Cutting Handout-=
Discrepancy between Real World and Film? Did humans evolve to watch movies?
Humans did not evolve to watch movies, but movies evolved to align with cognitive and perceptual dispositions.
Evolutionary Perspective VS Euclidean Perspective (how we see space)
Evolutionary Perspective:
Our way of seeing space has evolved over time to help us survive in a complex world.
It's not just about measuring distances and angles like in math (Euclidean geometry).
Instead, our perception of space is shaped by things like finding food, avoiding danger, and navigating environments safely.
So, what we see and how we understand space isn't just about what's physically there; it's also influenced by how our ancestors survived.
Euclidean Perspective:
This is the mathematical way of looking at space.
It's about straight lines, flat surfaces, and all the rules you learn in geometry class.
According to Euclidean geometry, space works a certain way no matter what, without considering how living things interact with it.
But the evolutionary perspective says our perception of space isn't only about these rules; it's also shaped by our history and survival needs.
Plasticity in Perceptual World (how does this then promote the Evolutionary or Euclidean perspective) What about our perception of time?
Our perceptual world has considerable plasticity; perceptions can deviate from the rigid and even flow of the world.
This idea of Plasticity would promote the Evolutionary perspective and not the Euclidean perspective
Although we evolved in a temporally continuous world, our perception of time is not tightly bound to any temporal meter.
The success of film partly attributed to the plasticity of human perception.
Narrative-Centric Approach, and why its needed, where is it used
Hollywood style emphasizes a narrative-centric approach.
This is to make sure that all manipulations of camera, lighting, editing, and sets transparent are unnoticed by film goers (all done to perfectly fit narrative, seamless film viewing)
to be unnoticed is the main goal for filmmaking
The Human Visual System and film making
Techniques in filmmaking must align with the human visual system to go unnoticed.
Why films work = due to understanding human perception of the real world. (how our perceptual and visual system works)
Ecological Approach to Cinematic Theory:
Fundamental tenet: Understanding film involves understanding human perception of the real world.
the fundamental tenet asserts that film is a medium that engages with and reflects the way humans perceive and interact with their surroundings
Perceiving what is happening in a film uses the same visual and perceptual systems used when interacting with environments in real life.
Film consists of _____ , each representing the continuous run of a camera. These tend to be longer when, what about shorter?
shots tend to be much longer in the initial photography
in the editing process, each shot is trimmed to a few seconds in length for the final film (in editing = shots get shorter)
Shots are typically trimmed to a few seconds during editing and then juxtaposed without transition, creating ____
cuts.
Cinematography and Layout Manipulation focuses on 3 main things
Focus on the World Behind the Screen:
Three-Dimensional Layout:
Visual Sciences Perspective: Cinematographers manipulate information to portray the scene effectively, aligning with visual sciences.
What is the kind of space that can be built up from occlusion?
affine space
the kind of space that naturally accommodates the effects of occlusion
It allows for the modeling of scenes with overlapping or obstructed objects
How did "The Sound of Music" use Height in film to reveal information?
can see changes in camera height in "The Sound of Music"
indicates shifts in narrative focus
shot mostly from an eye height of a kid when focusing on the Von Trapp children, switches to adult height when the focus is on the romance between adults
How can the Height of camera can be manipulated for a specific effect (4)
The choice of camera height contributes to the visual language of a film and plays a vital role in conveying emotions, power dynamics, and the overall tone of a scene. Both types have the same information
High Downward Tilting Camera:
broader view of the scene — showing more differences in objects in the picture frame.
Scene appears larger and more encompassing.
More information is visible, allowing viewers to observe details and differences.
Convey a sense of grandeur, expansiveness, or a bird's-eye perspective.
High Upward Camera Angle:
camera is placed above the subject, looking down.
Indicates dominance, authority, or an adult point of view
Viewers may perceive the subject as powerful, important, or in control.
