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BOOKS AND ARTICLES Video editing for beginners
Shooting without editing - money down the drain. It is unlikely that you will ever be able to use what you took off if it has not been processed in any way and has not been given a decent look. The filmed material is inconvenient, uninteresting and there is a lot of it. This, at best, is only a blank or a blank of a film, if you like. Even a home archive should not be turned into a dump. It doesn't matter if you're shooting a wedding, a booze or a children's party - a bunch of cassettes will gather dust on your shelf, only for you to randomly take out one of them every ten years and try to remember what is recorded on it. Only by editing the material, you can make a full-fledged archive out of it or something that you can show to friends or acquaintances. Computer technology now allows you to make the simplest installation, without going into the technical and creative jungle. Quickly, cheaply and angrily, but having edited the film, you will immediately feel the difference and will not regret the efforts spent. So, what can be done with installation: The most important thing is to cut out everything superfluous a) "Cut without waiting for peritonitis" (c). No matter how carefully you shoot, there will always be a lot of bad material on the film. Either you forget to turn off the camera in time, or someone extra will fit in front of the subject. Wind in the face, mud underfoot and pushing people - all these are the enemies of beauty. The recipe is to ruthlessly cut out all the dirty pieces. b) Even if no one bothers you, you still shoot too much. If you don't have a plan and a script (and you will in most cases when shooting home video), then you have no control over what happens in front of the camera lens. This means that what happens there is far from what you need. You, in fact, only guess the situation, hoping that it will develop in an interesting way. You catch spectacular movements, catch beautiful poses and funny moments, hoping only for good luck. I hope that you will often be lucky, but everything else needs to be cut out during editing. On the installation you are the master of the situation! Any director is a creator-dictator. It doesn't matter what you do - a Hollywood movie or a family archive. You and only you decide what will happen in the finished film. For example, you are filming how your child first got on a bike. He is not an actor and you have not rehearsed with him how he will do it. Therefore, most likely, he will climb onto the bike only after a series of attempts. You don't know when he'll succeed, so you film everything. But wanted to -something you take off like him sits down on a bike. That's what you want to see in a movie. This is what you will show later to relatives, illustrating your story that your child already knows how to ride a bike. Why do you need a bunch of failed attempts? They are the same and are of no interest to anyone, including the child himself. Leave only a couple of funny ones (if any) - cut out the rest. c) "In short, Sklifasovsky" (c). Even after all the operations listed above, you will still have too much unnecessary video. Suppose you left only good, funny or interesting moments. Look closely - for sure they are repeated! Even professionals often make these mistakes. A joke repeated twice does not become twice as funny! A view repeated twice will not be twice as beautiful! See where you laughed the first time. Leave this episode, and remove its doubles. If you are shooting natural views, notice how long it took you to see all the details. Considered? Everything is enough! Everything else is in the trash! 2. The second and very important function of editing is to add variety to the film. The simplest techniques for this are effects or music. Even if you are not very skilled in using these tools, they will still benefit you. At least the fact that the dozed-off viewer will be shaken a little. Surprise him and he will thank you. Don't go overboard with this. Do not need too much, otherwise the viewer will get used to this technique - make surprises. All the effects needed in this case can be conditionally divided into two large groups - these are "transitional effects" and "picture in picture". Transitional - this is when one picture smoothly, as it were, flows into another in some perverted way. Squares, stars or some unknown three-dimensional thing. This is the favorite effect of all wedding operators. In most cases, they insert these effects very often and randomly. It looks very deliberate and vulgar. Therefore, professionals usually use the two simplest varieties of this effect - the mixer and the transition through the color field. For example, one frame goes into black, another goes out of it. Simple and fast. However, no one will judge you if you transition to the next scene with a clock or zigzag effect. You don't need to use this technique in every frame and everything will be fine. Otherwise, it's a matter of taste... You can insert a short and bright piece of music into the montage. It always works. But if you are not making a clip or a short video (up to 1 minute), then change the music according to the rhythm! Use multiple musical themes. Alternate calm and dynamic music - do not put pressure on the viewer's brain all the time, because he does not like it. 3. Explanation. If you plan to use your video for a long time, then it would be good to format it by entering explanatory information. The titles and voice-over will help you remember what you filmed on vacation ten years ago. Even the brightest impressions fade, and their details fade from memory much faster. Sometimes it is very disappointing to forget that "we were in Greece on our honeymoon, and this is already