Issue link: https://digital.copcomm.com/i/1500026
45 S U M M E R Q 2 I S S U E T E C H together using FluidMorph, the cut will be invisible, as though a cut was never made." Using FluidMorph in a close-up, static shot with very little movement by the actor is something the editors can do themselves and can be replicated easily in the online edit. The key to making it look seamless is to find an out-point for the first clip that closely resembles the in-point of the second clip. The position of the actor's face should be nearly the same in both clips at the edit point. Also, consider the direction of motion in the first clip. If the actor is moving their head from left to right in the first clip, that motion should coincide with the second clip, so there isn't an abrupt change in the direction of motion. Also, the background should change as little as possible, or bet- ter yet, not at all. "The goal is to create a seamless shot that has the pace that you're looking for so that you don't have to make arbitrary edit decisions," said Good. Avid's FluidMorph (located in the Effect Palette's Illusion Effects menu) might not work with more than one actor on screen. As Mendez attested, "Trying to line up two people at the same time would just be cha- os." In addition to "The Last of Us," Mendez was also an editor on Fox's "The Resident" and Hulu's "Light as a Feather." There are a few tweakable parameters in FluidMorph to help make the transition more seamless. In the Effect Editor window, make sure the effect is set to Stream (as Pedro Pascal in "The Last of Us." 'You can almost microscopically create a smile or a frown.' P H O T O S : H B O