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BOOKS AND ARTICLES Using Plans in Video Shooting
Without preliminary preparation (our article is rather devoted to aspects of practice, rather than theory), we dare to say that if during any significant piece of video material we have to admire only one plan (look at the four pictures above and choose any) - our eyes will get bored . In the first freeze frame, we want to look into the eyes of the characters closer and see the place where they look so touchingly into each other's eyes. In freeze frame 2 - to see the stylist's fingers fluttering over the girl's hair, in freeze frame 3 - to see the bride completely in her wedding dress ... Freeze frame 4 is incomprehensible, I want to see the place where the candle is located, what is happening nearby. Even such a specific video, like, say, a football match, the film crew tries to show not just one long shot or long shot (so as not to miss the rapid and unpredictable movements of the ball in any case), but constantly diversify the video sequence with larger shots. The tense faces of the players and the coach are shown during non-critical situations, the emotions on the faces of the fans. If you show the whole match in one shot, how will it differ from sitting on the podium? About what plans and in what order it is appropriate to show the viewer, we will now talk. Our task is to make the material as comfortable as possible for viewing. So, to begin with, we introduce the classification of plans by size. Let's not forget that in the overwhelming majority of cases, the measure of everything that happens in the frame is a person, so we will carry out the entire classification in relation to a person. So: detailed plan We see in the frame exactly the detail, the detail. A hand, a shoe, a candle, or a button on a door lock. Many videographers neglect such a plan, some consciously and some not. After all, in order to get such shots, it is necessary to come close to the object or shoot with a sufficiently large magnification, that is, to fight hand tremors, hold your breath, etc. But this detailed plan is necessary.
The first illustration, and immediately not simple. But get used to it, there will be no easy decisions in real shooting. Details are shown on the right and left. On the left, this detail is broken fragments of glasses, and not at all the legs of a person in a blurry background. It was by focusing that we ensured that these fragments were the main object in the frame. In the second frame, the portrait on the cup has no meaning other than aesthetic. We clearly see that a cup is depicted, and it is she who is the detail. Video, unlike photography, does not have excessive resolution. If you suddenly want to see the brand of watches on his wrist in a good photo of a person in full growth, please, you can magnify the image on the monitor several times absolutely without loss of quality. In the video, alas, the screen resolution does not allow this. Even with a small increase with the help of editing programs, the picture loses its clarity, blurs, breaks up into individual pixels. If you think that you need details to tell the full story of an event, shoot the details. Such plans. Such plans are especially important for a person whose socionic type can be said to be sensory, that is, he is used to touching and feeling everything. The idea of the texture of the material will allow such viewers to more fully immerse themselves in what is happening on the screen. Close-up And where without big plans? It is in them the emotions, the expression of the look. You can look into a person's eyes and see a lot. If you choose a person as a yardstick - in a close-up, the face occupies the entire screen. It is possible to see part of the neck, the collar, but not the chest. Such a plan suits people whose socionic type can be characterized as an ethicist. Emotions, feelings are important to a person. And we have no right to deprive him of this.
