Its just the accident of loading pre-animated 3-d models, of characters, onto a scene wherein, they appear on the 3-d stage without synchronized actions...its like "the madhouse" of yore.
So, the ordering of action along initiatives on one stream and a different set of initiatives and actions on another scene
One stream enough to initiate a significant stream, but then having one of the co-contiunous steams being meaningless, for instance, Conan is firing a laser cannon at a oncoming swarm of dragons, meanwhile, Saka is typing.
In a more extreme example, Conan is firing a laser cannon at the swarm, meanwhile, Saka is tasting a soup.
It creates opportunities for humor, or a humor juxtaposition. The point is to get to the most disconnected version, where the situation in the main stream does not reflect on the information in the minor, bifurcating (I like splitting off) stream.
Conan is walking down the hallway to conduct diplomatic exchanges of prisoners.
Robos is sleeping. (leave the stream there for awhile and watch...him....sleep....until the viewer has enough and switches back to the mainstream).
Or, imagine five streams all co-continuous, and of course, the viewer can only see one. Well, if its five cameras on the same scene (or even more conservative all five streams are exactly or nearly the same in composition on the same scene), that would not really be a cause for changing the channel.
Imposed over this is a program which will automatically, and most of the time having some accurate reason for, changing the stream for the viewer, much like an editor.
In the limit of this is all five streams not having anything really meaningful...a kind of collection of inbetween "Ozu" like shots of random objects, regardless of tone and certainly, each of these random objects not having to do with each other in some contextual...a kind of total chaos.
Well, thats the other extreme.
Another mediating function, much like slo mo/fast mo is doubling the shot. This is done frequently in action moments when the action is so cool you see it from multiple angles, each a different angle and backed up in time a bit.
Or, as if there was a glitch and the last ten frames repeated. Or repeated again, this time in slomo.
So, there are additive ways of structuring transitions, wherein, a sudden shift into slo-mo, a reversing and then restarting the action, slo mo from another angle...much like a Sam Peckinpah scene (except more cameras!), this actually inducing some people to switch to another channel.
Or, the channel is going to shift anyway...but to a properly fit in moment that the view might prefer to see,...so they stay on the channel and watch the pre-programmed edit.
These cutting pretenses can be combined too. So in the twelve listed (as icons), some can combine, but not all, for some are the other end of a range...like cutting between five cameras at the same scene, one stream is MORE close, another stream the Furthest away, and the other three camera angles all fitting more or less into the range, but with the last two cameras being nearly the same angle...one slightly head and shoulders, the last camera being slightly more head and slightly less shoulders and 1 arc to the xyz axis.
Or one camera being jittery and moving, and the other camera locked down and still.
I guess these can be edits within a set (1,2) while other edits would be outside the set, like graphic contrast combined with one slightly fast moving frame and the other the slower moving frame.
That example is very much the formula for chase, with a few added elements such as occasionally cutting into the scene for a Close up.
Its a set of edit techniques that can overlap, that do make transitions, and can be programmed around guessing and calculation as to when they would occur in a Edit Decision List.
To be technical, its five channels represent five EDL's, and these EDL's are also vertically integrated, with sometimes the vertical and horizontal (frames per second) being irrational.
But the main difficulty is then crossing over from significant to insignificant splits in the narrative (as determined by differences in initiatives, again, for instance).
The splits (heh) can be from insignificant differences yet that causes an more or less momentary greater difference.
Then there is the less momentary of the greater initiative difference (may be a chance in order or such a number that hit before now a number too low and does not hit) leading more or less immediately back to very little change in the narrative.
These four elements have a symphonic range, but what that means to jumping around the splitting and splitting again (or not), ergo, into three, or then five threads of narrative (five sounds pretty out of bound though...always somwhere in the range of three), and seeing more starts and stops akin to the initial upload of the pre animated characters above.
Well, one overall "large scale application of automatic editing" function can inhibit this error through increasing frames and creating slow or fast motion. Most appropriate and more frequently applied to action sequences, of course.
In fact radical slow motion, wherein, there is a timer, yet, meanwhile the scene moves 2 frames per second...can encourage the viewer to change a channel and go elsewhere looking for the narrative to pick up.
Doesn't matter if that is schemed or just accident.
So there should be an effect that interpolates small changes in times, as a group, and interpolates that as a single group of images, deployed over how many divisions of channels.
For instance, the Shadowcat leaps for the gun. Solinus draws back, but Shadowcat gets a hold of the gun. Then everyone turns to look, potentially.
Now, we suddenly go back, Shadowcat leaps, misses, and Solinus draws up...that leads to a better shot on Solinus and most everyone reacts to dodge.
