Videography Glossary
With this glossary, I attempt to find definitions that are understandable for everybody (including me ^^), focused on pragmatic usage of terms.
Of course, some of the terms and definitions are taken from this wikipedia page, but I try to find explanations that help you get it, not too technical.
In the beginning, this glossary will be more structure and less content, but as the Monthly Storytime Videography Challenge progresses, this glossary will grow in size and value.
If you want to contribute to this glossary, feel free to submit your definitions on the bottom of this page.
a
Affiliate Links
Affiliate Links are (web-) links, that lead to a page where you can buy a product or service. If you buy (or sometimes, if you follow the link), the person referring you to the page (me) will get a small amount of money for referring you. Important to know: the product/service is not more expensive, so you don’t pay extra. And I personally will only share Affiliate Links to products or services that I consumed and found worth the money.
Amplifier (Amp)
Analog
That’s the thing that was there before things got digital. Analog film (or photo) has the advantage of “no resolution”, so you could theoretically enlarge it as much as you want. I never developed analog clips or photos myself, so I can’t really say much about it.
Aperture
Aperture describes how much light can pass through the lens onto the sensor/film. Aperture is usually described as f/x, for example f/1.8 or f/14.
APS-C
APS-C refers to the sensor-size.
As the image that is projected onto the sensor is usually adjusted for fullframe sensors (35mm). APS-C sensors are smaller, so they catch only a part of the image, which thereby is “zoomed in”. When using a Sony APS-C camera, the image is cropped by a factor of 1,5. That means, that a lens with a focal length of 50mm will appear like a 50 x 1,5 = 75mm lens.
Also, check out the link in Sensor.
Artlist.io
Artlist.io is a service that provides “Unlimited Music For Your Videos”.
Artifact
Artifacts in video (and photography) can be created by too high compression. It then looks like a gradual color change is not so gradual for example.
Aspect Ratio
The Aspect Ratio describes how wide the image is compared to how high it is.
Most common Aspect Ratios for cameras are:
4:3 ( Old school TV, using PAL or NTSC )
16:9 ( HDTV, 4K UHD )
1,9:1 ( DCI 4K of 4096 × 2160 )
Automatic Gain Control
Auto-Ducking
Auto-Ducking describes a technique, that automatically regulates the volume (gain) of an audio-clip in respect of another, parallel played clip, e.g. a song that is automatically ducked whenever a clip tagged as dialog reaches a certain level.
Audio
Audio (Steps of Editing)
Normalize volume of clip-categories (all dialogues, all songs)
Add Equalizer
Add Compression (against too dynamic clips, too intense jumps in volume)
Add Deesser in speech-clips (against Sibilance)
Add Auto-Ducking (Edit volume to match dialog / so songs don’t distract)
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b
Bitrate
Bitrate is usually expessed in “entity per second”, e.g. Megabytes per second (Mbps, MB/s) or Kilobytes per second (KB/s).
With higher bitrate (e.g. for streaming, but also for sound compression), more details can be saved/transported. “Good” sound files have a bitrate of 320 KB/s.
Look out for these symbols
If you are shooting 4K footage on a camera or camcorder, the bitrate (speed) in which your SD-Card can store data is also important. If you choose to use an SDXC or SDHC Card with “Class 10 U3”:
This is the card I recommend. It stores 128 GB of data and has writing speeds of up to 70 MB/s, which is sufficient for even 4K resolution (3840 x 2160 Pixels) in 60 frames per second.
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c
Camera
Compact Camera
Also known as point-and-shoot cameras. The lens is build into the body and usually retracts into the body as well to save space.
Pro: Small, lightweight, simple
Con: Fixed zoom range, not very good for shallow depth-of-field pictures
My recommendation: Sony rx100 iv - it’s not the latest version, so it has become cheaper. It was the first of this row to shoot 4k (@ 30 fps) and is really fast with pictures as well. The flip-up-screen helps while vlogging. I don’t own it, but I know some people who do, and they all are very satisfied with this camera. If you’re into slow motion, this one offers up to 960 fps in a rather bad resolution, but it’s fun :-)
Bridge Camera
Bridge Cameras also have one built-in lens, but it’s not completely retractable.
Pro: still small, possibly bigger sensor, usually wide range of zoon
Con: Bigger, sometimes bulky, not very good for shallow depth-of-field pictures
Wouldn’t recommend, as Compact Cameras are getting better. Quality and versatility are better in Systemcameras, so this is… well… the bridge between those.