It is not necessary to bring the lens close to the face to shoot such a plan, it is better (within reasonable limits) to use the zoom. When shooting point-blank at a wide angle, a person's face acquires additional elongation towards the camera, facial features are distorted. The most grotesque case - remember Shpak's neighbor when Ivan Vasilyevich looked at her through the peephole (since we are "in the service" - it will not hurt to recall that moment in the movie "Hot Heads" when a cross-eyed cadet who is in the ranks stares on the evil sergeant who scolds him). Of course, it is also quite difficult to remove such a plan. A particular difficulty for an amateur videographer, or even a professional, but working in the reportage genre (when it is difficult to use a tripod, for quite objective reasons) are two things - natural hand tremor, which affects when shooting with any noticeable increase, and that, that even a slight movement of the head or shoulders is enough for the subject to lose the frame. And we remind you that it is pointless to show such a frame for less than five seconds, with rare exceptions. The classification of plans that we are telling you about is not our invention, the entire national school of cinema and television is built on it. However, there is another classification of plans, for example, Hollywood. There is such a plan as "portrait", "half", "milk", "generational". The basis is the same size, but the gradation steps, as we can see, are slightly different. We will not dwell on it in detail, we will only note that these plans are not as obvious as their name seems to imply. If you decide to read Western works on camera art - keep this in mind, usually the classification of plans is discussed. First medium plan
That is how, usually, according to psychologists, we see the interlocutor, talking with him at a comfortable distance for communication (one and a half to two steps). From, approximately, "to the chest" to, approximately, "to the waist." This is what is between these "approximately", and it is customary to call the first average plan. Second medium shot
If a person is seen lower than the waist, but higher than the knees, such a plan is called the second average. At such a distance (we are now talking about the distance for the naked eye, without magnifying, or vice versa, wide-angle optics), one can clearly see the motor skills of a person, the connection of his movements, gestures and basic facial expressions. From such a distance, you can view a person without fear of causing him discomfort. The type of people who, with all equals, would prefer such plans - determine for yourself, we only recall that "different plans are needed, different plans are important." Overall plan
In general terms, a full-length person occupies almost the entire frame vertically, with reasonable variations. This plan is great to show the immediate environment of the main characters. Especially for novice operators, we emphasize: this plan does not usually jump into the viewfinder by itself. To capture such a plan, you have to move away. We strongly advise you to make this effort, a variety of plans is essential for a good film. The far plan
Yes, there are no limits to extremes. This plan is designed to show everything that an outside viewer would see if they were at the scene of the event. The figure of a person occupies an insignificant part of the screen, it is needed only to understand the scale, there is no need to talk about any facial expressions or facial expressions. But the logic will immediately become clear where, at what time of the year and day the event takes place, about which the story is being told. It is clear that in order to shoot a distant plan of the scene of action (otherwise it will be just a landscape), the poor cameraman will have to move far enough away. We assure you that your mournful work will not be lost, such plans on time and in place are the lot of professional films, and the viewer will appreciate it. Alternating plans Yes, indeed, why did we write so much? If the golden ratio is still all right, it will come in handy, then why such a long story about plans? The quick-witted reader probably already figured out that no matter how you point the camera, you will get some kind of plan. As in the well-known story about the son of a Turkish subject: in it, Ostap, making the only possible moves, as it turned out, repeated the defense of Felidor, unknown to him. As noted above, any frame of the video, if it does not change in a fairly short time (5-10 seconds), the viewer will get bored. No, of course, an event can be as interesting and important as you like, and it can be very difficult to tear yourself away from the screen, but the frame will get boring. Our gaze will seek out new details of the scene, but there are no details. Not too much video. If we show a scene of a girl holding out a cup to a nomad (the picture is a little higher), then at least squint, at least lean your face against the monitor - you will not see the details. And trying to look beyond the edge of the screen will not help. No plan in the video can be self-sufficient even for a short time. Ergo? Plans need to be changed. Changing frames in a video is called editing. He happens intraframe иinterframe. Intraframe - this is when the change of plans and angles is made by the movement of the camera or the movement of subjects during one scene, without stopping shooting. Interframe - this is when the viewer sees the next frame taken by another camera, or by the same camera, but after changing the angle or plan. Both types of montage are necessary in their own way and good in their own way, among the recognized masters of art there are apologists for both types of montage. For example, Spielberg prefers inter-frame editing, denying the movement of the camera as such, and Sokurov shot the sensational film "Russian Ark" in one take, not turning off the camera for a moment. It should be noted that most directors do not think about what kind of extreme they should go to, and use both inter-frame and intra-frame editing as tools for expressing their ideas, without any ideological overtones. Right now we're just talking about the order in which we're going to change plans in our film. So, we do not aim to push you for a long time so that you guess the correct answer, filmmakers at one time were looking for the answer to this question for a very long time. Those who wish to fully enjoy the method of searching and the exciting experiments of Eisenstein and Kuleshov, we will refer to Sokolov's book "Montage". We assure you that if you liked the process of video filming, then reading this work will not be superfluous. We, dear reader, will simply give you the correct answer. So: Editing by size One and the same object cannot be shown in different plans, if they are not separated from each other by one step. The exceptions are the links "distant - general" and "detail - large". Diagram:
