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Iris and Kazuma body swap - KonoSuba
⏲ 3:19 👁 215K
Le sport comme instrument de puissance- Entretien avec Samuel Ducroquet
⏲ 5 minutes 16 seconds 👁 106
Relation franco-chinoise : le temps des désillusions ?
⏲ 1 hour 23 minutes 6 seconds 👁 797
Goo Goo Dolls - Iris Acoustic Version | Louder
⏲ 3:41 👁 120K
Le sport soviétique dans la première moitié du XXe siècle : une réponse au sport capitaliste ?
⏲ 6 minutes 41 seconds 👁 66
Vers un monde du sport multipolaire ? Entretien avec Jean-Philippe Leclaire
⏲ 5 minutes 6 seconds 👁 92
Dan Erlewine On His Iris Guitar DE-11 Signature Model
⏲ 3:46 👁 30K
Afrique : le sentiment antifrançais existe-t-il ?
⏲ 1 hour 28 minutes 57 seconds 👁 287
Le sport : un enjeu de société ? Entretien avec Marie Barsacq
⏲ 4 minutes 14 seconds 👁 76
Ultimate Guide to Scene Transitions – Every Editing Transition Explained [The Shot List, Ep 9] (1080p_24fps_H264-128kbit_AAC)
⏲ 19:28 👁 10K
Le sport peut-il faire rayonner la France ?| Paris 2024 : enjeux sociétaux et géopolitiques
⏲ 1 hour 37 minutes 40 seconds 👁 60
Le sport comme instrument de puissance | Paris 2024 : enjeux sociétaux et géopolitiques
⏲ 1 hour 28 minutes 12 seconds 👁 87
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_iris-and-kazuma-body-swap-konosuba.webp "This is from season 3 episode 5")
_le-sport-comme-instrument-de-puissance-entretien-avec-samuel-ducroquet.webp "IRIS")
_relation-franco-chinoise-le-temps-des-dsillusions.webp "IRIS")
_goo-goo-dolls-iris-acoustic-version-124-louder.webp "Goo Goo Dolls' Johnny Rzeznik plays the band's hit song Iris unplugged for Classic Rock magazine")
_le-sport-sovitique-dans-la-premire-moiti-du-xxe-sicle-une-rponse-au-sport-capitaliste.webp "IRIS")
_vers-un-monde-du-sport-multipolaire-entretien-avec-jean-philippe-leclaire.webp "IRIS")
_dan-erlewine-on-his-iris-guitar-de-11-signature-model.webp "Luthier Legend Dan Erlewine provides background and playing demonstration of his DE-11 Signature Model acoustic guitar.")
_afrique-le-sentiment-antifranais-existe-t-il.webp "IRIS")
_le-sport-un-enjeu-de-socit-entretien-avec-marie-barsacq.webp "IRIS")
_ultimate-guide-to-scene-transitions-every-editing-transition-explained-the-shot-list-ep-9-1080p-24fps-h264-128kbit-aac.webp "In film editing, transitions between scenes are sometimes overlooked opportunities to help tell your story. While most scene transitions use only a simple cut, there are many more creative and cinematic transitions filmmakers can use. In this video, we’ll review the various video transitions and film transitions, their particular qualities, and what they add to visual storytelling. <br/><br/>One of the most common film transitions is the fade in and fade out. Typically, these are used to open and close a film but they can also be used in between scenes to create a more definitive separation. Besides the cut, one of the most frequently used transitions is the dissolve (or cross dissolve). This is when one scene gradually fades out while the next scene gradually fades in. The dissolve is just one of the techniques used to create seamless transitions but also to suggest a passing of time or to switch to a flashback or dream.<br/><br/>The match cut is a film transition purely meant to create a connection between one shot to the next or one scene to the next. That connection can be made with shapes, colors, movement, or even sound. The match cut is an instant scene transition but a match dissolve accomplishes both the “connection” of a match cut with the “smoothness” of a cross dissolve. The iris transition is an old-fashioned technique that is rarely used unless you’re going for a nostalgic or retro style.<br/><br/>Similarly, the wipe transition is a bit archaic in terms of film and video transitions. George Lucas built the wipe transition into the visual language of Star Wars as a nod to his two biggest inspirations for the Skywalker Saga — the Flash Gordon serials and Kurosawa’s Hidden Fortress. A modern approach to these same cinematic transitions is called a passing transition (or pass-by effect). This involves using movement in the frame to wipe seamlessly into the next scene and it’s one of director Edgar Wright’s favorite film editing transitions.<br/><br/>Next, there’s the whip pan, when the camera pans quickly to create a blurry image (where a cut can be hidden) leading into another whip pan to start the next scene. These types of film transitions not only create smooth transitions, they help sustain the momentum from one scene to the next. A smash cut is perhaps the most abrupt film transition because it is built on contrast between loud and quiet, or active and still, or sometimes both. <br/><br/>Finally, there’s the J cut and L cut, two ways to use a split between audio and video for a variety of effects. For example, an L cut is often used when a character begins narrating a flashback. And a J cut is commonly used to build anticipation for the following scene. These are just the most common video transitions and new transition effects are created all the time. Your job as filmmakers is to find the right scene transitions that help tell your story.")
_le-sport-peut-il-faire-rayonner-la-france-124-paris-2024-enjeux-socitaux-et-gopolitiques.webp "IRIS")
_le-sport-comme-instrument-de-puissance-124-paris-2024-enjeux-socitaux-et-gopolitiques.webp "IRIS")
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