The biggest difference between two similar shots (also in the shot sequence) is movement of Solinus is only 15 frames.
The reaction shot of Shadowcat then comes in earlier. Possibly for comic effect. So, this shot is slowed down.
Fits perfect, but in more cases it will be so slow....and this is not a function problem.
Floating reflection.
One artistic response to this fuzzying of time is called floating reflection: only comes around with reflective floors or perhaps roofs or hallways, windshields, pools...a material function.
So the object, in this case the floor, is actually slightly below the plane at which action takes place.
This is only noticeable in camera angles holding enough of this effect to bring it to attention.
Or, it is used on purpose deliberately. In either case, the image of reflection is like that of time having two or more parallel lines.
So, story wise, this could mean a baby is found, discarded, middle bronze age. Cast aside in the woods, near the Amazonian territory. It is found with the blood of an animal that had attacked it, all over its mouth and pieces of snake skin in its hand.
The camp has been there for a few generations, picking from the woods those discarded babies deemed inferior, yet rather than slaughetered outright as in the case of deformities, these male babies were given a chance. Many died anyway, and the procruring of the babies could be dangerous as frequently the Amazons watched on the baby's struggle for amusement. Not our idea of amusement...but the old one...like public hangings.
This camp tests the babies, sliding, swinging (so the baby has to hang on), other test of strength. Then, they are pitted against one another, in death fights. Sometimes it is two, and that is how Heracles started.
A mass murdering, absolutely huge male warrior of extraordinary strength, agility and toughness. But absolutely full of rage and tempest, brute cunning, but no shred of civilization: a cave man at the top of his game.
Partly the key to Heracles power is a shortening of frames of his self directed action. Normally, a lengthening of frames imparts size, but this effect must be executed in the animation of other than the directed action; To punch or swing is shortened by five frames while the shaking of the muscles and the movement of the cloth is in real time...in other words, the animation must suggest the size, but the actual frames per second of action, the movement of the Rig overall, is shortened.
So the other animation must make compensatory adjustments wherein, all in the frame is not moving in slow or faster motion.
This opens up the concept that, for example, in motion capture, there is no need to 'act in slow motion' in order to match with perhaps, weightlessness in space.
Action is easily tuned, but in tuning it is moves out of step in the time with everything else.
This effect can also bridge split narrative tracks. The frames per second decreasing, creates a effect of the character slowly emerging into another narrative track.
This is some effect of compositing, but its also in the subject of parallel reality, where one can be acting slightly differently in three different realities, and then somehow its sorted out suddenly...the suddenness the alignment of the varying times into the right speed at the next moment (perhaps the beginning of the initiate of the next round) being a subset of frame processing, wherein, the first and last frame of the sequence stay in their connections to the fore and after shot, but exchange frames with the middle...perhaps over three narrating sequences. Best used in action but could be used to drama effect.
Time noise, but it can work in the context of one track, and be the adjustment in the next track.
This becomes more apparently useful in the context of four or more time travelers/planar travelers using time travel in a scene. Perhaps only to go back and try again.
It comes across as a decomposition, so its use is also a consequence of the animation, reflected in the world as perhaps a static moment, where the players Character object is paused...staring out into the universe.
A fatal moment of reflection.
This fuzzy time is most useful in action sequences rigorously deriving from iniatives sequences (action sequences) or unrigorously from inbetween, where initiative is sorted in speech.
Its also more applicable to multiple cameras looking in at the same space...the same space different perspective.
It occurs at a split...but there might be other ways: both images remaining still, then the next edit point one image remains still again, while the other does not.
Or all three rotate.
In the case of a non eventual split that leads to major difference in time lines (sooner than later), this could be one pausing for awhile, then moving, the other pausing for an even shorter time. The effect, in its projection, can seems like an error, but as an expressive error.
Furthermore, it means the execution of the animation need not always be so exacting, which is allowable as an error in editing or even overall construction. It allows error. It enables slow-mo and less often fast mo, in arbitrary areas.
A great displacement emerging from a action sequence might mean the complete replacement of the team. Well, this is easier than three replacing...for the one narrative to continue is not always tied to what is happening in action sequences requiring animation, but during loosey goosey Game Show talk. Even then then phase in, the jittering, jump cut or fading in...a moment of action pre-scribed by the animators for the actor to perform, as a getting into character exercise.
Drawing this out further, as per Commedia, the eight types require an approach to the stage that is the walk that exemplifies them...so in game they must execute a walk...up to the stage, that is more less consistent. The actor may more immediately interpret the entrance motion down to the time of the phase in...wherein, the animators can provide a suggestion on what action to use to "fade in" which might not be a walk, given the circumstances of the death of the previous player.
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