Turkey." After all, you shoot so that there are as few situations as possible, right? Therefore, it is probably worth making a little effort so that even after decades you can clearly remember something very good. When explaining, imagine that you are telling something to a friend who has no idea where you are or what you are doing. Try not to deviate too much from what is happening on the screen. Telling a funny anecdote is always good, but if something interesting is happening on the screen at the same time, an off-topic story will only annoy. If you really want to tell something that you cannot illustrate, then at least choose some quieter and more boring video clip for this. Some professional techniques that can be applied at home. If what I described in the first part did not cause you any difficulties and you want more, then you can move on to some professional editing techniques. It is about rearranging or connecting different parts in order to give the fragment a new meaning. Installation is like assembling a toy house from children's blocks. Although the cubes are always the same - you can collect different things from them. Of course, all this requires some experience. But it is quickly acquired with a little effort. Changing the overall meaning of the plot One of the most important discoveries that was made at the dawn of cinema is that two fragments placed side by side can react like two chemical elements. Moreover, the result of this reaction will be completely different from any of the original fragments. For example, by mixing shots of extreme shooting and joyful emotions of the audience, you will get a story that sports are cool. And if you mix the same sports shots with close-ups of anxious faces, you get a fragment about the dangers of sports. Moreover, the overall effect of the entire plot depends on the order in which the different fragments follow. Here's a classic example: Three different fragments - a person is drowning, one person rejoices, and the second is horrified. One option is joy, drowning, horror. It turns out the story that "everyone rejoices and nothing foreshadowed trouble." The second option is sinking, horror, joy. And now the plot is ready about deceit, betrayal and, in general, this is already some kind of detective work. Remember that a movie, plot or clip is whole audiovisual work. The viewer perceives whole! In most cases, the viewer cannot even tell why he liked this or that film. Most critics also cannot say this, escaping with general words. In order to say exactly what works in the film, you need to take it apart piece by piece. It's like with a car. Everyone knows that Mercedes is a good car. But to understand why it's so good - it's not enough just to tap the wheel with your foot. You have to climb inside with a wrench and study the individual parts and how they interact with each other. These principles work in any case - both small and large. Even if you make a video about your children, exclusively for home use, the same patterns work there as in the Big Cinema. The plot is like a picture on the monitor screen, which is formed by mixing several colors. By changing one of them, we change the color of the entire picture. So the general emotional coloring, and sometimes the very meaning of the video fragment depends on all its components. One very common professional directorial technique is to replace one of the parts of a video clip. For example, music. A good soundtrack, especially if it's a song, can completely change the whole point of the plot. Replace the soundtrack, for example, in the movie "Amelie" and you get a completely different movie. You can experiment with this technique by substituting different songs in the same video and you will see how your snippet changes. You can go further. Let me give you one vivid actual example. There is such a genre of network video - mashup. It appeared when people thought of mixing fragments from different films. A movie is made up of scenes, and scenes are made up of frames. And what will happen if you take and replace part of the frames? We dismantle two films for parts, analyze, sort and mix. So, it turns out the movie "Terminator vs. Robocop" or "Alien vs. Pinocchio". We take a film - here one is running, and here the other is catching up - we cut it off in both cases so that it is not clear who is chasing whom and who is chasing, and we glue the one running from one film, and the one chasing from the other. Thus, by mixing two fragments, we get something third. There are less radical options. The assembly method of "parallel mounting" is often used. That is, when we dilute one whole scene with frames from another. Then they start working on the contrast. Let's say you're filming a sports match, and then you're doing a story about the reaction of the teams after the game. One lost and the other won. One team is happy and the other is upset. You can just show one reaction, and then another. But if you stick together their joy-grief-joy-grief, then the effect will be much stronger. With this technique, you do not change the meaning of each scene, but multiply its emotional impact. Home video can also use this technique. For example, there are two heroes - grandfather and his little grandson. If you shoot both of them doing the same thing, and then glue it together in parallel, it will be much funnier than if you just show two fragments separately. Story editing work. Building scenes in the correct and logical order. Giving it dynamics and expressiveness If you are shooting not a video, but something that looks like a full-fledged film (lasting 15 minutes or more), then you will have to carefully monitor the development of the plot. The longer and more complex the film, the more prone it is, like Frankenstein's monster, to get out of the creator's