Video editing of the wedding. video art

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Editing by size

The meaning of this rule is that a pleasant change of frame for the viewer is when the size changes through the step. If we look at the scheme Detail - large - first medium - second medium - general - far, then, based on this rule, after the first medium shot, it is desirable to show the viewer either a detail or a general one. Then there will be no dissonance.

How to switch to the next largest frame? Take for example the transition from the first average to the second average

use zoom, but this will give the viewer the feeling that the operator himself does not know what he wants (the simplest solution);
use an exception that says that frames of extreme size (detail and far) can be joined to frames that are close in size, that is, large and general, respectively. That is, show the viewer a chain (optional)
- first medium - detail - large - second medium;
- first middle - general - far - second middle;
a dash can mean not only a joint or a transition, but also a zoom;
use panning to another subject. The viewer sees that it was a grandmother, and here, to her right, is the groom's girlfriend. Everything is fine;
read on, there will be many other options, this rule does not mean that there is no way without it.

Mounting in the direction of travel

If a pair of young people in one frame goes to the left, then in the next it should go at least not to the right. Even if the size rule is followed, the viewer will try to understand what is happening on the screen for the first couple of seconds - either the young people really decided to suddenly go the other way, or the cameraman changed the shooting point. In a properly edited plot, the viewer does not ask such a question. And why? Because the operator immediately decides on which side of the line of motion he will be. How to make the correct change of direction? Or through a detail, or through a frame in which there is no movement, or through a distant plan. You can show a frame in which the main subject moves directly towards or away from the operator. You can accurately cross the line of motion with the camera turned on.

And vice versa, if young people go to each other - on the screen they should go in different directions.

Installation in the direction of view

If the grandmother, wishing her granddaughter all the best, looks to the right, then the granddaughter should look to the left. Usually this is easy, but there are times when it is not clear where the guest is looking. And from which side to shoot the toastmaster, who addresses the next guest. The recipe is the same: it is located on one side of the line of communication.

Dialogue is a case that very often helps us get around the requirements of sizing. If there is only one of the participants in the conversation in the frame, and he looks to the right, and in the neighboring other - to the left, then we can neglect the fact that the size of the frames is the same. But as soon as both participants appear in the frame at the same time, the rule of size "turns on" again.

These two principles allow us to convey the logic of the action on the screen. The guests look at the approaching newlyweds to the right. The newlyweds go to the left. Both principles, as we see, are inseparable.

Editing by motion phase

If you want to show the passage of young people along the alley from different plans and angles, but as if in real time, so that the viewer does not have the feeling that those walking suddenly lost their stride (okay, they can see that we made a mistake, or decide that we cut out something important!) - get two frames to coincide in the phase of movement.

I will also quickly mention editing by brightness (chromaticity). The point is that the rapidly changing lighting hits the viewer in the eyes. This is avoided by showing something mediocre between frames that are too different in terms of the amount of light, not so bright, but not dark either. Reverse use - if such a change occurs in time with the music - it will turn out beautifully.

Changing personnel not according to these rules... is allowed. To the beat of the music (and clipping a wedding event to music is one of the surest ways to add interest to what is happening on the screen) or to show something unexpected that the participants in the action were not prepared for.

Interruptions

Something that is never too much. So, this is our everything. With the correct use of breakouts, the operator (and editor) has one more degree of freedom. Did you block the newlyweds with your back (or pushed, or had to change the exposure, or caught out of focus, in short, an obvious marriage appeared at an important moment) during the first dance (or biting off bread and salt, or throwing a bouquet, etc.)? This is definitely bad. But, if a guest appears at this place during editing, expressing delight, then the plot will be complete. The guest is in our case an interruption. In addition to cases of closing an explicit marriage, interruptions allow:

color the story. The guest speaks long and tediously into the microphone. Departure, standing, panorama, standing, arrival, standing, panorama... How long can we keep the viewer's attention? But you can’t cut it, this is the groom’s dad. Let, simultaneously with the voice of the parent, from time to time the viewer sees a misted glass on the table, a bunch of flowers in a bucket, a candle flame under a poster with the wishes of the newlyweds. With the same shots, we close the guests who enter the frame, chewing-picking-in-the-nose-discussing-their-problems (in my slang they are called priests - they came to devour and dance, but they don’t care about big and bright feelings);
close moving operator. With this technique, you can apply a more aggressive style of shooting. Sharp camera rolls, quick runs and adjustments to play with focus, to give out not just a plan of any size, but a really beautiful shot;
cut action. The presenter decided to read to the newlyweds an ode to the newlyweds downloaded from the Internet? This is her job. Our job is not the minutes of the wedding meeting, but the creation of a beautiful film. In the picture "Tehran-43" there is not a single phrase, not a single famous leader, uttered at this historic conference. Film about something else. Here we do it differently. The first quatrain, then the one that caused the greatest delight, and the final one. We will decide what we will do later, already during the editing, and during the shooting we will try to grab as many different plans and angles as possible. We start with the toastmaster, we will definitely hook the young people and guests listening. At each verse we change the plan and angle, if possible more often. Then we close the joints between them with breaks so that the viewer perceives the video about this event as a short rhyme, and not a cut poem.

When cutting an action, in no case insert a break only at the junction of two parts. The viewer will notice that both the picture and the sound have changed at the same time.

