The control and manipulation of objective time

structuring of subjective time

all clock time events of  a show

(clock time, running time, sequence time, scene time, shot time, and story time)  

not actual clock time that the show takes, but the passage of time that the viewer feels

Sum of several scenes that compose an organic whole

a subdivision of running time

Each sequence has a clearly identifiable beginning and end  

Defined by action that plays in a single location within a single story time span 

Scene time=the clock time duration of a scene

subdivision of sequence time 

the smallest convenient operational unit in video and film 

ex. from cut to cut 

Shot time=the actual clock time duration of a shot 

Cinderella Clock

Back to the Future Clock 

Shows the objective time span of an event as depicted by the screen event 

Batman Begins spans about 15 years

In a live broadcast, story time and running time are dependent on each other but normally ST and RT are independent of each other 

perceived speed of the event

whether the event seems to drag on or move quickly 

ex. a scene with a lot going on and quick convo

perceived duration of the individual event sections; subdivisions of pace 

the flow within and among event segments and by the beat of the music

(shots, scenes, and sequences)

Straight cuts would probably be used in a car chase scene, while dissolves may be appropriate for a funeral

the objective and subjective time concerning the story of sequence of events

– the objective and subjective time elements concerning the character’s actions and feelings

Ex. guy in hospital 

When these two are juxtaposed, the result can be a very effective intensification of the scene

event motion that occurs in front of the camera: performers, vehicles, any action at all

camera motions such as pan, tilt, pedestal, boom, dolly, truck, arc, and zoom

Staging the primary and secondary motions must be considered together

sequence motion, created by shot changes or transitions: cut, dissolve, fade, wipe

Principle indicator of an object’s dynamics

Event dependent

The prevalent motion in a scene

Capture the natural flow of the action with the camera, rather than forcing the action to fit camera position

Medium dependent – motion is limited to the capabilities of the equipment

Must be motivated – there should always be a reason for moving the camera, or it will call attention to itself and away from your scene  

Functions: to follow action, reveal action, reveal landscape, relate events, induce action

    INDEPENDENT OF EVENT MOTION                                        

height of a building discovered slowly, pan along a long line of stopped traffic to show gridlock

you can use an agent to do this, such as a boy in a bicycle riding through the traffic jam

motion can be used to link two subjects or events

swishpan- a quick camera motion from one subject or event to another (single shot). – 24 uses swishpans extensively

Sequence Motion 

Through the change of shots, we see a progression or a visual development

Transitions between shots are important elements of a show that should not draw attention to themselves

– instantaneous change from one image to another; least obtrusive; used to continue action, to establish a sequence of objects or events, to change viewpoint or locale, and to reveal event detail

can indicate the passage of time or a change among past, present, and future. Can indicate simultaneous events 

gradual transition from shot to shot

the image of the preceding shot temporarily overlaps that of the following shot, the dissolve occupies its own screen time and space 

the two images temporarily overlap 

can be long or short 

great for sequence fluidity 

less abrupt than a cut

aids continuity

good time indicator 

can cause confusion about the figure/ground relationship

DVE (digital video effects) 

are all referred to in the industry as wipes: page turns, peels, melts, shatters, tumbles, stretches, and on and on

have similar effects to fades, indicating a transition in time or place, but don’t interrupt a sequence