Low Level Camera:
camera is placed low, closer to ground level.
Diminishes the availability of information, especially height-related details. but detail that can be seen is more clear, more up close
scene may appear more confined or intimate.
Can create a sense of vulnerability, closeness, or a unique perspective.
Low Camera Angle:
camera is placed below the subject, looking up.
Indicates a submissive role or a child's point of view.
Viewers may feel empathy or sympathy for the subject, perceiving them as less dominant or in a less powerful position.
Relative density (what level of perceptual potency is it)
Number of similar objects (question of how many)
Weaker perceptual potency, works inversely to relative size (weak, just like aerial perspective)
ordinal (order)
Means “texture gradient”
texture of a surface appears to change as the distance from the observer increases. Details of the texture become less distinct in the distance, contributing to the perception of depth.
How is Relative Size used in photography?
Relative latecomer to art;
Manipulated in photography through lenses
When disparities are greater than stereopsis will allow, what happens?
they yield diplopia or double vision
when images received by the two eyes struggle to merge successfully
This failure in the fusion process = diplopia
First uses of motion perspective in film was when? When did film stop being stationary and introduced motion?
seen at the end of the 19th cent (mounted on trolleys)
Maintaining a fixation point importance
Maintaining a fixation point is crucial in creating a coherent perception of motion in films
filmmakers often employ techniques such as rotating the camera around a fixed point (panning) or using other camera movements to provide a consistent reference point for the viewer.
Shadows and Lighting Role in film (does it help with depth?)
crucial for articulating shapes
dont contribute to perceiving depth
this is because changes in shadows rarely change depth of one's perception of the shape of an object
Shadows often used for artistic purposes
used to play with the identity of objects and individuals in film, which is often best done through variations in lighting
Karl Zeiss’s Synopter - what does it do, what does it disable and why
Inventor of cameras and the planetarium
series of fully and half silvered mirrors at 45 degree angles
minimized the differences between the perspectives of the eyes — with mirrors that make the images exactly the same
binocular disparity functions from the different retinal images from each eye, so this would disable binocular disparity and stereopsis (disable binocular depth clues)
can also remove from view the frame and their context surrounding the picture
presents identical visual information to both eyes, thus removing all binocular depth clues. (so only monocular cues work)
Why would these types of goggles (synopter) be used?
for situations where the cues provided by stereopsis and pictorial cues conflict (so completely disables stereopsis, so no more conflict) (conflict between binocular and monocular cues)
presents identical visual information to both eyes, thus removing all binocular depth clues.
Greatly enhances depth in pictures more than stereoscopic displays (infinite depth)
which presents identical visual information to both eyes, thus removing all binocular depth clues. (so only monocular cues work)
How the effect of the synopter be done without the use of some pair of goggles?
can just use one eye (would disable binocular disparity since it needs information from both eyes)
so again no conflict between them ?
Synopter aims to address some of the limitations associated with traditional stereoscopic displays, How? Why does this limitation happen?
1) Coulisse Effect in Stereoscopic Displays:
Phenomenon observed in stereoscopic displays where the perceived depth is reduced or flattened due to conflicts between stereopsis and other depth cues — Synopter gets rid of this effect (conflict between binocular and monocular cues)
things seem less 3D than they actually are, and the distances between objects may be more significant than they appear at first glance.
this device does this by presenting identical visual information to both eyes, thus removing all binocular depth clues. (so only pictorial monocular depth cues work)
In traditional stereoscopic displays, a coulisse effect may occur due to the separation of the two cameras used to capture stereo images
separation is often more significant than the distance between human eyes (usually more than 6 cm).
A wider separation between stereo cameras can result in a scene being "minified," making objects appear smaller and flatter than they are.
