In filmmaking, the 180° rule is a basic guideline that states that two characters (or other elements) in the same scene should always have the same left/right relationship to each other. If the camera passes over the imaginary axis connecting the two subjects, it is called crossing the line. The new shot, from the opposite side, is known as a reverse angle. Examples In the example of a dialogue between two actors, if Justin (orange shirt in the diagram) is on the left and Drew (blue shirt) is on the right, then Justin should be facing right at all times, even when Drew is off the edge of the frame, and Drew should always be facing left. Shifting to the other side of the characters on a cut, so that Drew is now on the left side and Justin is on the right, will disorient the viewer, and break the flow of the scene. In the example of an action scene, such as a car chase, if a vehicle leaves the right side of the frame in one shot, it should enter from the left side of the frame in the next shot. Leaving from the right and entering from the right will create a similar sense of disorientation as in the dialogue example. An example of sustained use of the 180 degree rule occurs throughout much of The Big Parade, a 1925 drama about World War I directed by King Vidor. In the sequences leading up to the battle scenes, the American forces (arriving from the west) are always shown marching from left to right across the screen, while the German troops (arriving from the east) are always shown marching from right to left. After the battle scenes, when the weary troops are staggering homeward, the Americans are always shown crossing the screen from right to left (moving west) and the Germans from left to right (moving east). The audiences viewpoint is therefore always from a consistent position, in this case southward of the action. Problems caused and solutions The 180 degree rule enables the audience to visually connect with unseen movement happening around and behind the immediate subject and is important in the narration of battle scenes. The visual disjointedness of the battle scene on Geonosis in the Star Wars film Attack of the Clones is an example.[1] Avoiding crossing the line is a problem that those learning filmcraft will need to struggle with. In the above example with the car chase, a possible solution is to begin the second cut with the car driving into frame from the wrong side. Although this may be wrong in the geographic sense on set, it looks more natural to the viewer. Another possibility is to insert a buffer shot of the subject head-on (or from behind) to help the viewer understand the camera movement. Style In professional productions, the applied 180° rule is an essential element for a style of film editing called continuity editing. The rule is not always obeyed. Sometimes a filmmaker will purposely break the line of action in order to create disorientation. Stanley Kubrick was known to do this, for example in the bathroom scene in The Shining. The Wachowski Brothers and directors Tinto Brass, Yasujiro Ozu, Wong Kar-wai, and Jacques Tati sometimes ignored this rule also,[2] as has Lars von Trier in Antichrist.[3] The British television presenters Ant & Dec extend this continuity to almost all their appearances, with Ant almost always on the left and Dec on the right, as does the Japanese pop duo PUFFY, with Yumi Yoshimura on the left and Ami Onuki on the right. Some filmmakers state that the fictional axis created by this rule can be used to plan the emotional strength of a scene. The closer a camera is placed to the axis, the more emotionally involved the audience will be. In the Japanese animated picture Paprika, two of the main characters discuss crossing the line and demonstrate the disorienting effect of actually performing the action. In Peter Jacksons The Lord of the Rings: The Two Towers, Gollum has a conversation with himself or with his other personality. Because the filmmakers use the 180 degree rule, and have the good Gollum looking left as he speaks while the evil Gollum looking right, the audience perceives Gollum as two different characters talking to each other. This effect builds gradually during the scene: the first few times Gollum shifts between personalities, he is shown starting to turn his head, though the camera changes angles mid-turn. As the argument between the split-personalities intensifies, the editing gradually changes to using jump cuts, not showing Gollum turning his head. Continuity editing Continuity editing is the predominant style of film editing and video editing in the post-production process of filmmaking of narrative films and television programs. The purpose of continuity editing is to smooth over the inherent discontinuity of the editing process and to establish a logical coherence between shots. 