DSLR
Due to the built-in mirror, the camera takes up more space. Usually available with sensors of size APS-C/DX or “full frame”.
Pro: Bigger sensor = more light = better quality. Good for pictures, as it doesn’t use as much battery as a Mirrorless Camera
Con: Video uses a lot of battery, as it is not built to display something all the time. In older models, there is also a lag in the image on the display.
Wouldn’t recommend for video.
DSLM / Mirrorless Camera / Systemcamera
The camera takes up less space than a DSLR, and uses more battery than those due to the constant display use. Usually available with sensors of size APS-C/DX or “full frame”.
Pro: Faster (no mirror to hide), Smaller (no mirror), more versatile than Bridge/Compact as you can change lenses.
Con: I don’t know… more expansive than Bridge/Compact, as you also have to buy lenses.
My recommendation for Videography: Sony a7s ii (12 Megapixels, 4K @ 30 fps)
My recommendation as an allrounder: Sony a7 iii (24 Megapixels, 4K @ 30 fps)
Camcorder
These are actually MADE for videography. I don’t own one, but these are what’s used for movies (and also very expensive)(highest resolution and matching highest fps):
Arri Alexa LF (native 4.5K resolution @ 150 fps, full frame sensor)
Arri Alexa Mini (native 3.4K resolution @ 30 fps, super 35mm sensor)
Arri Alexa Mini LF (native 4.5K resolution @ 60 fps, full frame sensor)
Blackmagic Pocket Cinema Camera 4K (native 4K DCI resolution @ 60 fps. 4/3 sensor)
Blackmagic Pocket Cinema Camera 6K (native 6K resolution @ 60 fps, super 35mm sensor)
Red Ranger Gemini 5K S35 (native 5K resolution @ 96 fps, full frame sensor) - from here on, it just gets more expensive. This one is at at least 22.000$.
Any recommendations from you?
If you just wanted to ask “Which camera should I use?”, I can only say “That depends”.
Chroma
Chroma refers to color hue.
Chroma-Key
Using the Chroma-Key functionality (for example in Adobe Premiere Pro) lets you compose two layers of videos together. The most commonly known use is probably having actors in front of a greenscreen. The Chroma-Key is then set to green, so you can make all green content of the image transparent and let lower layers become visible.
Chromatic Abberation
Sometimes, lenses create some kind of aura around subjects, specially when the color contrast between the subject and the fore- or background is extreme.
Cinematic
Basically, this means “feels like being in a cinema”. There are different aspects that play into this.
Video: Aspect Ratio
The letterbox-view to enforce a 16:9 or wider aspect ratio is similar to most movies.
I personally crop about 12% from top and from bottom, to get a wider aspect ratio. So when I talk into the camera, I use the full 1920 x 1080 resolution, when I transition to a cinematic Aspect Ratio, I get a resolution of about 1920 x 820 pixels by adding the letterbox.
Video: Colors
The “Orange and Teal” look is used a lot in hollywood movies, as it helps to isolate human skin (different tones of orange) from background (which resides more in the teal highlights when it comes to sky and lights. Colors can be adjusted by using LUTs (Look-Up-Tables).
Video: Transitions
If we are being honest, most blockbuster and TV movies just use simple cuts (no chroma-key transition, no Luma-Key transition, no zoom-and-blur, nothing. Just a clean cut). In this particular case, using other transitions “feels to the observer like a higher production value”. I think, that is meant with cinematic transitions.
Video: Camera Motion
More important than the cut itself is the footage around it. If two clips are put next to each other, and both include a pan from left to right with a slight bit of a zoom-in and similar lines (like: “inside a room, one person walking through”), the observer will not notice a disturbance created by the cut.
Audio: Subtle Sound Effects
Sound Effects can make a story more understandable, build up tension, and create an awareness of things that currently aren’t visible in frame.
Example 1: Transition from inside a room (clip 1) to outside (clip 2). While still in clip 1, you can add sound of a car coming closer and then cut to clip b. The audience expected it and by mixing audio of clip 2 into clip 1, it feels more connected.
Example 2: Add small sounds (door opening in the distance, a person breathing) while just walking through an empty floor. It will build up a lot of tension and create a feeling of “I shouldn’t be here. TURN AROUND!”
