Graphical Match

There is an existing technique in continuity editing that achieves this level of constancy: graphical match. A graphical match involves the composition of the two adjacent shots in such a way that some or all of their graphical elements are similar e.g. general object shape, colour, shadows, patterns, etc. The graphically matched shots are usually joined by a dissolve so that the matched objects are seen to slowly transform. The two shots could be joined by a cut but the close similarity might

50 create the impression of a Jump Cut19 as the focal object undergoes an unexpected apparent rotation, relocation, or deformation. This could be avoided by making the viewer expect the cut (how this is achieved will be discussed in the next section) or by changing the location of the focal object across the cut (i.e. eliminating the graphical match). There is a large potential for accidental graphical matches across most cuts considering that most shots depict a single focal object (e.g. a person) framed centrally (May et al., 2003; Tosi, Mecacci, & Pasquali, 1997). The fact that the majority of these cuts are not identified as Jump Cuts highlights the power of continuity editing to obscure these apparent transformations (the techniques employed to achieve this will be discussed in the next section).

Graphical matches with dissolves are designed to maintain the viewers’ attention on a part of the visual scene (usually at the centre of the frame) whilst the rest gradually changes. Two examples of graphic match taken from the trailer for the recent remake of War of the Worlds (Spielberg, 2005) can be seen in Figure 3-2. The first sequence dissolves from a shot of space with a red planet moving towards earth, to a busy city street with a red traffic light. The second sequence uses a camera movement to match the Arc de Triomphe to an Arabian gateway. Both of these matches match the visual features of the most salient object within the scene20 to maintain the viewers’ focus across the dissolve.

19 _{A sudden cut between two shots of the same object taken from slightly different camera positions.} Typically an indiscernible amount of time is omitted between the shots leading to an apparent “jump” in the image as the object suddenly changes location or orientation.

20 _{The red planet is salient as it is moving and red. Both of these properties are highly salient relative} to the background. In the second sequence, the archway is the most salient as it is the brightest region of the screen and it is located in the centre of the frame.

51 Figure 3-2: Two graphical matches (one top line, one bottom, both running left to right) from the trailer for War of the Worlds (Spielberg, 2005). Both involve moving centres of attention which are (roughly) matched for their size, shape, colour, and position.

It is unlikely that viewers are unaware of the change of shot occurring across these two graphical matches as the focal objects noticeably change during the transition and occupy only a small proportion of the screen. The position of the red spot is not an exact match across the shots and the archways share so few visual features that the match is more on the general arch shape and its movement. However, an invisible transition was not the point of this dissolve. The dissolve produced a subtle bridge between shots that encourages the viewer to interpret the connection between the shots (e.g. we are all one world). Most graphical matches are used in this symbolic way.

Using graphical matches to hide a change of shot is much more difficult as it requires the focal object to be matched exactly during the dissolve. If the viewer is fixating an object the object’s visual features, at least as much as is projected on to the viewers fovea (2° of a visual angle), cannot change unexpectedly during the transition. If they do, the viewer will become aware of the manipulations of the editor. Such close control of visual features is very difficult to achieve using traditional cinematographic techniques and, given that the focal object will usually be a person, very hard to act. Even if the focal object is precisely matched across the dissolve the viewer’s point of fixation would have to be held on the matched object whilst the background changed. If their eyes wander over to the background they would be able to see the dissolve. To ensure that the matched object holds their attention a highly

52 salient object, such as a character’s eyes or face (Yarbus, 1967) is commonly used. This is usually supplemented by a movement of the face of some sort, such as a blink, change in gaze or head turn which captures attention prior to the change in shot. This technique moves into the realm of match-action editing which will be discussed in the next section (see 3.2).

If the editor cannot guarantee that the viewer’s eyes will not wander onto the changing background the only solution is to remove the background completely. This is achieved by zooming-in or moving the camera towards an object (e.g. a person’s face or inanimate object) so that the object fills the screen. A cut can then be made to the same object in a different location and the change in background will not be registered as it cannot be seen on the screen. The camera is then zoomed or moved back and the new scene is gradually revealed. This technique is very effective at hiding the join between shots as it removes all evidence of the cut. However, it is a technique that is rarely used and usually only to induce a state of wonder and surprise in the viewer as the new scene is gradually revealed. The experience this type of transition induces in the viewer is different to most films shot for continuity in that it is more akin to a magic trick. The transition dupes the viewer into expecting one thing and then surprises them when something else happens (e.g. a sudden change in location). By comparison, a continuity cut is accompanied by no shock at the sudden change or at what is presented. It is as if the cut provides exactly what the viewer expected21.

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