20 In most films, logical coherence is achieved by cutting to continuity, which emphasizes smooth transition of time and space. However, some films incorporate cutting to continuity into a more complex classical cutting technique, one which also tries to show psychological continuity of shots. The montage technique relies on symbolic association of ideas between shots rather than association of simple physical action for its continuity. Common techniques of continuity editing Continuity editing can be divided into two categories: temporal continuity and spatial continuity. Within each category, specific techniques will work against a sense of continuity. In other words, techniques can cause a passage to be continuous, giving the viewer a concrete physical narration to follow, or discontinuous, causing viewer disorientation, pondering, or even subliminal interpretation or reaction, as in the montage style. The important ways to preserve temporal continuity are avoiding the ellipsis, using continuous diegetic sound, and utilizing the match on action technique. An ellipsis is an apparent break in natural time continuity as it is implied in the films story. The simplest way to maintain temporal continuity is to shoot and use all action involved in the storys supposed duration whether it be pertinent or not. It would also be necessary to shoot the whole film in one take in order to keep from having to edit together different shots, causing the viewers temporal disorientation. However in a story which is to occupy many hours, days, or years, a viewer would have to spend too long watching the film. So although in many cases the ellipsis would prove necessary, elimination of it altogether would best preserve any films temporal continuity. Diegetic sound is that which is to have actually occurred within the story during the action being viewed. It is sound that comes from within the narrative world of a film (including off-screen sound). Continuous diegetic sound helps to smooth temporally questionable cuts by overlapping the shots. Here the logic is that if a sonic occurrence within the action of the scene has no breaks in time, then it would be impossible for the scene and its corresponding visuals to be anything but temporally continuous. Match on action technique can preserve temporal continuity where there is a uniform, unrepeated physical motion or change within a passage. A match on action is when some action occurring before the temporally questionable cut is picked up where the cut left it by the shot immediately following. For example, a shot of someone tossing a ball can be edited to show two different views, while maintaining temporal continuity by being sure that the second shot shows the arm of the subject in the same stage of its motion as it was left when cutting from the first shot. 21 Temporal discontinuity can be expressed by the deliberate use of ellipses. Cutting techniques useful in showing the nature of the specific ellipses are the dissolve and the fade. Other editing styles can show a reversal of time or even an abandonment of it altogether. These are the flashback and the montage techniques, respectively. A fade-out is a gradual transformation of an image to black; whereas a fade-in is the opposite. A dissolve is a simultaneous overlapping transition from one shot to another that does not involve an instantaneous cut or change in brightness. Both forms of transition (fade and dissolve) create an ambiguous measure of ellipsis that may constitute diagetic (narrative) days, months, years or even centuries. Through the use of the dissolve or the fade, one may allude to the relative duration of ellipses where the dissolve sustains a visual link but the fade to black does not. It cannot be argued that one constitutes short ellipsis and the other long however, as this negates the very functional ambiguity created by such transitions. Ambiguity is removed through the use of captions and intertitles such as three weeks later if desired. The flashback is a relocation of time within a story, or more accurately, a window through which the viewer can see what happened at a time prior to that considered (or assumed) to be the story present. A flashback makes its time-frame evident through the scenes action or through the use of common archetypes such as sepia toning, the use of home-movie style footage, period costume or even through obvious devices such as clocks and calendars or direct character linkage. For example, if after viewing a grown man in the story present, a cut to a young boy being addressed by the mans name occurs, the viewer can assume that the young boy scene depicts a time previous to the story present. The young boy scene would be a flashback. The montage technique is one that implies no real temporal continuity whatsoever. Montage is achieved with a collection of symbolically related images, cut together in a way that suggests psychological relationships rather a temporal continuum. Just as important as temporal continuity to overall continuity of a film is spatial continuity. And like temporal continuity, it can be achieved a number of ways: the establishing shot, the 180 degree rule, the eyeline match, and match on action. The establishing shot is one that provides a view of all the space in which the action is occurring. Its theory is that it is difficult for a viewer to become disoriented when all the story space is presented before him. The establishing shot can be used at any time as a reestablishing shot. This might be necessary when a complex sequence of cuts may have served to disorient the viewer. 22 One way of preventing viewer disorientation in editing is to adhere to the 180 degree rule. The rule prevents the camera from crossing the imaginary line connecting the subjects of the shot. Another method is the eyeline match. When shooting a human subject, he or she can look towards the next subject to be cut to, thereby using the formers self as a reference for the viewer to use while locating the new subject within the set. With the establishing shot, 180 degree rule, eyeline match, and the previously discussed match on action, spatial continuity is attainable; however, if wishing to convey a disjointed space, or spatial discontinuity, aside from purposefully contradicting the continuity tools, one can take advantage of crosscutting and the jump cut. Cross-cutting is a technique which conveys an undeniable spatial discontinuity. It can be achieved by cutting back