Audio: Clear Voices
Having different audio channels enables you to make all voices hearable, whilst getting the relative soundlevel of SFX and background noise you wish for. One mic for all is good, one mic for each raises your possibilities.
Clamp
It’s a clamp. You take a small camera (action cam) and clamp it to the ceiling, a nail, the door, a car window… very versatile.
Clickbait
Just bad titles, not giving away information but trying to raise your interest. (Blabla - you won’t believe what happened next! // This is how you make money // I couldn’t believe it was so easy - 3 ways to learn to fly. No2 blew my mind!)
Clip
In my vocabulary, a Clip is the smallest piece you work with within a project. Can refer to an audio- or a video-clip.
Clipping
Clipping refers to audio reaching or exceeding you maximum audio level. When recording, try to stay below the red marks. For steps in Post-Processing, see “Audio”.
CMOS
Some sensor technology. Research more on wikipedia, if it’s really THAT important to know about the Complementary metal–oxide–semiconductor.
CODEC
Short for “coder-decoder”. In the context of videography, you use a codec to encode the project during the export. Important ones to know and use in your settings are “H.264” and “Apple ProRes” (if you’re working on a Mac).
Color
Usually, when talking about Color, we can be more specific. See next items in this list.
Color-Depth
Color-Depth is defined by the amount of bits that need to be used to express the color of one pixel.
8-Bit = 11.111.111 in binary system = 256 colors
10-Bit = 1.111.111.111 in binary system = 1.024 colors
14-Bit = 11.111.111.111.111 in binary system = 16.383 colors
Color-Grading
Color-Grading is used for different purposes.
a) The camera was set to a “flat profile”, which basically means that there is not much contrast, but much information on color and dynamic range. Color Grading can be used to achieve a natural looking or standardized result concerning color (also see Post-Production Process and/or Rec.709).
b) Get footage to look identical: Take Superman-Movies, for example. Highlights are blue and red, and the color-palette is adjusted accordingly
c) Get a cinematic look (see Cinematic - Orange and Teal)
d) Create the impression of having used a different camera then you actually did. (Most camera-lens-combinations have a specific look. Using Color-Grading, you can make your fancy new footage look like old-school footage.
Color-Grading can be simplified in the production process by using LUTs (Look-Up-Tables, see LUTs).
Color-Space
The Color-Space is a rather technical term, which defines the used standard and supported color-depth.
Examples:
Adobe RGB
sRGB
CMYK
Compression
Generally speaking, compression makes files smaller by abstracting information stored in it. There is lossless compression, but when you want to process files fast and reduce storage space, you will lose information.
Audio: Compressed Audio takes out very high and very low tones. Example: Telephone.
Video: Compressed Video reduces the color-space or simplifies parts of the picture (so an area of different blues may look like one blue area only, creating Artifacts).
Contrast
Credits
Be nice, mention people that were involved in your production process in some way.
Cropping
Cropping means “taking a smaller part of the image and scaling it to fit the size of the video”. Cropping in is (in my understanding) the same as zooming in in post-production.
If you are shooting in the same resolution as you will be publishing (for example 1920 x 1080 pixels), cropping in will lessen the quality of the final video. I recommend shooting in a higher resolution, if possible. I personally try to shoot in 4K resolution (3840 x 2160) and publish in HD (1920 x 1080).
Cutting
Software (in alphabetical order)
Adobe Premiere
Avidemux
DaVinci Resolve
Final Cut Pro
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d
Decibel (dB)
Wow, there’s way more behind dB than I expected. Short: dB is a unit of measurement we use to express loudness. It can be used as an absolute number (set maximum output to 32dB) or relative (adjust clip by -2dB to match other clips).
Check out more on wikipedia: https://en.wikipedia.org/wiki/Decibel
Deesser (desibilizing)
The deesser is used to get rid of sharp “s” noises in audio.
Depth Of Field (DoF)
The DoF defines the part of space (plane-width) that will be sharp in a picture/video. A shallow DoF means that the background and foreground will become more blurry.
There are several factors that take effect on the DoF:
Focal length: a higher focal length (with all other factors staying equal) will give a shallower DoF.
Distance to object: Focusing on a very close subject will create a very shallow DoF. Focusing on a subject further away will create a less shallow DoF.
Aperture: a wider aperture (smaller number, e.g. f/1.8) will create a shallow DoF.
What you consider to be an acceptable circle of confusion.