2) Zero Disparity in Synopter:
no stereopsis = no binocular disparity or binocular cues (zero disparity since images form both eyes will be identical because of the mirrors in synopter)
Achieving zero disparity with the Synopter does not eliminate depth information but rather specifies an infinite depth — why it greatly enhances depth in pictures more than stereoscopic displays
How can moviegoers achieve a synoptic effect
by sitting more than 10 meters from the screen, allowing them to experience the specified infinite depth in a manner similar to the technology's intended effect.
The three differentiable spaces in the real world VS film
Real world = Has all three differentiable spaces
vista
action
personal
Film = Just one
Focus on just Action space
Cinematographers can neglect background (vista space) and extreme foreground.(personal space)
Explain Vista Space (serves as what, range is what)
Beyond approximately 30 meters for a pedestrian.
Typically serves as the backdrop (vista is only backdrop)
Furthest range one
Effective Information Sources
Traditional Pictorial cues such as occlusion, height in the visual field, relative size, relative density, and aerial perspective — only effective sources of info
Where is this usually used in
Commonly portrayed in large trompe l'oeil paintings and wide-screen cinema.
Older hollywood movies used these alot
used painting vistas on walls and on movable sets
Narrative Content in Film
narrative content is often minimal, since so far away
Action Space (range is what)
Within 30 meters, extending inward to about 1.5 meters. (still out of arms length)
Middle range one
Information Sources:
almost all cues (monocular and binocular)
Significance of it for the Real world
The Space for human actions, conversations, and interactions
predominant in everyday life
ACT within this space
Cinematic Significance
The primary space for film content
most scenes occurring between 2 to 30 meters from the camera
Action space is the space of films — ACT within this space
Limitations (how can this be effected, why)
perception affected by viewing objects from extreme angles.
Viewing objects from above or below 1.5 m to 2m tends to make perception of layout less certain by weakening the effect of familiar size
Personal Space (range is what,
Surrounds the observer's head
within arm's reach and slightly beyond (closer than 1.5 metes)
closest range one
Real-world Relevance
Crucial for personal interactions
five information sources contribute to perception. (5 senses)
Does it have Cinematic Relevance? (why or why not)
Typically not a significant concern in film
the viewer's personal space is not often relevant to the narrative
Critical to Holly Wood: one is not made aware of oneself
part of being a viewer is contingent on not having things enter ones personal space (since one does not want to be made aware of oneself when watching a movie, since you get less fully in the movie)
Action Space: We can see Eye Height and Loss of _______ within 18th cent paintings (why is this?)
Object Identity
many wide angled paintings and engravings from the 18th cent use an eye height of about 2.5 times normal —- the most you can go without loss of object Identity
one begins to lose the impression of object size when this is exceeded (typically the height attainable from a camera on a crane — used alot as a film device at the end of a film, indicating its over)
Historical Overview of why we needed cuts and what certain discovery led to major changes in Film.
Cuts became necessary as films lengthened,
Early films shot as theater productions with an unmoving camera in mid-audience, but the discovery of the camera's mobility led to changes. (doesnt have to stay still, ex: dolly movements)
What accounts for more than 95% of all cuts presently for TV? (what about transitions?)
Television = alternating shots — reverse pattern shots
Transition continued to use fades
More recently fades have passed out of favor — seeming quaint and unnecessary
The connection between Cuts and Saccades (how long does a saccade last, the two types)
John Huston says that a cut is a surrogate for the real-world combination of saccade and blink
Saccades alter and momentarily cut the continuous visual stream (natural mechanism in human vision)
Saccades last around 40 ms
reflexive (automatic) = 50ms
voluntary (slower) = 100 ms
By employing cuts in film, Filmmakers replicate the natural saccades eye movements
This is why cuts introduce interruptions in the narrative that parallel the natural saccadic rhythm of human vision.
By mimicking real-world eye movements, cuts become more perceptually acceptable to viewers.
