#transtions

Sometimes, simple cuts between shots can transport you to so many places. Editors Joanna Naugle, Adam Epstein, Nia Imani, and Megan Mancini create something unique in every episode. Metaphorically speaking, we can visualize food for thought thanks to them and the creative team of The Bear. Those moments of contemplation when a chef or anyone involved in the kitchen, the audience can dig inside their head and feel the emotions that go from the chaos of the kitchen to the creation of a delicious dish.

In the Disney+ show Andor, one of the episodes highlights the connection between the same characters, in different period of time. This allow the audience to see the characters journey and how moments can interconnect.

I can spend several posts in this blog talking about the amount of transition used and how it was repurposed to tell the story, from match cuts, speed effects, split-screen effects, zoom, and invisible effects with strobe lights. Rogers craftsman is outstanding. 

A match cut is a cut between two clips that consistently share one or more qualities of action, composition, content, or subject matter. The adjacent juxtaposition of two clips with shared traits builds a stronger story, whether it is narrative or thematic in nature. A match cut ties those two clips together by placing an edit between the clips at a point in which the shared quality is aligned between the two. This signals to the audience the significance and intention of the shared quality for its narrative purpose in the sequence. It binds together the two clips. —  Chris Ace Gates

Jason Ballantine edited the film, working along Foqua to create tension and drama in a single space, turning the footage into a unique juxtaposition of shots with emotions.

The transitions made by editors Paul Machliss Jonathan Amos created an amazing experience for the spectator, using a mix of match cuts, invisible cuts and combinations of dissolves with match cuts as well.

In the film The Big Lebowsky, the technique is use perfectly when Jeffrey "The Dude" Lebowski enter in a dream sequence.

Academy Award-nominated editor Richard Francis-Bruce cut the film for director David Fincheris. Th cutaway technique is one of the most shocking films reveals in history.