laying the index finger and moving it along the movie track reveals the current frame in a detailed mode (in a virtual video monitor).
Much like pointing a finger to more clearly show an object or part of it. Also reminiscent of the reading process in which our eyes follow our index finger pointing at the words that are read.
the gesture can be extensible through contextual mappings - related to the area where it is performed:
- preview clip by sliding the finger on top of that clip
- two clips can be previewed at once by using two fingers from the same hand sliding on top of those clips
- preview all the tracks by performing the gesture on an empty track or on the timeline’s time bar.
while the editing system is based on the timeline principle/metaphor many times the gaze of the editor is not on the timeline itself but on the monitor where the frames can be previewed in full scale or in more detailed resolution. For this to happen and not breaking the flow of editing, these systems and their users many times help themselves with dedicated controllers (jog wheel) and keyboard shortcuts - including motor/muscular memories.
therefore in this system - while browsing in order to avoid this disconnection between the timeline and monitoring views - the latter are displayed placed above the browsing point. This reference is spatially connected to the point in time and sequence of images allowing for a continuous focus on the center of attention of the action.
Simultaneously two smaller auxiliary monitors are shown before and after the main monitor in order to provide a clear view of the next and previous frames in the movie.
This entry was written by rux, posted on March 22, 2009 at 4:11 pm, filed under editing system. Leave a comment or view the discussion at the permalink and follow any comments with the RSS feed for this post.
After analyzing some videos and people performing this action,
this gesture [CUT] was perceived as a combined action of both hands:
one hand (the weaker) holds the object/piece to be cut while the stronger hand (right hand for dexterous users) uses the tool to cut in a decided movement. This combined gesture is a way of having more precision and avoiding accidental movements caused by the friction of the blade in the material. It seems plausible to continue the use of this gesture in an editing environment as it metaphorically fits with conceptual model - and the reminiscence of older analog days cutting with a blade directly on the film.
even though a cutting gesture with only one hand/finger (swiping the finger across the movie timeline representation) is representative and clear enough I feel that it could also easily allow accidental capture of unwanted gestures. Thus the use of both hands can translate to a more decisive and voluntary action.
The gesture is them divided in the main actions of selection (grabbing/holding the object) and cutting while still keeping a free motion flow.
This entry was written by rux, posted on March 2, 2009 at 11:11 pm, filed under editing system. Leave a comment or view the discussion at the permalink and follow any comments with the RSS feed for this post.
according to Jose’ Saramago’s novel ‘The Cave’ there is a tiny brain in each of our finger tips:
“…the potter made, unmade and remade dolls in the form of nurses and mandarins, jesters and Assyrians, Eskimos and clowns, almost unrecognizable at the first attempt, but gradually gaining form and meaning as his fingers began to interpret for themselves and in accordance with their own laws the instructions transmitted to them by the brain. Indeed, very few people are aware that in each of our fingers, located somewhere between the first phalange, the mesophalange, and the metaphalange, there is a tiny brain. The fact is that the other organ which we call the brain, the one with which we came into the world, the one which we transport around in our head and which transports us so that we can transport it, has only ever had a very general, vague, diffuse and, above all, unimaginative ideas about what the hands and fingers should do. For example, if the brain-in-our-head suddenly gets and idea for a painting, a sculpture, a piece of music or literature, or a clay figurine, it simply sends a signal to that effect and then waits o see what will happen. Having sent an order to the hands and fingers, it believes, or pretends to believe, that the task will then be completed, once the extremities of the arms have done their work. The brain has never been curious enough to ask itself why the end result of this manipulative process, which is complex even in its simplest forms, bears so little resemblance to what the brain had imagined before it issued its instruction to the hands. It should be noted that the fingers are not born with brains, these develop gradually with the passage of time and with the help of what the eyes see. The help of the eyes is important, as important as what is seen through them. That is why the fingers have always excelled at uncovering what is concealed. Anything in the brain-in-our-head that appears to have an instinctive, magical, or supernatural quality - whatever that may mean- is taught to it by the small brains in our fingers.”
in Jose’ Saramago, ‘The Cave’
while reading this novel these paragraphs had to resonate with my interaction designer brain and ‘natural’ interaction perspective, constantly int he back of my mind and on the tip of my fingers: reminding me where the focus of this research is: to use instinctive, intuitive and, thus, natural gestures.
This entry was written by rux, posted on February 22, 2009 at 1:19 pm, filed under Uncategorized. Leave a comment or view the discussion at the permalink and follow any comments with the RSS feed for this post.