and forth between shots of spatially unrelated places. In these cases, the viewer will understand clearly that the places are supposed to be separate and parallel. So in that sense, the viewer may not become particularly disoriented, but under the principle of spatial continuity editing, crosscutting is considered a technique of spatial discontinuity. The jump cut is undoubtedly a device of disorientation. The jump cut is a cut between two shots that are so similar that a noticeable jump in the image occurs. The 30 degree rule was formulated for the purpose of eliminating jump cuts. The 30 degree rule requires that no edit should join two shots whose camera viewpoints are less than 30 degrees from one another. Discontinuous editing Discontinuous editing describes the deliberate or accidental violation of rules of continuity when editing films. As a deliberate technique, it may be used to connote authenticity or to create alienation. The viewers expectation of continuity can be violated by such methods as changing image size or tone between shots, changing direction or changing shots before the viewer has time to recognize what is happening.[1] It is also known as montage editing, and employs a series of often rapid and non-matching cuts which creates a style the audience is conspicuously aware of,[2] or alternatively that create uneven and unpredictable rhythms and emphasize the rapidity of movement between images.[3] Montage (filmmaking) Montage is a technique in film editing in which a series of short shots are edited into a sequence to condense space, time, and information. It is usually used to suggest the passage of time, rather than to create symbolic meaning as it does in Soviet montage theory. 23 From the 1930s to the 1950s, montage sequences often combined numerous short shots with special optical effects (fades, dissolves, split screens, double and triple exposures) dance and music. They were usually assembled by someone other than the director or the editor of the movie. o Development ” Two common montage sequence devices of the period are a newspaper one and a railroad one. In the newspaper one, there are multiple shots of newspapers being printed (multiple layered shots of papers moving between rollers, papers coming off the end of the press, a pressman looking at a paper) and headlines zooming on to the screen telling whatever needs to be told. There are two montages like this in It Happened One Night. In a typical railroad montage, the shots include engines racing toward the camera, giant engine wheels moving across the screen, and long trains racing past the camera as destination signs zoom into the screen.... Noted directors Film critic Ezra Goodman discusses the contributions of Slavko Vorkapić, who worked at MGM and was the best-known montage specialist of the 1930s: “ ” 24 From 1933 to 1942, Donald Siegel, later a noted feature film director, was the head of the montage department at Warner Brothers. He did montage sequences for hundreds of features, including Confessions of a Nazi Spy; Knute Rockne, All American; Blues in the Night; Yankee Doodle Dandy; Casablanca; Action in the North Atlantic; Gentleman Jim; and They Drive By Night.[3] Siegel told Peter Bogdanovich how his montages differed from the usual ones. “ Montages were done then as theyre done now, oddly enough—very sloppily. The director casually shoots a few shots that he presumes will be used in the montage and the cutter grabs a few stock shots and walks down with them to the man whos operating the optical printer and tells him to make some sort of mishmash out of it. He does, and thats whats labeled montage. ” —[4] In contrast, Siegel would read the motion pictures script to find out the story and action, then take the scripts one line description of the montage and write his own five page script. The directors and the studio bosses left him alone because no one could figure out what he was doing. Left alone with his own crew, he constantly experimented to find out what he could do. He also tried to make the montage match the directors style, dull for a dull director, exciting for an exciting director. “ Of course, it was a most marvelous way to learn about films, because I made endless mistakes just experimenting with no supervision. The result was that a great many of the montages were enormously effective. ” —[5] Siegel selected the montages he did for Yankee Doodle Dandy (1942), The Adventures of Mark Twain (1944), and Confessions of a Nazi Spy, as especially good ones. I thought the montages were absolutely extraordinary in The Adventures of Mark Twain—not a particularly good picture, by the way. Analysis of two typical examples The two montage sequences in Holiday Inn (1942) show the two basic montage styles. The focus of the movie is an inn that presents elaborate nightclub shows only on the holidays. The film was in production when the United States entered World War II. 25 The first montage occurs during the Independence Day show, as Bing Crosby sings Song of Freedom. The 50 second montage combines several single screen sequences of workers in an aircraft factory and various military units in motion (troops marching, planes flying, tanks driving) with multiple split screens, with up to six images in one shot. The penultimate shot shows a center screen head shot of General Douglas MacArthur in a large star with military images in the four corners. The second montage occurs near the end of the film, showing the passage of time. Unlike the clarity of the Song of Freedom montage, this one layers multiple images in an indistinct and dream-like fashion. In the film, the character played