Remember that during editing, if the speaker is not visible on the screen, or when the object being shown cannot be identified as "making any sounds" (clapping guest without the sounds of clapping will look strange), the sound can be "untied" from the video sequence. For example, we show a host explaining the terms of the competition. What should be in the story? Lead and spectators. (Of course, if we strive to bring our video creations closer to some quality standards, otherwise, why read it at all?) When shooting, we try to: remove the toastmaster who has begun to explain, transfer the camera to the listening guests (a couple of seconds of a completely unwatchable video), filming them again throw the camera at the host (a couple more), preferably with a change of plan. Panning is impossible, the back of the head of a nearby guest interferes with us, or a window, or a column, or a couple of guests who don’t care about anything and they are clearly discussing some kind of business. The obvious solution is two interruptions. But (see above), they need to be saved, plus showing two-second interruptions will cause the viewer to feel vanity. Move the frame with the listening guests end-to-end (or with a half-second dissolve) to the host in the timeline. Cover the remaining four (two + two) seconds with the view of the young (or show some kind of cheerful poster). Don't touch the sound.

When to get perebivki? There are never many interruptions, not because it is impossible to shoot guests-flowers-glasses. It is impossible to shoot them in such a way that they do not just cover ALL camera movements and errors, but serve to additionally emphasize the meaning of what is happening. "Impossible" here should be understood as "very difficult", without the gift of foresight you will have to thresh a lot of shots and then delve into them for a long time. When to shoot?

Listening to the audience - during the words of the toastmaster that are unnecessary for our film (but shoot everything non-stop, suddenly from the beginning the banal witticism will be played in an original way and become the decoration of the evening). Surely his first words will be on-duty jokes and a set of cliches, there is "a sober spy at the wedding", "we wish the young couple to live until the golden wedding" and blah blah blah.

If there are small children or very old people in the hall, be sure to take them off for any activity. Let them eat, let them demand a salt shaker or candy from a neighbor on the table, etc. Newlyweds are usually ready to forgive a lot of these two categories of guests, including inattention to significant events. All these shots will help you.

For a long time I was worried about the progress of digital technology, when guests try to perpetuate something with the help of their soap dishes. Constantly climb into the frame at the most crucial moments. So, the guests sitting at the table, aiming something at their cameras - a good option, stock up on such shots.

The entourage of the hall - in your free time. Bouquets, candles, glasses, paintings on the walls and more. If the case takes place on the street, or where daylight is clearly visible - periodically, as the lighting changes, update your collection of "universal shots". More original angles, spend some time on this when everyone dances the tenth dance or falls out of the hall to smoke.

It is unlikely that the newlyweds will be able, after the toast, to portray especially for you, with the camera pointed, attention to the guest or to pretend that a joke they liked has just sounded. Don't try to approach them with this offer. Ask them to hold their hands on the glass as they held during the toast, take off large. If they were holding hands, let them do the same in front of the camera.

Some shots are predictable. It is clear that the newlyweds will sooner or later go to their place when entering the hall. Before meeting the young people, carefully walk with the camera along their intended route, filming how the table floats on the lens. By alternating footage taken during their procession with shots taken in advance, you will make this moment much more interesting. You can shoot a loaf in the hands of a mother in full screen at the moment when the toastmaster is building guests before the meeting of the newlyweds, then the detail will come in handy. There are also bubbles in the glasses that daddy is holding, icons in salaries, etc. At the same moment, photograph the guests who are trying to figure out when to pour grain on the young and when to shout. Of course, the shots are as large as possible, otherwise you will be given away by the events that occur at the edges of the frame.

When editing, it makes sense to create a separate bin (folder in the editing project) with these very frames, you can even have several: "guests are listening" (usually the most popular type of interruption), "guests laugh-clap", "entourage" (get into this folder when you will need to create a more polydic mood and get a shot from there, how the flame of a candle trembles and refracts through the crystal of a glass). If, in the process of playing out any action, you come across a well-executed frame, but this moment is not included in the film (someone is talking nonsense, or you are cutting a lengthy plot, or maybe you specifically decided to shorten the meaning - throw it on a specially created track with visualization turned off After collecting fifteen minutes of the film, look at what is there on this track, maybe these frames will color your film.

A very common cant when using breaks is the so-called "Your mother". This has nothing to do with swearing, this is a popular phrase from the cartoon "Three from Prostokvashino". There, the postman Pechkin says in surprise: "Your mother is being handed over here and there." So, if in the toast of the mother standing in front of the children, you show a witness who was shot in advance in close-up, at whose left shoulder the edge of the purple blouse will be visible as if nothing had happened to the sitting mother - this will be "VM".

The main insidiousness of this mistake is that it is unlikely that anyone will notice it except for mom and the newlyweds, even your colleague, critically reviewing your work, is likely to miss this mistake, absorbed in watching the camera work, changing plans and sound levels. And it will have to be redone. Of course, "VM" is possible not only when showing mom. Frequent mistakes - the guest sits thoughtfully, listening to the first rhyme of the toastmaster, and on the plate is a piece of sturgeon shish kebab, which will be solemnly brought into the hall only after an hour.

Do not forget that for many newlyweds, a wedding is an occasion to splurge on the eyes of friends and work colleagues, many accompany the screening of the film to friends with the phrases "and this is champagne - N dollars per bottle, but they give us just an awesome service, and there were three types of hot" etc. So, carefully monitor such details.

Publication: ixbt.com

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