The graphs don't show when editing became easier - or do they? Because that's what strikes me most! I had expected a huge leap caused by the switch from analog splicing to digital editing.
Also: Did the shift in genres cause an increase as well? (higher percentage of action movies by years)
Love this breakdown. It'll help when I bid for color work, since every shot needs a touch of the colorist's hand = time, regardless of the amount of work each scene requires.
Not to give you more work, but, I'd love to know if my assumptions about documentary shot counts is near the mark. When I grade docs the shots are often longer and linger, so, I estimate an average of 1,100 shots in a "typical" documentary feature. (I realize that there is no "typical" doc, cinema verité cuts different than talking heads, but the budget pitch has to start somewhere, then adjust.)
There's a sweet spot when it comes to concentration/attention. Too many cuts can kill attention just as quickly as too few, because you never get the chance to focus on anything.
I'd love it if more filmmakers attempted the "Spielberg Oner," a one-shot that doesn't call attention to itself and relies on blocking.
Sounds like a lot of work - thank you!
The graphs don't show when editing became easier - or do they? Because that's what strikes me most! I had expected a huge leap caused by the switch from analog splicing to digital editing.
Also: Did the shift in genres cause an increase as well? (higher percentage of action movies by years)
Love this breakdown. It'll help when I bid for color work, since every shot needs a touch of the colorist's hand = time, regardless of the amount of work each scene requires.
Not to give you more work, but, I'd love to know if my assumptions about documentary shot counts is near the mark. When I grade docs the shots are often longer and linger, so, I estimate an average of 1,100 shots in a "typical" documentary feature. (I realize that there is no "typical" doc, cinema verité cuts different than talking heads, but the budget pitch has to start somewhere, then adjust.)
Thanks for all the interesting analysis you do.
There's a sweet spot when it comes to concentration/attention. Too many cuts can kill attention just as quickly as too few, because you never get the chance to focus on anything.
I'd love it if more filmmakers attempted the "Spielberg Oner," a one-shot that doesn't call attention to itself and relies on blocking.