Transitioning through time and space

There are many ways in which film makers transition from one time zone to another whether its a flashback or a simultaneous event. I have researched the way in which editors use match cuts, blending two moving camera shots to create one flowing shot and other interesting ways of transitioning from one location or time to another.

SHUNPO - Directed by Steven Briand 
This short film plays with the idea of escaping a daily routine by adding movement into our lives through dance, however this is portrayed in a sci-fi type way in which within one step the dancer can be in a location miles away. This choreographed dance piece uses match cuts to transition between each location.

Due to this piece focusing on the dancers choreographed movements, the cuts occur whilst she is in mid motion like the example above. As she swings her jacket the cut occurs with the motion proceeding onto the next location. This is effective as the audience will be focusing on her movement so as she is in mid motion there will be motion blur which makes the transition much smoother allowing the dancer to seamlessly have "teleported" to the next scene . 






























for the cuts where two of the same shots matched e.g. a wide to a wide, the dance would have to be near enough in the same identical position in terms of framing the two shots to match one an other. there are many ways to do this; firstly a green-screen which would mean that the dancer could do most of the dance if not all at one location however, due to her interaction with each location it is clear this was not green screened. So either these film makers must have shot the film in 2K/4K which would give the advantage of being able to tighten and align the image in post-production to match the framing up for each shot without loosing any quality. However this film was shot using a Canon 5D mark iii so these resolutions would only be achievable using the magic lantern hack.  Another method which could have been used is a feature called ghost imaging which enables the camera operator to view a frame from previous shot overlaying the live view through the viewfinder. This would also enable the framing to be matched up accurately on set without having to realign in post production, although this may also have required the magic lantern hack.

This film is very inspiring from an editors point of view due to the smoothness of the match cuts and the timing of the cuts themselves. However the project I am editing (See you Soon) is a narrative film which means that I am unlikely to be cutting on a characters motion, but instead the objects the character interacts with will most likely be the focus of the match cuts in See You Soon. Although the technique can still be applied in terms of the framing and timing of the cuts.