Saccadic Suppression importance
During a saccade, the eyes move quickly from one point to another. To prevent visual disruption or blurring caused by these rapid movements, the visual system suppresses or reduces the processing of visual information.
effectively dont perceive the world when saccadic eye movements happen
As we know, the purpose of Saccadic Suppression is to maintain visual stability by minimizing the impact of the eye movement on the perceived visual scene (gets rid of blur)
Saccadic Suppression Connection to Metacontrast masking
Metacontrast masking is a visual phenomenon where the perception of one stimulus is influenced or suppressed by the presentation of another stimulus in close temporal or spatial proximity — Lasts for 100 ms
Connection
Aligns with the idea that visual information preceding a saccade, visual system is suppressed or not fully processed (to get rid of blur) contributing to a transient "blindness." (suppression, then saccade)
This suppression is needed as it allows images to not blur or smear when saccades happen — Part of making sense of film shots without a smooth transition
We can say that Meta contrast masking leads to Saccadic (psychotic suppression)
The mask interferes with the processing of the target stimulus, leading to reduced visibility or recognition of the target. (mask = suppression)
Interruption Masking in Film Editing, what the duration? (before or after a cut) What is avoided during this time?
Cutting:
Interruption masking occurs after a film cut.
Viewers may experience partial blindness to visual information during the first 100 milliseconds after a cut, roughly the duration of two frames in film.
Filmmakers aim to avoid rapid cuts within this critical time window to ensure smooth transitions and prevent interruption masking effects from distracting the audience.
Acceptability of shots without a smooth transition is based on what?
The acceptability is linked to physical differences between the shots
Viewers find cuts acceptable when there are noticeable differences in the lighting patterns between the two shots ( patterns of light in two shots must differ)
This difference in lighting helps the audience accept the disrupted flow as a natural part of their visual experience.
Jump Cuts (how does it happen) (how do you achieve continuity)
Jump cuts, resulting from shots with the same position and orientation, are generally unacceptable.
Background sameness across cuts creates a jarring effect. (back ground must be different)
Must have completely different shots (angle, lens, etc) for it to achieve continuity
when edges in successive images align or nearly align — creating a jump cut
same position and orientation = jump cut
Why is it acceptable for one image to displace another taken from the same position in space, but with the camera rotated to a new orientation?
Has to do with Cuts, saccades, suppression, and the lack of beta motion.
Our eyes naturally move (saccades) and briefly suppress visual information during these movements. This aligns with film cuts, which replicate these natural eye processes.
The lack of beta motion (undesired visual effects during editing) helps maintain visual continuity and prevents disruptions. (beta motion = jump cut)
When the camera rotates to a new orientation, it mimics the way our eyes naturally move during saccades.
The Overlap of cameras would be noticed by us in which, shots from different angles are better (for 24 frames/sec)
Why is it not acceptable for one image to displace another taken from the same position and orientation?
The avoidance of beta motion and jump cuts
Beta motion = where similar elements align across cuts. (edges or patterns almost line up between successive shots)
an unwanted effect
can detract from the narrative — editor needs to be cautious
Beta motion happens when an image displaces another taken from the same position and orientation — creating a jump cut.
We need NO commonality in background for no jump cuts
Continuity VS Narrative Power: (what `wins?)
Filmmakers face challenges, such as weather changes, impacting visual coherence across cuts.
Narrative power often overshadows the need for perfect visual continuity, as seen in examples like scenes from "The Sound of Music."
Essential Elements for Effective Cuts in Filmmaking and Why (4)
1. Alot of Camera Changes:
a variety of camera changes between shots enhances the perceptual acceptance of cuts.
aligns with the natural occurrence of saccades in human vision
Mimicking this helps maintain visual interest.
2. Different Shots and Angles:
The first and second shots in a cut should be as different as possible in terms of camera shot, angle, and zoom
diversity prevents the visual system from perceiving beta motion (jump cuts) – a phenomenon where similar elements align across cuts
Distinct shots provide a clear separation between scenes, allowing viewers to comprehend the shift without confusion.
