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Harter vs. sanfter Schnitt

Hard vs. smooth interface



Frage von jenss:
November 2010

I had received the "My Projects" already some criticism / tips to a video (2:45 minutes). I found interesting was the advice to prefer to use hard cuts, because they are natural to the eye. I have no experience with short films so far (only a little bit sports events filmed) and then provided the same movie once synonymous with hard cuts. There are of course plenty of other criticisms, such as using tripod or stage considered better. I wanted to ask but let's targeted to your view, what version their voices, or simply more pleasant place:

Soft cuts (transitions):


Hard cuts:


The videos I have not come available, just uploaded to even ask what she thinks about and possibly learn something from it. I shot with Nikon D90 + Sigma 30mm 1.4, I have not now (now SonyA55).
j.



Antwort von PowerMac:

You can not discuss 's.sich' if hard cuts are reasonable or not. It depends on constantly again of two images.

Of course not everyone sees tough section in your video look good. The logical consequence, it is not, therefore, to use shields. The consequence is to do better. Now you ask yourself what is better? To better times, of a movement to another if you change the size setting (close to well about) when a view goes in one direction, or even if it did not fit.

There are a number of rules and the average sense. The latter you have not yet. The former can learn. There are dozens of Books section. Read the rather suggestive here to create polls.

The missing answers of your survey are:

'It depends'
"The cuts are so bad that a transition is bearable, in reverse cuts are soft but not better '


But if you really want to break down so banal and methodologically flawed: with hard cuts, of course, better.



Antwort von jenss:

Ah, the question has already paid off here:).

"PowerMac" wrote:
You can not discuss 's.sich' if hard cuts are reasonable or not. It depends on constantly again of two images.


I had not considered it and I had understood that it fades almost always right and should be avoided in principle. I was somewhat surprised, however, synonymous. As an ideal, it is then well s.gewissen situations to blend soft, but s.den most places as hard as possible to bervorzugen.
Is it synonymous films s.denen more than half of all sections or all are soft? I would be very similar synonymous short films of interest (so to maybe 3 minutes), just to get other impressions. Maybe you fall because a some that are made more or less professional. Then you can develop from something abgucken, Tips and own thoughts slowly his style.

Quote:

Of course not everyone sees tough section in your video look good. The logical consequence, it is not, therefore, to use shields. The consequence is to do better. Now you ask yourself what is better? To better times, of a movement to another if you change the size setting (close to well about) when a view goes in one direction, or even if it did not fit.


Ah, ok .. Yes, the times I had decided rather spontaneously and not much thought about it. But that's a good point.
Quote:

There are a number of rules and the average sense. The latter you have not yet. The former can learn. There are dozens of Books section. Read the rather suggestive here to create polls.


A book recommendation would be great, but I'll google synonymous at himself. Yes, I'm already synonymous to decide just by feel and make this experience. This should however take some time and take many projects. provides the direct question to me but now synonymous already good info. I'm interested in just lots of opinions.

Quote:

The missing answers of your survey are:

'It depends'
"The cuts are so bad that a transition is bearable, in reverse cuts are soft but not better '


Hmm ... I came to these answers yet, but yes synonymous therefore the question to the cuts. :)
j.








Antwort von Axel:

A simple act that is filmed, you can demonstrate s.ehesten what is on film and what is not: it extends to the top drawer, the chocolate box gets shut / open it / and pushes a chocolate in the mouth. The slashes ("/") should be change of attitude. Now you can try in these 3 clips to fool real-time continuity, just as if you would with 3 cameras from different angles filmed and now run a fully synchronous Multicamschnitt. Incidentally, it is not so important whether actually was filmed with three cameras and well as possible three times by attempts to achieve the same connection so only: In any case, there is the unsettling feeling of a live recording. The cuts come to mind, although they really should flow. What went wrong?

Now you cut the first clip in the frame to bend as her fingers to pack the box / you start the second clip in the box that opens ... and the third, disappeared as the chocolate in your mouth is (jaw is thicker).

Hard cuts Jump? Cuts. But's "eye" (ie the inner) fluid, of course, as cuts completely unremarkable.

Now comes the transition: Above her blissfully dreamy dazzle you chew slowly the empty box of chocolates, large (time-and / or change of location).

The real-time version is like a sentence without punctuation, the movie-time version of the events organized and makes it palatable. The discussion on hard or soft is s.Kern question by the: What function should have the cut? In the picture (not the recording) of the ends of which have expanded the indication of a striving, a desire guess, let this detail is good, no preference, completely no preference whether motion-path is a connection to the next clip. sympathize association, think ahead.



Antwort von Soulfly:

And experience you need to collect, because they are s.wichtigsten. For it is not always possible to the "golden section rules (which incidentally is synonymous times can ignore all cheeky, as Godard has done quite like, Kubrick, etc.-but always synonymous with creator), so far has Powermac right when he says

Quote:
It depends on constantly again of two images.