by Fred Astaire has taken Crosbys partner, Marjorie Reynolds, to star in a motion picture based on the idea of the inn. The 60 second montage covers the time from Independence Day to Thanksgiving. It opens with a split screen showing three shots of Hollywood buildings and a zoom title, Hollywood. Then comes a zoom into a camera lens where Astaire and Reynolds are seen dancing to a medley of tunes already introduced in the film. The rest of the sequence continues to show them dancing, with multiple images of motion picture cameras, cameramen, a director, musical instruments, single musical notes, sheet music and dancers legs circle around them. Several times six images of themselves also circle the dancers. Only the opening shot uses a clearly defined split screen and only the second shot is a single shot. Both of these styles of montage have fallen out of favor in the last 50 years. Todays montages avoid the use of multiple images in one shot, either through splits screens as in the first example or layering multiple images as in the second. Most recent examples use a simpler sequence of individual short, rapidly paced shots combined with a specially created background song to enhance the mood or reinforce the message being conveyed. Conventions and clichés The standard elements of a sports training montage include a build-up where the potential sports hero confronts their failure to train adequately. The solution is a serious, individual training regimen. The individual is shown engaging in physical training through a series of short, cut sequences. An inspirational song (often fast-paced rock music) typically provides the only sound. At the end of the montage several weeks have elapsed in the course of just a few minutes and the hero is now prepared for the big competition. One of the best-known examples is the training sequence in the 1976 movie Rocky, which culminates in Rockys run up the steps of the Philadelphia Museum of Art. The simplicity of the technique and its over-use in American film vocabulary has led to its status as a film cliché. A notable parody of the sports training montage appears in the South Park episode, Asspen, noted above. When Stan Marsh must become an expert skier quickly, he begins 26 training in a montage where the inspirational song explicitly spells out the techniques and requirements of a successful sports training montage sequence as they occur on screen. The same song is used in Team America: World Police in a similar sequence. In Once More, with Feeling, an episode of Buffy the Vampire Slayer, Buffy Summers does an extended workout while Rupert Giles sings one song; this distortion of time is one of numerous musical conventions made literal by a spell affecting Sunnydale. Prior to this sequence, Buffy Summers voices her concern that this whole session is going to turn into some training montage from an 80s movie to which Rupert Giles replies Well, if we hear any inspirational power chords well just lie down until they go away. Use in Japanese and Hong Kong cinema In films from Japan and Hong Kong, particular emphasis is placed on the suffering of the trainee, often with the breakthrough in training being a change in perspective rather than physical capability. More importance is often placed on the master passing down knowledge to their student, rather than the self-discovery of American film. A classic use of the sports training montage in Hong Kong cinema is The 36th Chamber of Shaolin (Shao Lin san shi liu fang). In The 36th Chamber the student displays an arrogance and unwillingness to learn. The student develops through a process of suffering, towards self-mastery in learning, finally achieving triumph in realising that he controls his ability to learn. This training sequence is much closer to Zen Buddhist ideas regarding teaching practice, or Sufi learning concepts, than the individualistic American model used above. 30 degree rule The 30° rule is a basic film editing guideline that states the camera should move at least 30° between shots of the same subject occurring in succession. This change of perspective makes the shots different enough to avoid a jump cut. Too much movement around the subject may violate the 180° rule. As Timothy Corrigan and Patricia White suggest in The Film Experience, The rule aims to emphasize the motivation for the cut by giving a substantially different view of the action. The transition between two shots less than 30 degrees apart might be perceived as unnecessary or discontinuous--in short, visible. (2004, 130) 27 The rule is actually a special case of a more general dictum that states that the cut will be jarring if the two shots being cut are so similar that there appears to be a lack of motivation for the cut. In his book In The Blink of an Eye, editor Walter Murch states: “[We] have difficulty accepting the kind of displacements that are neither subtle nor total: Cutting from a full-figure master shot, for instance, to a slightly tighter shot that frames the actors from the ankles up. The new shot in this case is different enough to signal that something has changed, but not different enough to make us re-evaluate its context.” (2006, 6) Following this rule may soften the effect of changing shot distance, such as changing from a medium shot to a close-up. This sequence, 15 minutes (5:43) into Rose Hobart (1936), suggests a violation of the 30° rule [1] The axial cut is a striking violation of this rule to obtain a certain effect. Footage In filmmaking and video production, footage is the raw, unedited material as it had been originally filmed by movie camera or recorded by a video camera which