3. Non-Aligned Backgrounds and Beta Motion:
Ensuring that backgrounds do not line up between shots is crucial for avoiding beta motion — leads to jump cuts
Non-aligned backgrounds contribute to the continuity of the narrative
When you line up all part of images between shot 1 and shot 2 — leads to morphing (perfectly lining up = apparent motion)
4. Matching Movement:
Movement has to carry through to maintain a sense of continuity, ensuring a smooth transition between shots
Movement has to match BUT there must be distinct camera changes (camera shot, angle)
before the cut, they are moving AND after the cut, they are still moving — there must be this continuity
How does Apparent motion lead to this Morphing effect?
Apparent motion happens when:
eyes, nose, mouth line up perfectly (beta motion)
perfectly lining up images = apparent motion
if one keeps their foveas at the center of the picture — will lead to morphing as the images are lined up a certain way
By looking at the center, and only there, when the images end up lining up perfectly, leads to this gross distortion becuase our peripheral system works better, since the periphery vision has the most rods, that deal with motion with the foveal vision.
The 2 Constraints in Filmmaking
Continuity Demands:
Filmmaking necessitates maintaining continuity during filming.
Unprepared or noticeable discontinuities can jeopardize Hollywood style and film success
Structural vs. Thematic Aspects:
Certain structural continuity aspects may be violable (you have creative flexibility)
BUT thematic aspects are inviolable (must be preserved)
the core themes and messages of the film are considered foundational
Montage and Kuleshov Effect
V. I. Pudovkin's created short films using this.
Kuleshov Effect = focuses on power of montage in influencing viewer interpretation (Russian filmmaker)
Short movies, each of three shots (switching from face to object in which it changes the viewers interpretation)
The way we can use montage to interpret narrative or film
Montage = create meaning
Contextual Dependence on what for Montages :
Montage's effectiveness relies on the context of the longer narrative.
Without narrative context, attempts to replicate the Kuleshov effect often fail.
Montage becomes good film practice within the context of a satisfactory narrative.
Filmmaker-Viewer Contract (what is it, what happens if broken)
Filmmakers establish an implicit contract with viewers through narrative engagement.
Viewer's acceptance of the narrative is crucial for the success of montage (filmmaker must first win over the viewer with the narrative)
At this point montage is good film practice, but only so long as the narrative must continue in a satisfactory way. If it does not, the filmmaker has broken the contract, and the perceiver is on his or her own.
Hollywood-style contract dictates that filmmakers will not let viewers become aware of themselves.
Filmmaker's breach of the contract disrupts the viewer's experience, leaving them on their own.
Recent Cinema and Pacing (what type of recent videos show this) (are there any other more cultural factors at play to explain the change of pacing in recent times)
Recent cinema exhibits an accelerated pace in cuts and shots.
Music videos, known for their rapid pacing — an influence on this cinema. - cutting to the beat
Cultural factors like increased demands on time and decreased boredom thresholds contribute to this acceleration.
Perceptual and cognitive abilities have always been capable of accepting rapid pacing; recent films have tested this ability.
Biological Constraints for shots: How long they must be, at least
Shot length, beyond a second or two, is not (biologically constraints = shots must be longer than 2 seconds)
Bordwell et al. (1985) found shot lengths in Hollywood cinema between 1930 and 1960 to be between about six and twelve seconds.
Perceptual and cognitive systems can make sense of shot composition and continuity within certain limits
Do all movies adhere to Hollywood Style?
Not all Hollywood movies adhere uniformly to the Hollywood style.
Non-American movies may embrace or deviate from Hollywood style.
Hollywood style denotes common presentation and narrative elements found in popular and classic films.
Role of Motion in Film
Motion is the essence of film, .
Standard film is interrupted ___________ per second , each interruption involving ______ frames.
seventy-two times per second
three frames
makes sense since: 24fps X 3 flashes from 3 bladed shutter = 72
Importance of Pace in Film (why are short shots necessary in film?)
