Source: Motion Graphic Design : Applied History and
Aesthetics
By Jon Krasner
Chapter
8: The Sequential Composition : Designing in Time
This chapter encompassed sequential
composition: forms of continuity, forms of discontinuity, and montage to explain
sequential composition and elaborate into the manner in which events occur over
time. This chapter dealt heavily on transitions, explain what different
techniques mean, as well as defining a few rules. I found this chapter to be
beneficial and would recommend anyone working with motion to read it and expand
their scene-to scene techniques.
Sequential Composition
Forms of Continuity
Spatial continuity
The viewer retains a sense where elements
are when in they are in the frame, and outside the frame.
·
Establishing context
·
Index and motion vectors
·
Frame mobility
Graphic continuity
The visual properties of line, form, value,
colour, and texture. Instead of fading,
zoom into a coloured shape.
Temporal continuity
The use of time, to bring the viewer
instantly to the past, present, or future. In this case a fade would be useful
as we associate the fades with a shifting of time.
Action continuity
How to preserve animation continuity:
1.
Cut just before or after an
action.
2.
Cut between different types of
action that move in the same direction.
3.
When cutting during a camera
move, continue the same motion in the following sequence.
4.
If you are panning with a
moving object then continue the pan with the speed of the object.
Forms of Discontinuity
May weaken the narrative, but intensify the
context.
Narrative & Non-Narrative Forms
Cinema
and motion graphics
Graphic Considerations
The visual
and conceptual aspects of a compositions graphical properties.
Stranger than Fiction - end titles (high quality)
Subjectivity
Point-of-view
editing enhances the narrative structure by representing the viewpoint of one
or more characters.
2001: A Space Odyssey "Star Gate" sequence
Se7en (Opening Credits)
Spatial Discontinuity
Reconstructing
an environment that relies partially on the imagination of the viewer.
·
Establish the viewpoint of a character
·
Intensify the overall emotional mood or impact of the concept.
Temporal Discontinuity
Deliberately
create ambiguity, build tension, and intensify emotional impact.
·
Jump cuts and flash cuts
Show an ellipsis of time, arouse tension, create disorientation
Show an ellipsis of time, arouse tension, create disorientation
·
Parallel editing
Cross-cutting illusions the viewer o believe that different events are interwoven
Cross-cutting illusions the viewer o believe that different events are interwoven
·
Event duration and repetition
Differentiates onscreen events from the story screen time
Montage
Film
was controlled by a rigid style of rules until the aftermath of WWI wherein
surrealist and dad filmmakers juxtaposed unusual combinations of mundane images
that were meant to explore the subconscious in a dream state.
Conceptual Forms
Idea-Associative
Montage: juxtaposing 2 different ideas to create a third.
·
Comparison montage (similar)
·
Collision montage (opposing)
Analytical Forms
Indicates
a passage of time and condense or expand time within a narrative context.
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