Distorsion
Drone
Most non-military drone pilots prefer the term of aerial vehicle or quadrocopter (for drones with 4 propellers).
Drone-Motions:
Hover
Climb
Decend
Satellite (basically a Climb and Parallax and Push-Out and Tilt Down to keep subject in-frame)
DSLR Camera
Digital Single-Lens Reflex Camera. A mirror reflects the image onto the optical viewfinder. It retracts when shooting a picture before the shutter falls to expose the sensor/film to light. Most DSLR Cameras have a feature to show the image on the monitor.
Dynamic Range
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f
Field Of View
Filters (For Lenses)
see ND-Filters
see Polarizing Filter
Focal Length
Frame
In Videography, one frame is one picture. Several frames played fast enough will appear to the human perception as a moving image (even though there are lots of singular images played).
Frame Rate
The Frame Rate describes, how many Frames are shown per second.
“Cinematic” is around 24 fps
“Normal” is around 30 fps
“High framerate” is at 60 fps
Depending on the output, high Frame Rate footage can be played as slow motion. Example: If you shoot (production) at 30 fps and set your project to 24 fps, you can reduce the speed of the clip to 80%, which will give it a smoother, dreamy look. If you shot at 60 fps, you can slow it down to 40%, and 120 fps to 20%, if the project is at 24 fps.
If the framerate is below 20 fps, the frames will be perceived as different frames as well. In Stop-Motion Videos, that simplifies the production process, in other video formats it could be used to create a certain look.
F-Stop
Ugh…. I never really got this.
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h
H.264/AVC (Advanced Video Coding)
H.264 is a compression method, that keeps a good video quality while significantly lowering the necessary disk space / bit rate. Of course there IS a loss of quality.
HDTV
High Definition Televion refers to a standard resolution of 1920 by 1080 pixels (“1080p”).
Hertz
High Pass Filter
Video
Audio
A High Pass Filter filters out (deletes) high frequencies in the matter that you define. It can be very useful to get rid of surrounding noise and focus on a voice, for example.
Hue
Hue, Saturation and Lightness (HSL)
Hum
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l
Lenses
Lens types by focal length:
Ultra Wide Angle (focal length 8mm - 24mm): Used for wide panoramas, architecture, city and artistic people photography. Can be used for vlogging, if you want to show lots of the environment (specially on a camera with crop-sensor).
Wide Angle (focal length 24mm - 35mm): Used for interior, architecture, landscapes. Can be used for vlogging on a full-frame sensor.
Standard (focal length 35mm - 85mm): Basically everyday use.
Short Telephoto (focal length 85mm - 135mm): Portraits, candid
Medium Telephoto (focal length 135mm - 300mm): Close sports, action
Super telephoto (focal length 300mm+): Far sports, wildlife, nature, astronomy
By Build Specification:
Prime Lens: Has a fixed focal length. That seams to make things easier, so prime lenses usually have a wider aperture and are good for low-light and narrow depth of field.
Zoom: Not a prime lens. More variety in usage in terms of focal length. Most common: 16-35, 24-70, 70-200.
Cine-Lenses: Offer a precise focus control (some non-cine-lenses move focus exponentially to the speed of movement of the focus ring, which doesn’t work with a follow focus). The zoom control is internal (so there are no external moving parts while zooming, the lens size stays the same) and Some have internal ND Filters. They are also way more expensive.
Lens Speed
When people are talking about Lens Speed, they actually mean “widest possible aperture”, or “how much light can it let through”. Prime Lenses are “faster” than most Zoom Lenses that have the same focal length, so the necessary exposure time with a prime lens is shorter than when using the zoom lens with a higher aperture to get the same amount of light onto the film/sensor.
Letterbox
Black bars on top and on the bottom of your video, to create a more cinematic feeling by changing the aspect ratio of the video.
Licenses
Working with Audio- and Video-Clips, you should be aware that some of them are licensed and must not be used. If you can not find a license, it is even worth, so keep your fingers off those clips.
If you are looking for footage or sound to use for free, I highly recommend you check out the creative commons licenses here and search accordingly.
Light
There is a lot to say about light, but in the context of photography and videography, the most important thing to know is the “inverse square law formular”.
The intensity of light (e.g. emitted by your light source, such as LED panel, flash, lightbulb) is proportional to ( 1 / distance x distance ).