Lumet suggests that shorter shots are necessary to build to a climax in films.
Pace within a film plays a crucial role, and shot duration contributes to building tension and narrative impact.
Explanation of the different types of lenses used in movies (length and main features)
Long Lens
Portraits use long lens
Shot Reverse shot sequences use long lenses (makes actors look better)
Lens greater than 100 mm
Also known as telephoto lens
Camera further away, features look like actual size
Narrow field of view, capturing a smaller portion of the scene (zoom lens)
Used to focus on specific details or isolate subjects (zoomed in)
Standard Lens
Standard focal length is 50 mm
the standard focal length for full-frame cameras,
close to what the human eye naturally sees
Low Distortion
Short Lens
Commonly used, the ideal for expansive landscapes
Camera must be placed close to person
Leads to features looking more bigger, like the nose
Also known as wide-angle lens (broader field of view)
Captures more of the scene within the frame. (zoomed out)
Typically 35 mm and less.
Variable Focal Length Lenses (also known as what?)
Also known as zoom lenses
Has a range of focal lengths allowing you to zoom in and out to frame your subject as desired (going from one lens to another)
Periscope-shaped lenses
Fixed Focal Length Lenses (Invariable): (also known as what?)
Also known as prime lenses
These lenses have a fixed focal length — do not have zoom capabilities
Need to physically move closer or farther to change the composition.
Is Digital Zoom favourable, why or why not?l
Digital zoom is not as favorable as optical zoom
Digital zoom relies on software processing
Optical zoom involves the physical movement of lens (better to just change the lens)
Digital zoom leads to a loss of detail and sharpness. Results in a pixelated or blurry appearance.
What is needed for a good close up or portrait?
A variable lens will need to be used
For portraits, a prime lens (fixed lens) with a moderate to long focal length is often preferred. Long lenses are commonly used for portraits. (Zoomed in but still with detail)
Wide-angle lenses, especially at close distances, can cause distortion, making facial features appear exaggerated or stretched. To avoid distortion, it's recommended to use a lens with a longer focal length.
Distance and getting a closer perspective with Long lens
While a long lens is often used for portraits, the distance between the photographer and the subject does not play a role
This is because features that are closer to the camera may appear disproportionately larger than those farther away
Instead, more likely to play with the lens for a close up
How does an actors or actresses acting change with a close up shot?
Actors will be more subtle with acting
face will be more neutral, when acting since so up close
relates to the Hollywood rule: Actors should avoid broad gestures and never look directly into the lens.
when the acting will be seen so up close, anything can easily look like overacting.
so actors go more subtle acting and movement
Explain Shot-reverse-shot sequences (what are the main parts, what is the purpose of it)
employed in filmed conversations
alternating shots between two or more characters, typically framing each speaker sequentially in the conversation
camera alternates its position and focus between the conversants
purpose of this technique is to immerse the viewer in the conversation, creating the feeling of being a silent observer in the dialogue
Establishing Shot:
The sequence often begins with an establishing shot that sets the scene, showing the spatial relationship between the characters.
Alternating Shots:
Subsequently, the camera alternates between shots of each speaker, capturing their reactions and responses in a conversational exchange. (over the shoulder and close up shots)
Gaze Direction:
A key practice in shot-reverse-shot sequences is aligning the sight lines or gaze directions of the conversants.
keep eye line match
Viewer Tolerance for discontinuities :
Viewers often overlook discontinuities in objects or actors across cuts within these sequences. The emphasis on the characters and their dialogue tends to overshadow minor discrepancies, allowing for a smoother viewing experience. (wont notice how she has a scarf in one seen but the other)
The focus on characters and their interactions often allows for a degree of flexibility regarding minor discontinuities, as viewers are primarily invested in the narrative and emotional dynamics of the conversation. (more than the small details)
Narrative will overpower need for Continuity
What is the connection between Anderson and James Cutting in regards to their work
Anderson had hired people to create a chapter each in his book (part of huge psych journal)
one of these chapters was done by James Cutting (focused on motion perception)
The 3 types of eye movements
1) Vergence
Voluntary
Divergence = Outward movement of both eyes, looking into the distance.