usually must be edited to create a motion picture, video clip, television show or similar completed work. More loosely, footage can also refer to all sequences used in film and video editing, such as special effects and archive material (for special cases of this, see stock footage and B roll). Since the term originates in film, footage is only used for recorded images, such as film stock, videotapes or digitized clips – on live television, the signals from video cameras are called sources instead. The origin of the term footage is that early 35 mm silent film has traditionally been measured in feet and frames; the fact that film was measured by length in cutting rooms, and that there are 16 frames (4-perf film format) in a foot of 35 mm film which roughly represented 1 second of silent film, made footage a natural unit of measure for film. The term then became used figuratively to describe moving image material of any kind. Television footage, especially news footage, is often traded between television networks, but good footage usually commands a high price. The actual sum depends on duration, age, size of intended audience, duration of licensing and other factors. Amateur movie footage of current events can also often fetch a high price on the market – scenes shot inside the World Trade Center during the September 11, 2001 attacks were reportedly sold for US$45,000.[1] Sometimes film projects will also sell or trade footage, usually second unit material not used in the final cut. For example, the end of the non-directors cut version of Blade Runner used landscape views that were originally shot for The Shining before the script was modified after shooting had finished.[2] 28 B-roll B-roll, B roll, or Broll is the supplemental or alternate footage intercut with the main shot in an interview or documentary. History The term B-roll originates from the method of 16 mm film production from an original camera negative. Frames of workprint and of original negative are matched exactly through the use of edge numbers that appeared on each frame of original and work print. But the original was not strung together in a simple linear fashion as was the work print. Instead, the original was edited in a checkerboard pattern, with each shot synchronized to an equal length of opaque leader on a second roll. These A and B rolls functioned equally to make blind splices, fades, and dissolves possible. Each roll was printed separately onto a single roll of raw stock to produce projection prints[1] The process is described in the 1982 edition of the Recommended Procedures of the Association of Cinema and Video Laboratories, and in the classic text, Film and its techniques.[2] Then the term B-roll was adopted for the older form of linear-based editing and the common naming conventions used by most television production facilities. Traditionally, the tape decks in an edit suite were labelled by letter, with the A deck being the one containing the main tape upon which the interview material was shot. The B deck was used to run tapes that held additional footage that often supported comments or descriptions made by the interview subject[citation needed]. Before the advance of A/B editing systems, most editors only had precise control over two decks — their record deck and one source deck, which was typically the A deck. Whenever an editor wanted to do a live dissolve from material on the A deck to footage on the B deck during an edit, s/he often had to manually roll (i.e. play) the B deck at the appropriate moment before the dissolve was made — hence the jargon B-roll was born[citation needed], most likely as a carry-over from the multi-source construction of 16 mm prints. Also, as linear editing systems were unable to dissolve between clips on the same tape, an edit decision list (EDL) can mark such clips as b-roll to indicate that they should be dubbed onto another tape to make the dissolve possible. Other historical references to the term relate back to traditional camera naming conventions. The A camera and crew ran the main interview camera while the B camera and crew typically shot the additional support material[citation needed]. The term may have evolved then through the 29 listing of tapes a single camera crew shoots — with the A tape containing the interview footage and the B tape containing the support material Contemporary uses of the term The term B-roll is now limited to secondary footage that adds meaning to a sequence or disguises the elimination of unwanted content. This technique of using the cutaway is common to hide zooms in documentary films: the visuals may cut away to B roll footage of what the person is talking about while the A camera zooms in, then cut back after the zoom is complete. The cutaway to B roll footage can also be used to hide verbal or physical tics that the editor and/or director finds distracting: with the audio separate from the video, the filmmakers are free to excise uhs, sniffs, coughs, and so forth. Similarly, a contextually irrelevant part of a sentence or anecdote can be removed to construct a more effective, succinct delivery. This can also be used to change the meaning of the speaker to fit the view of the producer. In fiction film, the technique can be used to indicate simultaneous action or flashbacks, usually increasing tension or revealing information. B roll also refers to footage provided free of charge to broadcast news organizations as a means of gaining free publicity. For example, an automobile maker might shoot a video of its assembly line, hoping that segments will be used in stories about the new model year. B roll sometimes makes its