Would be keen to know too. From what I have read online, you'll want an external monitor with an onion skin overlays. Big is ideal to give you a better idea of framing. That and maybe some light morph cut? Although morph cut always looks funky whenever i've used it.

Match cut

I've always called this a form cut or form edit. In my editing classes we used form cuts to match shape color or composition of the previous scene or frame. Think the eyeball and drain transition in psycho. Someone else may correct me but that's what I have always called it.

EDIT: the word you may be looking for is montage instead of timelapse.

I'd never heard of Brackhage but his work is exactly what I am after! Thank you!

It’s called a flicker film. It’s a common style of experimental short film.

I made one in college where I walked around San Francisco for hours using a super 8 camera to take single frame exposures of various building and house facades. It looked really cool when played back. I made a soundscape of construction noises to go with it inspired by the weeks long cacophony coming from the property next to my apartment at the time.

I also did a similar one with the wheels on cars that turned out really cool.

Stan breakage was quite the visionary

seizure core

cut out some frames when velocity is at peak

Stagger the animation of the layers behind by a few frames so they lag

It's a fan edit that combines Fire Walk With Me and The Missing Pieces which is a collection of deleted scenes from Fire Walk With Me. It's about twice as long as Fire Walk With Me.

If you've never watched Fire Walk With Me, you should definitely watch it instead of the Blue Rose Cut at least once.

So there’s a fan edit called the Q2 version. What that editor did was take all of the material from FWWM as-is, all of the material from The Missing Pieces, and then use the original shooting script as a guide to reassemble the entire project into one long mega film as it was originally conceived before David edited FWWM down into the film as he wanted it to be.

Blue Rose takes the Q2 approach, but then makes a few judicious cuts to align the focus of the film on Laura Palmer, to try to strike a better thematic balance between David’s FWWM and the ‘complete experience’ of Q2.

Where might one find it?

it’s a fan made edit of the missing pieces cut into fire walk with me! cool idea but definitely not essential

Yeah, i love phili jeff, sad that he become kettle.

Nice! I wouldn’t reverse it though

Looking good!

Going to disagree on the technical side- it was not difficult to make an edit like this on film at the time. In fact it was super easy, barely an inconvenience. Hell, Murch edited The Conversation literally to the actors' eye blinks.

Lots of reasons why it's good.

It's a kind of delayed match cut: the flame is blown out, then there's moments of suspense, then finally the sun rises.

There's also the way Lawrence seems to control the cut, which speaks to his attitude about going to the desert.  

The line is an early indication that he is not like other Englishmen, and when he refuses to drink until his guide does, he progresses along his personal journey. The quenching of the match foretells his foreshortened life, which the film has already shown, and drops us into the action of the cruel yet purifying sun.

Lawrence of Arabia was shot in Superpanavision 70 in 1962. The first film shot in that format was in 1959. Scope or ultra wide formats had only really been in use since 1953, so having such a vast aspect ratio was massively impactful to audiences who were still getting used to so much screen real estate taking up their peripheral vision. It’s the era when movie-films became cinema. When you add to that the sound design, the thematic significance in the story, the masterful cinematography, then you might come to realise it’s one of those watershed moments in cinema history where the material justifies the format and made the format more than a gimmick, right up there with Dorothy leaving Kansas and stepping out into a world of colour. We take huge formats for granted now, but back then cinemas were pokey little family run joints filled with cigarette smoke, and the spectacle must’ve been revelatory.

tl;dr: it was a different time

It was not technically difficult. It was artistically almost unheard of though.

Up until that Lawrence cut, filmmakers gave audiences way too little credit in making the leap from a matchstick to the sunrise in a different location.

This was so innovative, it practically became the foundation of Lawrence second unit cinematographer Nicolas Roeg’s cut-up style when he became a director.

When would that have been, roughly?

for me it's just evocative, it says a lot purely in the language of film. the lines he speaks before blowing out the match are setting up his character, his point of view. it's also an extreme transition that immediately conveys the brutality of the sun and the qualities of the desert where the action will take place. first we see the fire of a lit match: it's hot, it hurts to touch, but Lawrence cavalierly suggests you simply accept the pain and conquer it. cut immediately to the empty desert sunrise. we still might be taking in what Lawrence just said and did, but the abruptness of the cut immediately undermines his confidence and suggests arrogance, hubris. the sun is the same thing in quality as the lit match - fire - but on a scale that is overwhelmingly massive. is this a pain Lawrence can "not mind"? we go from the controlled, rather comfortable domesticity of a British garrison, with its abundant creature comforts, to the stark, harsh reality of the desert, a place with nowhere to hide - we the audience cannot run or hide from the sun as it rises into view. we are introduced to some of the stakes involved: man vs nature, which is a classic setting for storytelling. i could go on!

Indoor scene cuts directly to a majestic and very large screen sunrise. It's one cut that explains a lot emotionally to the audience instantly

Well said… And there’s an aspect here that he only does those things, from match to Turks, to prove that he can; to show off.

The R is missing from Moerse. It's a Moerse stuk vleis. Roughly translates to It's an extremely large peice of meat. But you wouldn't use that in formal situations, someone with the printer was having a laugh

Omw is this a Tube reference?? How cool!

Aah, yes, I agree. If it's a WP steak, it can very well be just that. Well spotted!

Ag, no man. You are havings it all a wrongness. This are being a lump of meats am belong to Moe.
"Moe se stuk vleis."

tells it like it is.

Mase cut

Easy to build in Motion as a transition plugin for FCP.

In fact, I may do that right now.

You can keyframe the motion using scale and XY parameters in transfrom or using Ken Burns effect in Crop - both in Inspector. Make both clips the same exact length. Once you get the motion right on one clip, copy it and then PASTE ATTRIBUTES onto the second clip. This will paste the motion. Then make each clip a compound clip. Then shorten them so the second clip starts just before the peak of the movement. Bing-bing-bang- you're done

What part do you need help with? The video shows you how to do it. Add an extreme ease in on the first clip, and hard cut to a clip with an extreme ease out. Motion and FCP don’t really support parenting the effects the way AE does, but that just means you need to manually match the keyframe curve.

I was wondering about this too, I sometimes need motion graphics for my projects, but they never look as polished as in the examples just shown in the video.

Check my video, same concept 😁 https://youtu.be/Mf1mSvJki58?si=zqKsYUOau1pqdrDt

Just a simple fade? 2 videos, overlap to fade on the transition?

Looks like motion control to me. Camera on a rig that can have programmed, repeatable moves. Film different scenes with same move and then fade/cut between. VFX where needed to blend.

Film on tripod, one in day lightning, one in night lighting, same place for camera and tripod, cross dissolve in post with matching slight zoom in added in post as well.

Not entirely the same but I did a similar thing on this short..

Skip to .30 seconds in the trailer

https://youtu.be/t98DHrZSDVo?si=Q3nMNZvUh1decDRz

It was a carefully planned lighting coordination between 2 dimmer switches

And the reverse shot in the full short was shot in the day looking out the windows. I just had to match the color temp of the lights