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BOOKS AND ARTICLES How to work with rhythm in editing
Rhythm control is the most important tool of the editor. Rhythm is the mechanism that allows you to control the audiovisual flow, forming, where necessary, heterogeneous pieces into a single whole or dividing fragments according to meaning, mood, inner content. A very common mistake in editing is the understanding of rhythm as a formal interval from gluing to gluing. Such a thoughtless "mathematical" approach often destroys all the intra-frame beauty of what is happening, nullifies the efforts of the actors, director, cameraman. Although, this does not mean that such a technique cannot be applied in some situations. It is not only necessary to reduce the entire concept of rhythm to the distance between gluings. The source material only at first glance may seem chaotic and chaotic, but it is not. Any action has its own "inner core", which holds all the material. Another thing is that it can be littered with a bunch of "waste rock". The task of the creator is to get to the bottom of a valuable vein. Remember Michelangelo - "I take a piece of marble and cut off all unnecessary"? So, how to find logic among chaos? First you need to view the material in its entirety. You can try to capture the essence on the fly, but often, especially in the absence of proper experience, this is not so easy to do. After reviewing the source, the first thing to understand is what happens most often in the frame? What can rhyme with each other? What action dominates the footage? This can be, for example, hitting the ball or steps. What else can we put in the basis of rhythm? Maybe the script itself will tell you? What can be done with a metronome beat in a script? An excellent example is the verses, which seem to dictate the size and logic of the alternation of plans. And the music? Good music leads the editing itself, suggesting the duration of the frame in each fragment. Decide what you will build on during installation. If you have strong music, then it will be decisive. As a rule, they are mounted under the "strong beat", but there may be options. The main thing is that the selected type of montage is retained, at least until the end of the measure. And there, if necessary, you can make an editing syncopation by transferring the gluing from the strong to the weak beat. Naturally, having decided to apply such a technique, the director of editing must clearly understand its validity at a given moment in time. For example, a musical accent (the introduction of a new musical instrument or a simple lubrication) is always a good occasion for syncopation. But changing the editing logic in the middle of a short drum roll would be strange. If the music is background or with a weakly expressed rhythmic pattern, then editing can lead to a video sequence. Here you need to identify patterns within the video sequence itself. Is it possible to loop something artificially? What is the logic of action in what is happening? For example, a good kick to the ball causes a storm of emotions among the fans. Excellent audiovisual rhyme - "hit the ball, hit the drum in the stands." Rhythmic montage consists of three components. Mathematical, visual, sound. High-quality installation is a competent combination of these components. Logic can flow smoothly from one to the other. The main thing is that it looks natural and understandable, both for the editing director and (more importantly) for the viewer. For example, first three plans are marked by duration, where the gluing is performed at the moment of the musical accent. Then the next plan (fans rhythmically beating the drum) contains three such accents, synchronous with the drum beats in the stands. Then comes an illustrative lubrication by video and sound, taking us to the football field. The drum roll rhymes with a quick cut of short close-ups of the players, where the general principle will no longer be the duration of the shots and the rhythm of the beats, but the general mood and energy of the short fragment. The overall rhythm of the whole work is also of great importance. Even if the work should be dynamic, it is difficult to keep the viewer's attention by making the rhythm monotonous, even if very fast. In this case, the length of the entire work does not matter much. The total timing can be thirty seconds or twenty minutes - the only thing that matters is the ratio of parts to the whole. But the work should not fall apart into fragments. After all, we want to achieve from the viewer a general impression of our work, and not "partial satisfaction" at all. This is where the dialectical nature of the work of art comes into play. On the one hand, it should not be monotonous, and on the other hand, it must produce a coherent impression, without breaking up into separate fragments. How is such an effect achieved? One of the methods for this is a natural, due to the peculiarities of perception, a change of rhythm. Have you noticed how amazingly "mountainous" talented literary works are? For example, Shakespeare seemed to make a storyboard when he wrote his plays. They are amazingly rhythmic. Their cyclicality is manifested both at the general level - the famous three-act structure, which is still the pinnacle of dramaturgy, and at the private level - the level of dialogues and scenes. Dynamic, short phrases (montage "shootout") are suddenly replaced by a paragraph-long monologue, as if intended to be panned from a crane or cart. And then "action" - action almost without words with a stormy accelerated montage, saturated with special tricks. And then the "ring" (a reference to where we started), which seems to "pack" the scene, giving it the necessary integrity. Everything is designed so that the viewer does not have time to get bored either because of the plot or because of the visual action. Everywhere interspersed with "unloading" humorous dialogues. Special "transitional" fragments, in order to "bring" the viewer out of one mood and lead to another, changing his state from concentrated tension, emotional empathy to relaxed contemplation. And sometimes (when the author needs it) it's an explosion - a sharp change of mood. Rhythm is the pulse of the piece. The heart is pounding like crazy, then it freezes in anticipation of something, then it beats measuredly, enjoying peace. If we adjust the rhythm all the time, accelerating, forcing the viewer to listen intensely to every word, to peer into every frame, then we will "take our breath away", drive attention so that not only consciousness - sight and hearing will refuse to physically perceive information, making all our information in vain. creative work. The viewer simply will not see the installation solutions that have been spent so much working time. With long "sagging" the viewer will become bored. Words? But the viewer does not perceive words well, and long tirades, even if they are filled with meaning, even more so. The fact is that at such moments we force the viewer to think, digest information. Not everyone likes to fantasize, and everyone hates doing someone else's work. And here we, as creators, shift part of our functions to the consciousness of the viewer. We have nothing to show - see the same plan. There is nothing to say - listen to the same thing, or we will be silent altogether, and you think for yourself what was meant. Who would like this approach? Of course, our task, among other things, is to awaken the imagination of the viewer. Let him speculate somewhere, inventing something that does not exist. But it can't go on like this all the time! Riddles, secrets are a classic component of a dramatic work, but we must create the impression in the viewer that we are not leaving him, but that we are going along with him through the back streets of the plot. One of the main qualities of a creator is a sense of proportion. Basically, it comes with experience, but you can also check yourself by roughly measuring the main parts of the work by timing and comparing the proportions with the classical ones. If some part is much larger than the rest, it is necessary to understand why this happened. When there is no clear answer to this question, we have a problem. There is a beautiful plan - let the viewer see it. There is a funny joke - let the viewer feel it and laugh. But there is no need to lump everything together, loading each fragment with conflicting tasks. Each sequence of plans connected by us by montage must have its own character and its own task. If we cannot decide what exactly each fragment should tell the viewer, what emotions and sensations it should evoke, then we have not done our job. Skillfully working with rhythm, we will achieve the success of the whole work, which will look in one breath. Author: Maxim Bukhteev; Publication: mabuk.ru
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