control. Editing is just a tool to control your creation. Outside of your will, strange things can happen to the film. "The plot fell apart." This happens when individual scenes are inconsistent with each other, proportions are violated, or some semantic fragment has fallen out. For example, you want to tell the story of a little boy participating in a competition for the first time. You need a coherent story that only hard training can achieve success. However, you suddenly notice that the film turns out to be about training, and there is no success in it at all. Most likely, you took too much material into the first part, at the expense of the second. Or suddenly it may turn out that training is not even needed for success. This may be if some extra scene got into the film. For example, someone mentions that the hero's strongest opponent was disqualified. It can blur the whole effect of the movie. It happens that the viewer loses the thread of the plot. Let's say you shot part of the material in the hall, and part on the street. If you shuffled the scenes, then the viewer may have a question: "but when It was - to competition or after?" It may not matter, but in some cases this situation spoils the whole film. For example, the main character during the interview looks tired, upset and breathing heavily. Did you mean that the hero just trained hard and something didn’t work out for him, and the viewer might think like this: “This is clearly a competition hall, and the guy looks like a loser - he already lost the competition. What's the point of watching the movie any more?" It is necessary to warn the viewer that this is not a competition about training - in a timely manner. If he finds out about it ten minutes later, he may have an unpleasant feeling that he is being taken for a fool. Most viewers don't like it when they don't understand something. Remember - to openly fool the viewer or ask him a riddle (make him think) - different things! "The intrigue is gone." This is every cinematographer's nightmare. If it is obvious to the viewer what will happen next, then he immediately loses interest in the film. This situation can be due to various reasons, including due to installation errors. Let's take the same example with competitions. There may be such a situation that fragments get into the film, where ALL people unconditionally promise victory to the protagonist. It seems to the viewer that the ending of the film is obvious and, thus, there is no intrigue. Even if you have prepared a surprise and at the end of the movie the hero loses, this will not correct the situation. If this is not a short video, then the viewer already watched 10-15 minutes uninteresting for him, cinema and his mood are spoiled. In a situation like this, most directors prefer to keep the suspense right from the start. They insert different fragments into the film that tell about the fact that victory is not given just like that. Even in live sports reports, they always "escalate the situation", talking about strong rivals and other problems. In Hollywood blockbusters, this situation is exacerbated even more. There is an anti-hero who builds dirty tricks and in every possible way is mean. Because of such a scoundrel, not only, as in our example, victory is in question, but often even the life of a hero. "The plot hangs." This is a typical mistake, which, however, is also corrected in the standard way - editing. It is very easy to notice such a mistake - if you suddenly become bored and want to be distracted - this is it. This feeling occurs when an advertisement is suddenly included in the middle of your favorite movie. Do you have ads in the movie? If not, then try to avoid such moments. What can cause them? Most often due to redundant information. The viewer has already understood everything, made out, and they still continue to tell him something, chew it. It's tedious and boring. Should have been cut off. And if a fragment is very dear to you, then you can cut it and rearrange the part to another place. This is often done in a documentary with long interviews. You can try to "revive" the fragment with music or some kind of insert - for example, a beat (a short graphic element that reminds the viewer what he is watching and why). Another reason for "sagging" is the loss of momentum and slowdown. Just now the action was galloping like a gazelle and suddenly weaving like a turtle. The viewer is waiting for what will happen next, and the author is pulling and pulling time. This often happens due to the lack of material for any fragment. Attention! Do not confuse "sagging" with a fragment for "breathing". Consider internal dynamics! Let's say you're showing a snippet of a competition. The hero watches his opponent perform. If you show how the opponent performs some kind of monotonous action for too long, the viewer will get bored. Everything is already clear! The action has lost momentum - it is not developing. You said that he is a good athlete and is a serious competitor to the hero - what else needs to be added? Everything else is already boring. But if at this moment you show that the hero, looking at the opponent, is nervously fiddling with his sleeve, this will add tension and dynamics to the scene, although, judging by a purely mechanical one, then you have reduced the pace. Even if there are no frequent cuts in the film that change one plan to another, the internal rhythm of the same plan of sports competitions is higher than the view of the viewer. It doesn't matter what you do - a commercial, a movie or a home video. Remember, every story has a plot. If you want someone to be interested in her - carefully follow the plot! Installation is here to help! Author: Maxim Bukhteev; Publication: mabuk.ru
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