And every picture has always enough complexity to make you as an editor in spite of all rules from the concept. Plays a fictional example:
Two shots really fit together well, long shot following a Medium. But it looks funny. Why? There is the Nchbildeffekt, and the effect in this case that the picture "jump", although it really should not jump.
Sounds confusing to you? Then you buy a few books, look at movies / Sections s.and analyzed for you, why does not work or something. Learn of the Great and develop your own style.
I gave you here are a few technical terms written that you have even a few search terms. So get s.den bacon.

Regards, Soulfly



Antwort von soan:

Biste s.Ende, take ne Aperture :-)

The audience (read: viewers of your films) is characterized of the television and cinema. There is currently a current "picture style", a visual language.

We Europeans may look like short cuts for fast pace rich sequences (2-5 seconds per set) when times soft winder, crane shots or long shots to be able to be synonymous already 20 seconds. It is blinded in the rarest cases.

Look, MTV, movies, TV movies, feature films, series, etc - the aperture is generally used only in special cases. That is now "our" visual language.

The Chinese kloppen together with NEM image film every 1.5 to 2 seconds NEN new picture - as is watching a very bad and when you're epilleptischen shortly before the attack. Why? Because we do not approve of this visual language - consciously or unconsciously. The Chinese know no different, Penn probably a promotional film for precious metal from our latitudes.

The question, "hard or soft," just like the egg is not to answer - it is in fact a matter of taste. But if you a large group of viewers want attractive, NOT A SPECIFIC PURPOSE STATEMENT BY THE PANEL IN THE CUT TRACK hard cuts are the drug of choice. You will be better received by consumers.

use Want the cut as Effect (music video: long waves in the surf at dawn to go soft in a CloseUp of the sand over, blinded soft to warm the illuminated face of the singer, soft blinded in the footsteps fading in the sand and water) sees it different - as has the Aperture as a stylistic device is justified.

I personally get NEN Kotzkrampf if I ever see panels - after 30 seconds I got the first graded product as cheap and it will be difficult to repeal this decision again.

Why? Because right now the pros do not stop :-) imagery.



Antwort von jenss:

"Axel" wrote:

Now you cut the first clip in the frame to bend as her fingers to pack the box / you start the second clip in the box that opens ... and the third, disappeared as the chocolate in your mouth is (jaw is thicker).

Hard cuts Jump? Cuts. But's "eye" (ie the inner) fluid, of course, as cuts completely unremarkable.

Now comes the transition: Above her blissfully dreamy dazzle you chew slowly the empty box of chocolates, large (time-and / or change of location).


Very interesting, thank you!
This "film" version I made putting on a jacket. (Without having thought as accurate about it: D) Maybe not perfectly cut from moment ago, but the same principle.
So with such a "Jump Cut" (which is a known term?) Well the transition better, if I understand correctly. (Synonymous my feeling tells me ;-))

"Soulfly" wrote:

And experience you need to collect, because they are s.wichtigsten. For it is not always possible to the "golden section rules (which incidentally is synonymous times can ignore all cheeky, as Godard has done quite like, Kubrick, etc.-but always synonymous with concept),


This is probably as in photography. If you know the rules, you can break them and improve the result even while :-). Since there are as synonymous design principles or technical set-up recommendations.

Quote:

And every picture has always enough complexity to make you as an editor in spite of all rules from the concept. Plays a fictional example:
Two shots really fit together well, long shot following a Medium. But it looks funny. Why? There is the Nchbildeffekt, and the effect in this case that the picture "jump", although it really should not jump.


Ah, well, I can think of. Maybe this is just in such a case, the smooth blending of advantage.

Quote:

Sounds confusing to you? Then you buy a few books, look at movies / Sections s.and analyzed for you, why does not work or something.


I see movies now gradually with other eye :-). (Since the contest thread at "My Projects")
Quote:

Learn of the Great and develop your own style.
I gave you here are a few technical terms written that you have even a few search terms. So get s.den bacon.

Thank you! I do not know what I is next film (other than the ordinary), but the motivation there. Small film ideas I had written to me synonymous long ago times, maybe I'll try something like this to film. (Which is usually "supernatural," I do not know if that goes well to film).

"Soan" wrote:

...
The question, "hard or soft," just like the egg is not to answer - it is in fact a matter of taste. But if you a large group of viewers want attractive, NOT A SPECIFIC PURPOSE STATEMENT BY THE PANEL IN THE CUT TRACK hard cuts are the drug of choice. You will be better received by consumers.
...


You have the very well explained, thanks!
Class forum at all, because in it lies experience. The discussion here, the awareness of the moments and settings will be trained. Examples I find particularly interesting.
j.



Antwort von Axel:

"Jenss" wrote:
So with such a "Jump Cut" (which is a known term?) Well the transition better, if I understand correctly. (Synonymous my feeling tells me ;-))


No. I had cuts better in quotation marks jump, because that with a change of attitude unnecessarily (the actual port interface point) out cuts, habits, meets with our movie-vision so perfectly (running has soan like) that we are as described, the sections less still perceive as if they were ports. Jump cuts are exaggerations of this method, which in turn attract attention, but often with intent. The effect it has, for example, when cutting within a setting or two very similar kadrierte clips together. You can see the not so often because it is mostly rhetorical unwise to draw attention to its rhetoric. Someone who is dramatically useful example occurs to ...

