Matching on action: Effects of action speed and viewpoint on perceived continuity across match-action film edits

Publikation: Bidrag til tidsskriftTidsskriftartikelfagfællebedømt

Standard

Matching on action : Effects of action speed and viewpoint on perceived continuity across match-action film edits . / Langkjær, Birger; Gregersen, Andreas Lindegaard; Rédei, Anna Cabak; van de Weijer, Joost; Innes-Ker, Åse.

I: Psychology of Aesthetics, Creativity, and the Arts, 2023.

Publikation: Bidrag til tidsskriftTidsskriftartikelfagfællebedømt

Harvard

Langkjær, B, Gregersen, AL, Rédei, AC, van de Weijer, J & Innes-Ker, Å 2023, 'Matching on action: Effects of action speed and viewpoint on perceived continuity across match-action film edits ', Psychology of Aesthetics, Creativity, and the Arts. https://doi.org/10.1037/aca0000446

APA

Langkjær, B., Gregersen, A. L., Rédei, A. C., van de Weijer, J., & Innes-Ker, Å. (2023). Matching on action: Effects of action speed and viewpoint on perceived continuity across match-action film edits . Psychology of Aesthetics, Creativity, and the Arts. https://doi.org/10.1037/aca0000446

Vancouver

Langkjær B, Gregersen AL, Rédei AC, van de Weijer J, Innes-Ker Å. Matching on action: Effects of action speed and viewpoint on perceived continuity across match-action film edits . Psychology of Aesthetics, Creativity, and the Arts. 2023. https://doi.org/10.1037/aca0000446

Author

Langkjær, Birger ; Gregersen, Andreas Lindegaard ; Rédei, Anna Cabak ; van de Weijer, Joost ; Innes-Ker, Åse. / Matching on action : Effects of action speed and viewpoint on perceived continuity across match-action film edits . I: Psychology of Aesthetics, Creativity, and the Arts. 2023.

Bibtex

@article{b6606209ebd8407db1f15c108255b45b,
title = "Matching on action: Effects of action speed and viewpoint on perceived continuity across match-action film edits ",
abstract = "A match-action cut in feature films connects two shots of a single continuous movement. This type of editing often goes unnoticed and is arguably the most effective form of continuity editing. However, the literature offers little agreement on editing best practice and, by implication, on how our perceptual system deals with disjointed moving images. Studies have suggested that frames should overlap across the cut for the viewer to experience continuity, but also that leaving out frames is preferable, and even that viewers are unable to discriminate such detail. We conducted an experiment to investigate viewer preferences for match-action cuts, using type of cut as well as velocity of movement as predictors and number of overlapping/elliptical frames as the outcome variable. Thirty-nine participants determined the smoothest cut in eight film-clips in a within-subjects design. Surprisingly, we found that average viewer preferences were less than a single frame from a straight cut for all cut-types. We also found that velocity had a small but statistically significant effect on editing preferences. The preference for straight cuts found in the present study runs counter to the idea that perceived continuity across match-action cuts requires objective dis-continuity and suggests that the straight cut provides a simple rule of thumb for film editors. In addition, we interpret the conflicting results from previous studies together with our own findings based on a discrimination task of finding the optimal cut as indicating that human visual perception allows for a window of acceptable continuity cuts centered around the straight cut. ",
keywords = "Faculty of Humanities, match on action, film editing, perception, cognitive psychology",
author = "Birger Langkj{\ae}r and Gregersen, {Andreas Lindegaard} and R{\'e}dei, {Anna Cabak} and {van de Weijer}, Joost and {\AA}se Innes-Ker",
year = "2023",
doi = "10.1037/aca0000446",
language = "English",
journal = "Psychology of Aesthetics, Creativity, and the Arts",
issn = "1931-3896",
publisher = "American Psychological Association",

}

RIS

TY - JOUR

T1 - Matching on action

T2 - Effects of action speed and viewpoint on perceived continuity across match-action film edits

AU - Langkjær, Birger

AU - Gregersen, Andreas Lindegaard

AU - Rédei, Anna Cabak

AU - van de Weijer, Joost

AU - Innes-Ker, Åse

PY - 2023

Y1 - 2023

N2 - A match-action cut in feature films connects two shots of a single continuous movement. This type of editing often goes unnoticed and is arguably the most effective form of continuity editing. However, the literature offers little agreement on editing best practice and, by implication, on how our perceptual system deals with disjointed moving images. Studies have suggested that frames should overlap across the cut for the viewer to experience continuity, but also that leaving out frames is preferable, and even that viewers are unable to discriminate such detail. We conducted an experiment to investigate viewer preferences for match-action cuts, using type of cut as well as velocity of movement as predictors and number of overlapping/elliptical frames as the outcome variable. Thirty-nine participants determined the smoothest cut in eight film-clips in a within-subjects design. Surprisingly, we found that average viewer preferences were less than a single frame from a straight cut for all cut-types. We also found that velocity had a small but statistically significant effect on editing preferences. The preference for straight cuts found in the present study runs counter to the idea that perceived continuity across match-action cuts requires objective dis-continuity and suggests that the straight cut provides a simple rule of thumb for film editors. In addition, we interpret the conflicting results from previous studies together with our own findings based on a discrimination task of finding the optimal cut as indicating that human visual perception allows for a window of acceptable continuity cuts centered around the straight cut.

AB - A match-action cut in feature films connects two shots of a single continuous movement. This type of editing often goes unnoticed and is arguably the most effective form of continuity editing. However, the literature offers little agreement on editing best practice and, by implication, on how our perceptual system deals with disjointed moving images. Studies have suggested that frames should overlap across the cut for the viewer to experience continuity, but also that leaving out frames is preferable, and even that viewers are unable to discriminate such detail. We conducted an experiment to investigate viewer preferences for match-action cuts, using type of cut as well as velocity of movement as predictors and number of overlapping/elliptical frames as the outcome variable. Thirty-nine participants determined the smoothest cut in eight film-clips in a within-subjects design. Surprisingly, we found that average viewer preferences were less than a single frame from a straight cut for all cut-types. We also found that velocity had a small but statistically significant effect on editing preferences. The preference for straight cuts found in the present study runs counter to the idea that perceived continuity across match-action cuts requires objective dis-continuity and suggests that the straight cut provides a simple rule of thumb for film editors. In addition, we interpret the conflicting results from previous studies together with our own findings based on a discrimination task of finding the optimal cut as indicating that human visual perception allows for a window of acceptable continuity cuts centered around the straight cut.

KW - Faculty of Humanities

KW - match on action, film editing, perception, cognitive psychology

U2 - 10.1037/aca0000446

DO - 10.1037/aca0000446

M3 - Journal article

JO - Psychology of Aesthetics, Creativity, and the Arts

JF - Psychology of Aesthetics, Creativity, and the Arts

SN - 1931-3896

ER -

ID: 290453137