One hint, if you do play him: watch out for his deadly down-and-across shot.
These included shot duration; shot transition types (cuts, dissolves, fades, and the like); shot scale; motion; music; luminance; character introduction; conversations; action shots; and across-shot changes in location, characters, and time.
That is, luminance is less likely to change across shots within a scene than across shots at a scene boundary.
Based on co-occurring tags and temporal smoothing, it refines the annotations enabling consistency across shots.
Image changes (transients cause by cuts), motion changes (with and across shots), and sound changes attract attention.
When we respond to the motion across shots (and we instinctively do), we are also tracking a larger fractal-like structure.
Study 5 investigated three additional fluctuations in movies that, like shot duration, show a confluence over time towards a fractal dimension – the duration patterns of scenes, the motion patterns across shots, and the sound amplitude patterns.
The likely reason for this is that luminance changes across shots within a scene are a bit like Brownian motion, as seen in the right panel of Fig. 1.
LONG SHOT — ACROSS THE RIVER Southern Voice Me, Yank, — jest me.
LONG SHOT — ACROSS THE RIVER Southern Voice Me, Yank, — jest me. . .
The object here is to erase people walking across your shot or in the background.