In my humble opinion can make crossfades three statements:

1. elsewhere
2. later
3. Amateur

A special case is the beach of soan outlined romance movie. This is not about my opinion, B and A time to link it to the production of timelessness is, romantic Gedusel. Accordingly, the transitions would not be seen as transitions, but as the coverage rules for a sentimental collage. Either way: transitions to bring the flow of the narrative to a halt like thick wallpaper paste. Strictly speaking, transitions are the tools of the assembly, not the cut.

A really bad cut example is the empty picture with the grass at 35 seconds before her legs come into the picture. You wait for the connection ...



Antwort von jenss:

Ah, ok. So no general definition of hard or soft. But "Jump Cuts" is synonymous definitely a familiar expression, right?

The cut is generally in any case, but think a very important part of the movie, now. Therefore, it is probably synonymous Oscars for editing. Film-users (viewers), this is not so aware, I think, but the cut can certainly synonymous crucially influence the effect of the content, or that support or weaken.

Quote:
In my humble opinion can make crossfades three statements:

1. elsewhere
2. later
3. Amateur


"Crossfade" are the transitions where one or both sections of film are not visible, right? To understand the 3 points:
1. >> Transition, when the scene changes completely s.einen place to another
2. >> ... If you want stuck in between the scenes in the history of time (time jump)
3. >> ... When an inexperienced as I was cut in the main post

Right?
j.



Antwort von domain:

Ahead, have some grass to the second clip p.0 Walker: 35 at all and leave out the clip p.0: 38 to 180 degrees flipped to join. The logical direction would thus receive and indeed synonymous for the next clip. This would possibly look better.



Antwort von jenss:

"Domain" wrote:
Ahead, have some grass to the second clip p.0 Walker: 35 at all and leave out the clip p.0: 38 to 180 degrees flipped to join. The logical direction would thus receive and indeed synonymous for the next clip. This would possibly look better.


Ah, interesting thought. I've never been in the editing program 180 ° mirrored :-). This could actually be more appropriate. Paying attention to the logical direction of movement is synonymous a good guess.

In fact, I thought synonymous know that some things may not be as conclusive acts. The tree house is so in reality only a hut in the garden and the tree is somewhere else. Since I know the real circumstances, I find it even kind of hard to get the idea I want to convey to the viewer :-)...
j.



Antwort von Videobodo:

Hello Jenss
If you read the section need, there is a loose and easily written Ulrich Vielmuth Book of "How to be a professional camera, the publisher Schiele & Schön. As much is conveyed wissentswerte from daily practice. It's really so, which one always wanted to shoot s.den section must think. That makes things a lot easier. But fear not, the problem we all had to know, since stop!
Bodo








Antwort von jenss:

This looks interesting, thanks for the book tip! Have already found a synonymous Description: http://www.amazon.de/werden-Sie-Kameraprofi-Ulrich-Vielmuth/dp/3794907698
I'm going to look after the shop.
j.



Antwort von Videobodo:

You better you set with the Verlag.
www.schiele-schoen.de / Mail: service@schiele-schoen.de
Bodo



Antwort von PowerMac:

"Jenss" wrote:
(...)
Maybe this is just in such a case, the smooth blending of advantage.

(...)



No. Not blind, but omit the section ALL. This means, you make an unnecessary section. Let the pre-jump away. He has no new information, he jumps, he does not work.



Antwort von jenss:

I look at the times at home, it looks like that when I cut out the crack.
Og Book I signed with my wife as a birthday wish:).
j.



Antwort von Pianist:

"Jenss" wrote:
I found interesting was the advice to prefer to use hard cuts, because they are natural to the eye.

In principle this is quite simple: If the transition between two images to be reasonably tolerable looks like when there is a transition, it's true and what is not, the two images should not be placed in a row. A film must flow of a recording to another, and if he does not, is good for what Aperture does not synonymous. There's just the art of cutting is required.

Matthias



Antwort von jenss:

Good, thank you! I have here from the thread for me already copied out a few sentences to remember. Last section is synonymous to remember and apply good practice.

Let's see, what I could do next time :-). However, (essentially) the story synonymous vote. Do you think you synonymous stories from the shooting itself or how you come to your projects? BTW: What is probably the proportion of professional videographers, ie what percentage earn money with the shooting?
j.



Antwort von PowerMac:

Professional Money equal to earn.



Antwort von MarcBallhaus:

"PowerMac" wrote:
Professional Money equal to earn.


You confuse "good" with "professional". Ne Professional is increasing coal's birds, but not necessarily better than your neighbor that you are worried for nothing. I've known in your neighborhood is not, but I think the definition is the same;))

I hope I have not messed up now this fine thread ....

MB



Antwort von B.DeKid:

6x hard, soft 6x, is not it ...

* Message - Insider *
:-)

MfG
B. DeKid









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