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Pinnacle Studio 23 Manual

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Appendix B: Videography 291
• Change perspectives when shooting buildings. When you have similar shots of the same
type and size, the picture diagonal should alternate between front left to rear right and
vice versa.
• Make cuts when persons are in motion. The viewer will be distracted by the ongoing
motion and the cut will go almost without notice. In particular, you can cut to a long shot
from the middle of the motion.
• Make harmonious cuts; avoid visual disjunction.
• The less motion there is in a shot, the shorter it should be. Shots with fast movements
can be longer.
• Long shots have more content, so they should also be shown longer.
Ordering your video sequences in a deliberate manner not only permits you to produce
certain effects, but even enables you to convey messages that cannot or should not be
shown in pictures. There are basically six methods of conveying messages through cuts. Let’s
look at each in turn.
Associative cuts
Shots are strung together in a certain order to trigger associations in the mind of the viewer,
but the actual message is not shown. Example: A man bets on a horse race and, in very next
scene, we see him shopping for an expensive new car at a car dealership.
Parallel cuts
Two actions are shown in parallel. The film jumps back and forth between the two actions;
making the shots shorter and shorter until the end. This is a way of building suspense until
it peaks. Example: Two different cars drive from different directions at high speed toward the
same intersection.
Contrast cuts
The film purposely cuts unexpectedly from one shot to another, very different shot, in order
to point up the contrast to the viewer. Example: A tourist lying on the beach; the next shot
shows starving children.
Substitutionary cut
Events that cannot or should not be shown are replaced by other events (a child is born, but
instead of childbirth, the blossoming of a flower bud is shown).
… 301 …


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