way into stock footage libraries. Cinematic techniques Cinematography Cinematographic techniques such as the choice of shot, and camera movement, can greatly influence the structure and meaning of a film. The use of different shot sizes can influence the meaning which an audience will interpret. The size of the subject in frame depends on two things: the distance the camera is away from the subject and the focal length of the camera lens. Common shot sizes: • Extreme close-up: Focuses on a single facial feature, such as lips and eyes. • Close-up: May be used to show tension. • Medium shot: Often used, but considered bad practice by many directors, as it often denies setting establishment and is generally less effective than the Close-up. • Long shot • Establishing shot: Mainly used at a new location to give the audience a sense of locality. Choice of shot size is also directly related to the size of the final display screen the audience will see. A Long shot has much more dramatic power on a large theater screen, whereas the same shot would have less of an impact on a small TV or computer screen. Movement and expression Movement can be used extensively by film makers to make meaning. It is how a scene is put together to produce an image. A famous example of this, which uses dance extensively to communicate meaning and emotion, is the film, West Side Story. Provided in this alphabetised list of film techniques used in motion picture filmmaking. There are a variety of expressions! 31 • Aerial perspective • Aerial shot • American shot • Angle of view • Birds eye shot • Birds-eye view • Boom shot • B-roll • Camera angle • Camera coverage • Camera Dolly • Camera operator • Camera tracking • Cinematic techniques • Close-up • Crane shot • Dolly zoom • Dutch angle • Establishing shot • Film frame • Filmmaking • Follow shot • Forced perspective • Freeze frame shot • Full frame • Full shot • Hanging miniature • Head shot • High-angle shot • Long shot • Long take • Low-angle shot • Master shot • Medium shot • Money shot • Multiple-camera setup • One shot (music video) • Over the shoulder shot • Panning (camera) • Point of view shot • Rack focus • Reaction shot • Shot (filmmaking) • Shot reverse shot • Single-camera setup • Tilt (camera) • Top-down perspective • Tracking shot • Trunk shot • Two shot • Video production • Walk and talk • Whip pan • Worms-eye view 32 Mise en scène Mise en scène refers to what is colloquially known as the Set, but is applied more generally to refer to everything that is presented before the camera. With various techniques, film makers can use the mise en scène to produce intended effects. Lighting technique and aesthetics • Background lighting • Cameo lighting • Fill light • Flood lighting • High-key lighting • Key Lighting • Lens flare • Low-key lighting • Mood lighting • Rembrandt lighting • Stage lighting • Soft light To achieve the results mentioned above, a Lighting Director may use a number or combination of Video Lights. These may include the Redhead or Open-face unit, The Fresnel Light, which gives you a little more control over the spill, or The Dedolight, which provides a more efficient light output and a beam which is easier to control.[1] 33 Editing and transitional devices ((dream sequences)) Lighting In cinematography, the use of light can influence the meaning of a shot. For example, film makers often portray villains that are heavily shadowed or veiled, using silhouette. Techniques involving light include backlight(silhouette), and under-lighting(light across a character form). Sound Sound is used extensively in filmmaking to enhance presentation, and is distinguished into diegetic and non-diegetic sound: • Diegetic sound: It is sound that the characters can hear as well as the audience, and usually implies a reaction from the character. Also called literal sound or actual sound: o Voices of characters; o Sounds made by objects in the story; and/or like heart beats of a person o Source music, represented as coming from instruments in the story space. o Basic sound effects, e.g. dog barking, car passing; as it is in the scene o Music coming from reproduction devices such as record players, radios, tape players etc. • Non-diegetic sound: It is sound which is represented as coming from a source outside the story space, i.e. its source is neither visible on the screen, nor has been implied to be present in the action. Also called non-literal sound or commentary sound: o Narrators commentary; o Voice of God; 34 o Sound effect which is added for dramatic effect; o Mood music; and o Film Score Non-diegetic sound plays a significant role in creating the atmosphere and mood within a film. Very commonly diagetic shift occurs from one to the other, for example when characters are listening to music, then start dancing and the music becomes non-diagetic to indicate being lost in the moment. Sound effects In motion picture and television production, a sound effect is a sound recorded and presented to make a specific storytelling or creative point, without the use of dialogue or music. The term often refers to a process, applied to a recording, without necessarily referring to the recording itself. In professional motion picture and television production, the segregations between recordings of dialogue, music, and sound effects can be quite distinct, and it is important to understand that in such contexts, dialogue and music recordings are never referred to as sound effects, though the processes applied to them, such as reverberation or flanging, often are.
Posted on: Fri, 11 Apr 2014 16:00:36 +0000
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