In the every day world, both scene is pretty rare to experience. For the battle field scene, majority of the people have avoiding to be in there so that is rare. The engaging to the baby experience is quite normal event for most people and of course it is grate experience but, in this movie setting, baby is extremely rare and seeing baby is truly miracle event. To emphasize and provide this miracle event, this camera work is perfect to apply.
The spectacular qualities within the contemporary films that use VFX became progressively important to Hollywood. The popularity of the ever growing special effects has been increased by a growing demand for products in different multimedia forms such as computer games, theme-park rides and many other secondary outlets that frequently generated more profits then the films they were based on.
Can color invoke viewers with a certain mood to advance the plot of a video? When a video uses imagery does it in fact create a better video? Is a video’s concepts improved when it applies complex metaphors to help readers visualize subjects difficult to grasp? Animators for Blank and Blank use all of these unique tools to improve the journey on which the audio takes them. Sadly, there are a few cases where they inappropriately use visuals, which can cause some confusion to the viewer. The animators uses color, imagery, and complex metaphors to build a beautiful immersive experience for the viewer.
It is very important how you put things up on the screen. It tells the viewer what the movie is about. Every single frame in a movie tells the fate of the characters.
In the film V for Vendetta the director James Mcteigue uses a range of different film techniques in order to gain the audience's attention and to make the movie more interesting. The four film techniques I’m going to focus on in this essay are editing, music, camera angles and the lighting. I am going to do this by analysing the ‘Domino Montage’ scene.
The way that a movie is pieced together by the director/producers has a huge impact on the viewer’s experience. Stylistic elements are used to help engage the viewer; however, without these techniques the viewer will most likely loose interest. In this essay I will be taking a look at a scene within the movie Casablanca directed by Michael Curtiz in 1942. Casablanca is a classic film that is reviewed to be one of the greatest movies of all time. This could be due to the notable quotes used throughout the movie, or its ability to follow a historic, comical, and romantic storyline throughout the course of the film. It caters to several different viewers, making this movie favorable to many. This scene in Casablanca uses specific editing techniques
Eisenstein is a man blessed and cursed with an attention to detail. Soviet Cinema is in essence, montage, but how Eisenstein utilizes it to progress an intellectual conversation is much bespoke of montage and its capabilities. Unlike the manipulative montage of Kuleshov, or the relational editing sequence of Pudovkin, Eisenstein uses editing as a sequence of collisions that produce an associative meaning, despite different material (Eisenstein). However, for montage, all other factors are insignificant. What matters is the cut, and how the cut is related to other cuts. The following examples of the hieroglyphs are used by Eisenstein to illustrate a process of meaning generation which can be implemented in cinema
Despite the loss of “montage” as an aesthetic vision in contemporary films, we see how “montage” as an editing technique had in fact contributed greatly to filmmaking as we know it today. While the continuity style’s emphasis is on the narrative as well as clear, understandable space and time, the montage style focuses on creating impact with different images juxtaposing against one another. It is hence clear that the Soviet montage style has given filmmakers new ways to express certain ideas that might have previously been limited by the continuity style – giving filmmaking greater nuance and complexity as an art form with its own unique
Berliner, Todd and Cohen, Dale J. "The Illusion of Continuity: Active Perception and the Classical Editing System." Journal of Film and Video 63.1 (2011): 44-63. Project MUSE. Web. 14 Feb. 2011. .
Due to the film’s quality and interest it became an award winning film. The film had excellent sound effects such as the battle scenes. The image quality was also outstanding; it used many different angles to depict the actor to make you feel involved in the scenes. In the action scenes the most common viewpoint used was a close up shot which allows the audience to see and feel the intensity of the scene. The second viewpoint mostly used was a tracking shot due to the actors c...
Film editing by definition is part of the creative postproduction process of filmmaking. In today’s modern world, film has made use of advanced digital technology to help with the editing. The editor or editors are usually given a complete compilation of all the footage. These various separate shots that can be regarded as ‘ raw’ footage. Their task is to create a finished motion picture through combining and selecting shots and putting them into a coherent sequence of events. Whenever we are viewing a film it is extremely difficult to consciously perceive all the editing that has been undertaken. Every single time there is a change from one image to another, this is an edit. For editors, it could be a possible annoyance or perhaps a blessing that critics and the audience never specifically point out the editor’s contribution. However it must be noted that film editors aren’t the only ones that will contribute to a films editing.
Offering the unique ability to visually and audibly convey a story, films remain a cornerstone in modern society. Combined with a viewer’s desire to escape the everyday parameters of life, and the excitement of enthralling themselves deep into another world, many people enjoy what films stand to offer. With the rising popularity of films across the world, the amount of film makers increases every day. Many technological innovations mark the advancement of film making, but the essential process remains the same. Pre-production accounts for everything taken place before any shooting occurs, followed by the actual production of the film, post-production will then consist of piecing the film together, and finally the film must reach an audience. Each step of this process contributes to the final product, and does so in a unique right. The process of film making will now start chronologically, stemming from the idea of the story, producing that story into a film, editing that footage together, and finally delivering that story to its viewers.