68 lines
2.0 KiB
Markdown
68 lines
2.0 KiB
Markdown
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### J & L Cuts – The Invisible Glue
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| Name | What viewer hears first | Emotional effect |
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| --------- | ---------------------------- | ------------------------ |
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| **J‑Cut** | Audio from **next** scene | Curiosity / anticipation |
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| **L‑Cut** | Audio from **current** scene | Continuity / warmth |
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Note:
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Use this title slide to remind participants that picture need not dictate structure—audio is often the real storyteller.
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--
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#### 1. Anatomy of a J‑Cut
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```
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Picture AAAAA|BBBBB
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Audio BBBBB
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Timeline «——— J ——»
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```
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* The viewer *hears* Scene B before *seeing* it.
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* Creates a soft entry; ideal when dialog leads audiences into a new space.
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Note:
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Walk the room through the ASCII timeline: top row picture, bottom row audio. Point out the “hook” that pulls us forward.
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--
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#### 2. Anatomy of an L‑Cut
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```
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Picture AAAAA|BBBBB
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Audio AAAAA
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Timeline «——— L ——»
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```
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* Scene A’s sound lingers under Scene B visuals.
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* Masks jump‑cuts, preserves emotional resonance.
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Note:
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Contrast with a hard cut: play a harsh dialog‑to‑B‑roll cut, then the same with an L‑cut to prove smoothness.
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--
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#### 3. When to Use J/L Cuts
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* **Interviews** – hide camera angle switches, smooth answers over B‑roll.
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* **Narrative** – carry a scream or laugh across a reaction shot.
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* **Documentary** – lead viewers with ambient sound into the next location.
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* **Music videos** – sync lyrical phrases over new imagery.
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Note:
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Encourage students to listen for J/L cuts in nightly news pieces—they’re everywhere once you notice.
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--
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#### 4. Common Pitfalls
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| Issue | Fix |
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| ----------------------- | ---------------------------------- |
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| Echo / double room‑tone | Cross‑fade or room‑tone bed |
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| Spoken word clash | Roll‑back offset; respect pauses |
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| Music key change clash | Insert a whoosh SFX or buffer clip |
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Note:
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Mention Audacity workflow: you can extend a room‑tone bed to cover the overlap cleanly.
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