Convergence = Inward movement of both eyes, focus on a near object.
2) Smooth Pursuit
Voluntary
smooth and coordinated tracking of a moving object with both the head and eyes.
movement allows the eyes to maintain focus on a moving target
3) Saccadic eye movement (name ranges)
Saccades alter and momentarily cut the continuous visual stream (natural mechanism in human vision)
a way for the eyes to quickly shift focus from one point to another.
Saccades last around 40 ms
Two Main Types
reflexive (automatic) = 50ms
voluntary (slower) = 100 ms
Interocular transfer with Motion After effect (does it happen, why or why not)
Interocular transfer = Refers to the transfer of visual effects or adaptation from one eye to the other
Motion aftereffects happen when you look at something moving for a while, and then you look at something still. Your brain gets a bit confused, and you might see the still object moving in the opposite direction
Unlike afterimages where the tired cells are in the same eye, motion aftereffects involve a bit of teamwork between your eyes
The motion adaptation in one eye can affect how you perceive motion in the other eye. This tag-team effort between your eyes is why its related to interocular transfer
Interocular transfer with the After image effect
localized within the eye where the adaptation occurs.
There is NO interocular transfer with afterimages
Afterimages occur when the cells in your eyes get tired or "fatigued" from looking at something for a while. The tired cells then respond differently when you look at something else or close your eyes
Importantly, this happens within the same eye where you were looking at the initial image – there's no need for the effects to transfer between your two eyes.
The opponent process theory relevant in explaining certain aspects of afterimages
2. Waterfall Illusion:
example of a motion aftereffect
If you stare at a waterfall (water going down) for an extended period and then shift your gaze to a stationary scene, the stationary scene might appear to move upward
upward motion
3. Spiral Motion Illusion:
example of a motion aftereffect
stare at a rotating spiral for some time and then shifting your gaze to a stationary scene, the scene might contract inward or zoom in.
The afterimage appears in the same location on the retina where the original image was presented.
Can we get motion sickness from a film? What is motion sickness?
Yes, it is possible to experience motion sickness from watching a film
when there is a discrepancy between what the eyes see and what the vestibular system perceives regarding motion and spatial orientation.
Fast Camera Movements: Rapid and erratic camera movement
Vestibular System: The inner ear senses motion, acceleration, and spatial orientation (detect changes in motion).
motion sickness= mismatch between direction and speed (vestibular system)
The people that are specially hired to detect continuity errors and fix them, how do they achieve this?
Detailed Script and Notes:
Photographic Documentation: use of Polaroid or instant cameras was more common in the past. Take photographs of actors, set details, and props before and after breaks to reference during the filming process.
Costume and Makeup Logs:
Are people good at detecting continuity errors, with alternating shots (short reverse pattern) why or why not? .
People are generally not very adept at detecting continuity errors, and this can be attributed to the phenomenon of change blindness
Change blindness occurs in film when individuals fail to notice substantial changes in visual stimuli, particularly during brief interruptions, such as cuts or transitions in film editing
The concept is closely linked to saccadic suppression, a period of about 100 milliseconds during rapid eye movements, where the brain suppresses visual input (to get rid of blur)
If a continuity error occurs within this suppression period, individuals may not perceive the change, leading to what is called "change blindness."
Essentially, the inability to make moment-by-moment comparisons during these brief interruptions contributes to the oversight of continuity errors
Factors such role of the rods and magnocellular system in detecting changes further influence people's ability to notice continuity errors. (also attention!)
Rod cells contribute to detecting changes in luminance, while the magnocellular system is sensitive to motion and contrast changes.