According to this scheme, we can show the scene and characters to the viewer for as long and comprehensively as we like. The general meaning of this law is to show the viewer a change in the picture so that he does not get bored, but not to do it too abruptly. Two questions that we will answer, because after carefully reading and trying to figure it out, you could not help but ask them: A: What does "no" mean? I'll take it and do it! Q: Cheers! It's just that in the place where you violate this law (and others that we will talk about here), an accent will appear at the junction of two frames, a short-term discomfort of perception. There will be a feeling of a gap in time, a sharp jump. Of course, a motion picture (or, for example, a video clip) is impossible without accents, but they should not be made where the narration is continuous and does not provide for a violation of the integrity and harmony of what is happening. A: We often see in the movies how this law is violated. For example, when shooting a dialogue, we alternately see one or the other character in close-up, and everything is perceived comfortably. Q: We are talking about showing the same object. You can show unrelated objects without taking into account this law, it is about the same object. None of the laws we are talking about works by itself, only a video that does not contradict all the laws given here does not cause discomfort when perceived. If we show a person walking along the alley of the park, or a girl sitting at a table, then approximately every 5-10 seconds (depending on the dynamics of the scene and the rhythm of the narration), the plan should change so that the viewer does not get bored. According to this law, we can show our hero in all its glory. Installation in the direction of movement and view The same object cannot move in two adjacent frames either in one direction or the other. It will also look uncomfortable that the hero being filmed looks in one frame in one direction, and in the other - in the other. Here, we think, it is also not worth spreading for a long time in response to the question "why?". Because it is impossible in life to instantly run around someone and stare at him from the opposite side. This does not happen, which means that our psyche is not ready for such perceptions. We will answer the questions that beginners have when they try to translate this law into shooting: A: What should we do if we have two beautiful shots where the object moves first in one direction, then in the other? Or if the object we need needs to be shown from one side and the other? Is there a frame that needs to be thrown away? Q: Professionals in such cases use the following methods:
The description of the principles of gaze direction when shooting dialogues deserves special attention. When filming dialogue or any other type of communication, all consecutive shots should be taken on the same side of the communication line. We hope that it will not be necessary to explain the line of communication for a long time. Just mentally draw a line between two communicating people. Not a segment, not a ray, but a line. It must not be crossed when shooting in any case, except by using the three methods described above. By following this simple rule, we will immediately get several distinctive features of our video, which will help the viewer to comfortably perceive what they see. If one hero always looks to the right, then the other always looks to the left. And you never get the impression that people talking to each other are looking somewhere in one direction, one over the shoulder of the other. At the same time, the human psyche identifies the right and left sides with the position and attitude of the hero, without great need, you should not cross it, even using the methods described above: the viewer will have a feeling of a change of point of view, embarrassment of one of the participants in the conversation. Editing by motion phase The next frame of the scene should continue the previous one in terms of the motion phase. The most classic example, usually used to demonstrate the principle, is two shots of marching soldiers. On one we see how the right legs went down, on the other - how they fall to the ground. It is probably unnecessary to point out that in the video the soldiers should not lose their rhythm in this place. And in the second frame, exactly the leg that was lowered in the previous one should go down. Cinema is a great power, when watching a video that is inconsistent in phase, hereditary combatants may become hysterical. The same rule of not breaking the beat should be applied to any video where any noticeable movement has clearly visible phases. Let's note also: using this law, it is possible to smooth out undesirable violations of other editing laws. For example, the transition in the phase of motion masks the violation of the law of size quite well. On one frame, we see how the main character swings in the first medium shot, and at the moment of hand movement we change the shot to a far one (we need to show where the stone released from the hand will fly). Editing by Luma and Chroma The subsequent frame of the scene should not have perceptible differences in brightness and color. Any changes in brightness and color should be gradual. On the one hand, everything is clear: the beating of brightness and color in the frame should not cause irritation (remember the exposure lock, which we called for in the chapter on the buttons on the camera), but on the other hand, as always, questions arise: A: The hero enters a dark room from a lighted street. We do not want to make a sharp accent, on the contrary, we want to show the hero's entry into the house simply as one of the stages on the way, say, to the TV. How to be? After all, a jump in brightness is inevitable? Q: Yes, it is inevitable. There are several tricks to smooth out this jump (note that all these tricks are also relevant when frames are joined according to all other rules, we hope that you carefully read this article and try not only to memorize, but also to analyze the information received).