That basically means, that if your light source is set to a distance of 1 meter, and you change the distance to 2 meters, you have to raise the light intensity not by 2 times, but by 4 times (1/2x2 = 1/4 instead of 1/1x1 = 1)
Find additional information and examples here or here.
Lighting
That’s quite the section…
Line Amplifier
Low Pass Filter
Audio
A Low Pass Filter filters out (deletes) low frequencies in the matter that you define. It can be very useful to get rid of surrounding noise (like a hum, microphone noise,...) and focus on a voice, for example.
Video
Lumen
Luminance
Lux
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m
Mbps
See Bitrate: The bitrate (speed, in which bits can be stored on a device or transported) is usually described in Kbps (Kilobit per second) or Mbps (Megabit per second = 1000 Bit per second). Note that bit and byte sound similar, but 1 byte equals 8 bit.
Megabyte
Megahertz
Megapixel
1000 Pixel.
Microphone (Mic)
Build
Direction
Mount
Mobile / Apps
iMovie
Adobe Premiere Rush
Modulation
Basically “make something sound higher-pitched or lower-pitched”.
If you speed up sound, it sounds higher-pitched. You can modulate it to keep the same tone-height.
Monitor
Some display to show stuff on.
Monochrome
Literally “one color”. Black-and-white works as well as any color with no color combined.
Motion
Camera-Motions:
Pan (horizontal movement)
Tilt (vertical movement)
Roll (rolling movement around the x-axis)
Camera-Operator Motions:
Parallax (move around subject)
Push-In (move towards scene)
Push-Out (move away from scene)
Drone-Motions:
Hover
Climb
Decend
Satellite (basically a Climb and Parallax and Push-Out and Tilt Down to keep subject in-frame)
Music
Sources for Music (in alphabetical order):
Artlist.io
Epidemicsound.com
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n
National Television Systems Committee (NTSC)
Neutral Density Filter (ND Filter)
Neutral Density Filters reduce the intensity of light.
For filming, Variable ND Filters are useful to leave on a lens and modify intensity, so you can keep your other settings (aperture, exposure, ISO) at the same level as before even though the light conditions changed.
Noise
Video
In video, noise refers to grain (looking like ants) in the picture. With bad lighting conditions and high ISO, there is more noise and the image seems less sharp.
Audio
In Audio, noise refers to soughing that arises, when gain is set too high.
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p
Phase Alternate Line (PAL)
Pan (Camera Motion)
A Pan is a horizontal camera motion (left to right / right to left).
Parallax (Camera Operator Motion)
Circle around your object: show more of the environment and thereby create more depth perception.
Pixel
Polarizing Filter
Post-Production
see
see Audio (Steps of Editing)
Pre-Production
Primary Colors
Production
Project
When I’m talking of a project in videography, it can mean 2 things:
The whole project, from planning through shooting until delivery of the finished video.
The software-project, as it is called in Adobe Premiere (and others?). A project contains one or more sequences.
Publishing Platforms
in alphabetical order:
Dailymotion
Metacafe
Twitch
Vimeo
YouTube
Push in / push out (Camera Operator Motion)
Move towards/away from your object to show spacial distances and create a perception of depth
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r
Raw
Raw-files contain the uncompressed information, as it is created by the sensor (light or audio).
Resolution
The resolution expresses the amount of pixels in a picture or video. Usually, it is stated in a resolution or in Megapixels
Examples:
Full HD / HDTV: 1920 x 1080 ( = 2.073.600 Pixels = 2.1 Megapixels )
4K UHD: 3840 x 2160 ( = 8.294.400 Pixels = 8.3 Megapixels )
Camera shooting 6000 x 4000 Pixels = 24 Megapixels
Radio Frequency (RF)
Rec.709
Rec.709 is a standard that definines resolution, pixel-shape (quadratic) and color-space. If you have raw or just flat footage, it may help to find a LUT to transform the color-space to that of Rec.709, so you can then add Color-Grading to multiple clips at once, as they all follow the same standard. For more interesting, but not necessarily helpful information, check out this wikipedia page.
See: sRGB, Color-Grading, Look-Up-Table (LUT)
RGB
RGB refers to a additive color space, where red, green and blue (therefore rgb) are used as primary colors.
