The Editing Density of Moving Images Influences Viewers' Time Perception: The Mediating Role of Eye Movements

Time perception in film viewing: A modulation of scene's duration estimates as a function of film editing

Filmmakers and editors have empirically developed techniques to ensure the spatiotemporal continuity of a film's narration. In terms of time, editing techniques (e.g., elliptical, overlapping, or cut minimization) allow for the manipulation of the perceived duration of events as they unfold on screen. More specifically, a scene can be edited to be time compressed, expanded, or real-time in terms of its perceived duration. Despite the consistent application of these techniques in filmmaking, their perceptual outcomes have not been experimentally validated. Given that viewing a film is experienced as a precise simulation of the physical world, the use of cinematic material to examine aspects of time perception allows for experimentation with high ecological validity, while filmmakers gain more insight on how empirically developed techniques influence viewers' time percept. Here, we investigated how such time manipulation techniques of an action affect a scene's perceived duration. Specifically, we presented videos depicting different actions (e.g., a woman talking on the phone), edited according to the techniques applied for temporal manipulation and asked participants to make verbal estimations of the presented scenes' perceived durations. Analysis of data revealed that the duration of expanded scenes was significantly overestimated as compared to that of compressed and real-time scenes, as was the duration of real-time scenes as compared to that of compressed scenes. Therefore, our results validate the empirical techniques applied for the modulation of a scene's perceived duration. We also found interactions on time estimates of scene type and editing technique as a function of the characteristics and the action of the scene presented. Thus, these findings add to the discussion that the content and characteristics of a scene, along with the editing technique applied, can also modulate perceived duration. Our findings are discussed by considering current timing frameworks, as well as attentional saliency algorithms measuring the visual saliency of the presented stimuli.

A High-Density EEG Study Investigating the Neural Correlates of Continuity Editing Theory in VR Films

This paper presents a cognitive psychology experiment to explore the differences between 2D and virtual reality (VR) film editing techniques. We recruited sixteen volunteers to view a range of different display modes and edit types of experimental material. An electroencephalogram (EEG) was recorded simultaneously while the participants watched. Subjective results showed that the VR mode reflects higher load scores, particularly in the effort dimension. Different editing types have no effect on subjective immersion scores. The VR mode elicited stronger EEG energy, with differences concentrated in the occipital, parietal, and central regions. On the basis of this, visual evoked potential (VEP) analyses were conducted, and the results indicated that VR mode triggered greater spatial attention, while editing in 2D mode induced stronger semantic updating and active understanding. Furthermore, we found that while the effect of different edit types in both display modes is similar, cross-axis editing triggered greater cognitive violations than continuity editing, which could serve as scientific theoretical support for the development of future VR film editing techniques.

Movie editing influences spectators' time perception

Filmmakers use different techniques (e.g., camera movements, editing) to shape viewers' experience. In particular, editing can be used to handle the temporal unfolding of events represented in a movie. Nevertheless, little is known about how different editing types impact viewers' time perception. In an exploratory on-line study (90 participants) and a pre-registered conceptual replication study (60 participants), we asked participants to judge (Study 1) or reproduce (Study 2) the duration of 45 excerpts of the movie "Le Ballon Rouge" containing either continuous editing, action discontinuity editing or no editing. Each excerpt was formatted in three durations (2000, 2500 or 3000 ms). In both studies, we reported that scenes containing continuous editing were perceived as longer than the other two scene types. Moreover, scenes containing action discontinuity editing were perceived as longer than scenes with no editing. This study contributes to the emerging field of psycho-cinematics which could ultimately develop the dialog between arts and science.

Linear vector models of time perception account for saccade and stimulus novelty interactions

Various models (e.g., scalar, state-dependent network, and vector models) have been proposed to explain the global aspects of time perception, but they have not been tested against specific visual phenomena like perisaccadic time compression and novel stimulus time dilation. Here, in two separate experiments (N = 31), we tested how the perceived duration of a novel stimulus is influenced by 1) a simultaneous saccade, in combination with 2) a prior series of repeated stimuli in human participants. This yielded a novel behavioral interaction: pre-saccadic stimulus repetition neutralizes perisaccadic time compression. We then tested these results against simulations of the above models. Our data yielded low correlations against scalar model simulations, high but non-specific correlations for our feedforward neural network, and correlations that were both high and specific for a vector model based on identity of objective and subjective time. These results demonstrate the power of global time perception models in explaining disparate empirical phenomena and suggest that subjective time has a similar essence to time's physical vector.