As we can see, all editing principles have the main goal of reducing discomfort when moving from one frame to another. By analyzing specific shots and figuring out what exactly you don't like, other rules can be discovered. A few more important concepts. Good manners for a videographer The time has come to finish this article, and so it turned out to be significantly larger than originally planned. A few more things that beginners need to know about, we will venture to give haphazardly. Why unsystematic? First, they are easy to remember and so. Secondly, the explanation of the reasons "why so, and not otherwise" can be carried out in two ways. For a long, long time to explain and lead the reader to the answer, or simply to remind that the video should be comfortable for perception, simple rules follow from this. Since we have already completed the "second" thing, then, perhaps, we will move on to these very things. So: The Forty-Five Rule The rule itself is very simple. When shooting the same subject or scene, two consecutive shots should not be taken at the same angle to the subject. It is highly desirable by shifting the shooting point to ensure that the angle between them approaches 45 degrees. In this case, all other rules known to us must also be followed. What are we trying to achieve with this rule? Changing the frame size will not look like an instant approach or removal of the object, which, as we have already said, leads to an undesirable effect. In real life, it looks something like the one shown in the diagram below.
Do not think that we draw so badly. The two schematics in the upper right corner of the picture are the standard designation of people when creating a storyboard in cinema. Two beams of lines diverging from the bottom of the screen - two cameras with the shown shooting angles. Despite the obvious primitivism, one can unmistakably determine that two little men are standing (or walking, in this case it does not matter) in the lower left corner of the screen. We did not separate the two shooting points at all arbitrarily. Note:
Avoid repetitive camera movements When operators try to make an intra-frame editing (and, in everyday language, at least somehow decorate a fairly ordinary event), very often we see the following picture: after panning or zooming in and out, the operator returns to the frame from which the camera started moving , almost in reverse. There was an approximation - right there the camera starts its way back. There was a turn to the left - now there will be a turn to the right. Is it necessary now to prove that it is uncomfortable to watch the viewer? We won't, just take my word for it. With staged video filming, this does not climb into any gates, but what about reportage? We must again return to the same point, the child (or dog, but anyone) runs in circles. We zoomed in in order to show some important detail, it's time to go back to the general plan, very important things are happening there, you can't keep the viewer in the dark for a long time ... So, what are we going to do?
Wave your hand (yes, there is such a way). Hold the plan longer so that the viewer has time to forget exactly how the previous one looked, then calmly return to the previous one. Giving yourself and the viewer a break from the main characters At the slightest violation of the laws of editing arises ... That's right, you have already mastered the material of this article. And imagine accomplishing this task (to prevent the viewer from feeling the slightest discomfort from breaking any law) with all diligence. We assure you that it will be very difficult to shoot the most trivial scene. And filling a two-minute episode with meaningful actions in accordance with all the rules is a task for a professional film crew. What are the tricks for this? Two types - worthy professionals and unworthy. Let's start with the bad ones: Split frames "flash" or, conversely, withdrawal into the dark. It is acceptable when creating a work in a genre such as a video clip (for some reason, almost everything is considered appropriate in this genre. Never take video clips as an example for training!), But very often such a “work” can also be seen on television, in style programs MTV or Fashion. Do not set yourself the task of shocking and stunning the viewer: under the conditions for filming that arise in everyday life, you will already have a huge number of inconsistencies. There are better ways: Use interruptions. Neutral cadres, who are not directly related to the actors, will help change a lot. For example, when showing tense dialogue, when the characters move around your set intensively, they will often run out of the frame. Moments when there is no "frame" or it does not correspond to the canons in its direction and size can be successfully replaced, for example, by listening spectators. Of course, the views of nature will noticeably color the film about the campaign. Keep in mind that during editing, you can insert frames that were shot not with hands trembling from fatigue or with rapid breathing, but a little later, at a halt. Publication: ixbt.com
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