Ultimate Guide to the Split Screen in film — a history of the technique, the best split screens in film, and the various ways they can be used to help tell a visual story.

The Ultimate Guide to Split Screens ►► [ Ссылка ]
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Chapters:
00:00 - Introduction to Split Screen Shots in Film
00:50 - Definition and Types
02:32 - Chapter 1: Multiple Perspectives
06:11 - Chapter 2: Character Relationships
08:53 - Chapter 3: Creative Examples
13:19 - Takeaways

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ULTIMATE GUIDE TO THE SPLIT SCREEN

The split screen in film may seem like a modern invention. But, in fact, it goes back to the earliest days of cinema. For over a century, filmmakers have used the split screen effect for many purposes — some purely for stylish imagery, some for visual storytelling that would otherwise be impossible. In this video on the split screen, we’ll cover that history, some of the most creative examples, and how you can employ the same techniques in your next project.

WHAT IS A SPLIT SCREEN

In general, a split screen is any combination of shots presented simultaneously. We divide these into two categories: visible and invisible split screens. The visible split screen is what most people are familiar with, which involves a clear separation between the images with no intention of presenting them as a “single shot.” Invisible split screens, however, are meant to go unseen. This is done when an actor plays multiple roles in the same shot, or when filmmakers like David Fincher and Wes Anderson combine different takes of each character in a single shot.

HOW TO USE SPLIT SCREEN

We’ve identified a few uses for the split screen in film: to convey multiple perspectives, to create relationships between characters, to give montages visual flair, or to literally extend the frame like with systems like Cinerama. We can also see that a split diopter lens can be used to create a similar “split screen effect,” where the frame is divided not by a line but by two distinct focal planes.

In all of these use cases, the split screen expands the visual information and storytelling opportunities beyond what a single image can do.


#FilmTheory #VideoEssay #Filmmaking

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♬ SONGS USED:

"Never Hear Surf Music Again" - Free Blood
"Double Espresso" - Francesco D'Andrea
"Yes I Am (Instrumental)" - Zach Sorgen
"In Motion" - Trent Reznor, Atticus Ross
"Obituary" - Alexandre Desplat
"A Battle in the East" - Rhythm Scott
"All I Need" - Radiohead
"Playground Love (Vibraphone Version)" - Air
"Bucket of Blood" - Pino Donaggio
"Hero" - Regina Spektor
"Animātiō " - Mike Steele
"Dojo Tradition (Instrumental)" - In This World
"Ghosts of Things to Come" - Clint Mansell, Kronos Quartet
"1986" - Angel Salazar
"A New Morning" - Portl
"Main Title (From How the West Was Won (1962))" - Alfred Newman
"Comfort of Strangers (Instrumental)" - Mike Figgis
"Olga's Destruction (Volk tape)" - Thom Yorke
"Blurry (Instrumental)" - Curtis Cole
"Sugar Water" - Cibo Matto

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