Roll (Camera Motion)
A Roll is a circular camera motion (usually without any other camera movement while your object is in frame center, as this is quite confusing). In some Gimbal Systems, this is called “Vortex Mode” (e.g. Zhiyun Smooth Q2)
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s
Saturation
Sensor
For sizes, see https://de.wikipedia.org/wiki/Datei:Sensorformate.svg
Sequence
In Adobe Premiere, a Sequence contains one or more clips (video and/or audio) or other sequences. Sequences can be used to structure different parts of a movie-project, for example Sequence 1: Introduction to Movie-Making - Sequence 2: Deep Dive into Project-Structure - Sequence 3: Overview of all learned points - Sequence 4: Call-To-Action.
Shutter / Shutter speed
Shutter: Basically a door that opens and closes in front of the sensor/film.
Shutter Speed defines the amount of time in which light falls onto the medium (film, sensor) to create an image. Short Shutter Speed ( 1/1000th ) “freezes” the picture. Long/slow Shutter Speed (e.g. 10 seconds) are used for long exposures, night sky, and to blur movement.
In digital videography, the shutterspeed should be about half the framerate.
Example: You are shooting at 24 frames per second (24 fps) and use a shutter speed 1/50. Fast moving objects get a motion blur, so the clip looks fluid.
Bad example: You choose 24fps and a shutter speed of 1/2000. Even fast moving objects are frozen, so the difference between a frame and the next feel jittery.
Software
See
Cutting
Visual Effects (VFX)
Sound Effects (SFX)
Publishing Platforms
Mobile
Sound Effects (SFX)
Software (in alphabetical order):
Adobe Audition
Audacity
Antares Autotune
Sponsorship / Sponsoring
sRGB
sRGB is a colorspace, defined specifically for output (monitors, displays,…).
Stabilization
Lens / Optical Stabilization
Lenses can contain moving parts, that catch small movements. Awesome for videography, specially if you don’t have in-body-stabilization.
Camera (Sensor) (IBIS - In-Body-Image-Stabilization)
Small movements of the sensor catch small movements. If your camera has this AND your lens, rather disable IBIS.
Camera (Digital / Crop)
Some ActionCams process what they capture and stabilize it before saving it. Doing that, they crop the original footage.
Post-Processing
In Adobe Premiere, this is called “Warp Stabilizer”. It works better if you already had stable footage, and can look very weird if you messed it up before.
Stock
Platforms for Stock Photos (in alphabetical order):
Platforms for Stock Videos (in alphabetical order):
Storyboard
Storytelling
Subject
Synchronize
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t
Thumbnail
“Thumbnail” refers to the picture that is shown as a preview of your video, for example on Youtube. When you uploaded a video there, you can choose one generated from the video or upload a Thumbnail from your computer.
Tilt (Camera Motion)
A Tilt is a vertical camera motion (from up to down, from down up)
Timeline
The timeline is a visualisation of clips and sequences over time.
Time Lapse
Transcode
Transitions
In-Camera
High Five / Slam: cover the whole lens with your hand or any other object. Do that in another setting. Cut at the point where the frame is dark and put them together.
Whip: Do a fast sideways or up/down movement. Start the next clip moving the camera from the other direction to you.
Noise Cut: Do a similar sound at the end of clip 1 and in the beginning of clip 2 (snap, clap, whistle, stomp, smack). In Post-Processing, match the sounds to find the perfect moment to fit the two clips together.
Pan: Pan to the sky or the ground, depending on what will be similar in the next shot.
Slap: Literally slap the lens so the camera performs a pan motion. At the beginning of the next clip, use the same hand to pan in the same direction until you are in frame (or make it spin and stop it with the other hand).
Push In / Push Out: At the end of clip 1, Push In (move towards) on your subject until the frame is covered. Start clip 2 from very close and Push Out (move away) from your subject. Works especially good if the subjects are similar or if its the same subject.
Frame Hold: Walk out of the frame (or let your subject walk out) of clip 1 and let the camera capture 2-3 seconds afterwards. Start clip 2 without a person and let them walk into the frame.
Post-Processing
Wipe: find an object (tree) to move by while shooting. Mask everything coming after the tree to let the following clip appear. To get a smoother feeling, try to keep the same motion (e.g. parallax left) in both clips
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v
Video Quality
Viewfinder
VF, EVF for electronic viewfinder
Visual Effects (VFX)
Software (in alphabetical order)
Adobe After Effects (AE)
Blender (www.blender.org)
Natron (https://natrongithub.github.io/ )
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