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Consider again six dimensions – shot duration, scene duration, motion, luminance, clutter, and shot scale.
The average bit rate of every scene was calculated as the number of bits transmitted during the scene divided by the scene duration.
We now know that there are fluctuations in the shot duration, scene duration, motion, and sound patterns in movies that have become more fractal-like over time.
The average shot and scene duration for the movies were 3.5 s and 2.3 min, while for the travel documentaries, the respective duration was 3 s and ca. 40 s, respectively.
Moreover, and somewhat surprisingly, the Whittle estimates for the shot-duration fluctuations and the scene duration fluctuations across movies are negatively correlated, although not strongly so (r = − 0.24, p = 0.26).
The results of scene duration fluctuations, motion fluctuations in shots, and sound amplitude fluctuations (Study 5) also show changes in long-range dependence over time, all converging on fractal values, two from nearer white noise and one from nearer brown noise.
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The scene durations were normalized as in the previous studies and the scene-duration vector was analyzed using the exact local Whittle estimator, as in Studies 2 4.
Thus, the shot-duration fluctuations are not merely a subset of those for scene durations, nor are the scene-duration fluctuations a superset of those for shots.
The dimensions of movies that converge on fractals – shot durations, scene durations, motion, and sound amplitude – can be argued to be important to the viewer's attention.
This notion is also consistent with McAnally et al.'s (2010) finding of reduced errors as scene durations increased from 1 to 3 to 5 s.
Thus, it could serve the effect of fractals in scene durations, but since shot scale has little to do with duration (but see Cutting & Armstrong, 2016) it need not be manipulated by filmmaker's other than to structure scenes.
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Justyna Jupowicz-Kozak
CEO of Professional Science Editing for Scientists @ prosciediting.com