All about editing shots. video art

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All about editing shots

video art

If the shots were taken in the same place and at the same time, this does not mean that the viewer will perceive them as elements of a single scene. Some frames fit together easily, while others may be completely incompatible. The art of editing, in particular, lies in the fact that the scene, the episode and the entire film develop smoothly, without jerks and jumps.

If you follow certain matching rules, applying them both individually and in combination, you can join scene frames in such a way that they will be perceived by the viewer without gluing, forming an editing frame. With such editing, there is no need to frequently use zoom to highlight an important plot element and you can select only pictures that are successful in composition, the scene itself and the entire film will look more natural and professional. The edited frame significantly reduces the duration of the scene, increasing the dynamism of the narrative. Let's consider the main rules for constructing an editing frame, which will be useful for editing and other structural elements of the film.

Alternating the size of plans. If the scale of an object in adjacent frames changes by one step or less, then the object (hero) will look like jumping from place to place, even if its position on the screen has shifted slightly. The scale of distant objects changes much more slowly than nearby ones, so the environment "jumps" even more. Horizon jumps cause a particularly unpleasant impression.

If the scale of the object changes sharply (more than 4 times), then the viewer loses orientation completely and it will take him some time to find the hero on the screen and reconnect with what he saw earlier. With such a junction, there may be a feeling of a change in the place and time of events, and the scene will lose its integrity.

For adjacent frames, it is possible to consider an increase or decrease in the scale of the image of a plot-important object by 2,5-3 times (the "golden ratio" gives the number 2,62), that is, by two steps or through the plan.

In order not to jump surrounding objects, it is necessary to change the angle of view on the object or the shooting angle to 45 °. It is better to keep the position of the horizon line or not to select it explicitly in at least one of the adjacent frames. It is perfectly acceptable to alternate close-ups and close-ups, as the surroundings are displayed out of focus here. You can also dock the general and distant plans, since in this case the change in scale is difficult to attribute to the image of the hero, which becomes commensurate with the size of the environment, but here it is better to change the angle of view.

It is undesirable in the same editing frame to gradually increase and then decrease in the same way (or vice versa, decrease and then increase) the image scale of some object. It looks unnatural and unprofessional. The same impression is caused by the use of sequential zooming in and out of the camera or zoom on the same hero. These two procedures are best separated by a frame showing the environment.

direction agreement. Adjacent frames must be coordinated in the direction of movement of objects on the screen, but if the object moves from left to right, and vice versa in the next frame, then the viewer may have the feeling that these twins are striving towards each other. If a player kicks the ball from the left, then in the next frame the opponent's goal should be in the right corner of the screen. So, the object in adjacent frames must move in the same direction of the screen, and to show movement towards the characters, they are directed from different edges of the corresponding frames to the center. If the characters are depicted as moving from the center of the screen to the edges, then this will be perceived as a discrepancy.

After shooting from the left and right sides of a car moving along the street, the buildings will move to opposite sides of the screen; to coordinate such frames, a separator frame must be inserted between them, for example, a frame with a view in the direction of movement forward or backward. When shooting a panorama, it is necessary to make static pieces at the beginning and at the end so that in the future there will be no problems with joining in the direction of panning.

Adjacent frames must be coordinated not only in the direction of movement, but also in the direction of the character's gaze or gesture, blow or force vector, etc. The joint efforts of the team pulling the rope must be directed to the same side of the screen. To show the confrontation, the direction of the gaze of the characters in adjacent frames must be turned in opposite directions. And in the dialogues, the characters on alternating frames should look at the center from different edges of the screen.

The general rule of agreement is that when the angle of movement (or action) in adjacent frames changes by less than 90°, the direction is perceived as unchanged or consistent. A direction at an angle of more than 90° is perceived as a counter or as a reaction. The nature of the 90° direction change is not defined. In this case, the frame can serve as a delimiter in case of negotiation difficulties.

"Eight". A particular, but very important case of coordination in direction is the so-called "eight". When the camera pans in opposite directions in adjacent frames.

Interlocutors (rivals) are shown from behind each other's shoulder. If you shoot one person from behind the right shoulder of his interlocutor, then the second must be shown from behind the left shoulder of the first. The scale of the image of the characters should be made the same and large enough. The face should be in focus, and the shoulder of his counterpart should be made blurry. At the current moment, you can show the face of the partner who pronounces the words (except for brief replicas), but it would be useful to capture the listener's reaction to the sounding speech. The shoulder or back of the interlocutor's head is enough to display only the first time, then it is not necessary to do this, since the monotony quickly gets bored, as well as too frequent alternation of frames.

There is no need to drag out close-ups, it is better to delimit them with an image of the environment.

When shooting a speaker and listeners (artist and audience, toastmaster and guests at the table), there is a difference in points of view, one is higher than the other. Therefore, in adjacent frames, it is desirable to apply a camera tilt (angle) for a short time: show the listeners from the upper point of view, the speaker - from the point of view of the listener sitting below. Long-term shooting of people with a tilted camera is undesirable; it is quite enough to shoot only one of each pair of frames from an angle. To avoid the lower point of view, you can step back and shoot with a telephoto lens.

If the speaker is turned slightly to the left, then the listeners should be shown turning to the right to the same extent and vice versa.

"Eight" in adjacent frames is applied to one character. To clarify the position of the hero on the ground, it is better to scale the image in front and behind the same (general or distant plan). And when the hero leaves the stage, in the next frame he is shown in front of a larger shot with a sharp change in the background; if a person enters a building, then the next frame should be taken from the room against the background of an open door.

With the help of the "eight" you can show the environment of the scene, follow the gaze of the hero and display something he saw. In such cases, shooting with a foreshortening is also used.

When installing the GXNUMX, the following rules must be considered:

1. During shooting, the camera must not cross the line connecting the interacting characters (first of all, the position of their eyes) or both positions of the hero, otherwise the viewer will lose spatial orientation. The microphone must also not cross the line of interaction, otherwise the stereophony will be distorted;

2. The background (environment) in adjacent frames changes significantly, but some objects should be easily guessed from opposite sides to facilitate snapping frames in place;

3. If the line of interaction is clearly different from the horizontal, then the angle should be applied, and the point of view (shooting point) can emphasize the sympathy of the author.

Movement phase. When changing the scale of the image or when editing the "eight", it is necessary to maintain the phase of the movement of objects on the screen. The required accuracy depends on the speed of movement and often does not exceed 0,1 seconds, which is feasible only with computer editing. If the phase is not monitored at all, then the joint will lose its smoothness.

Preserving the phase of a single movement (gesture, facial expressions, hitting the ball, tilting the tree from a gust of wind) is possible only when editing frames taken simultaneously by two cameras, which is extremely rare in amateur practice. In such cases, it is easier to use a separation frame in which the motion phase is not traced.

It is easy to phase-match cyclically repeating movements (steps, pedaling, juggling, dance steps), since the period number can always be neglected. True, for this it is necessary to have a supply of such cycles for different image plans.

The joint is easier to do at the beginning or at the end of the next period of movement, since it is very difficult to track the middle phase of the cycle. The moments of setting the foot on the ground, raising the hands to the highest point, etc., when looking forward or backward in slow motion, are determined quite simply.

Composition matching. So that after joining the film, the viewer does not have to look for the hero all over the screen, adjacent frames must be coordinated in terms of the location of details and parts of the image, that is, in terms of composition. A sharp change in the illumination or color of the scene also causes a feeling of a temporal and spatial jump. A similar problem occurs when joining frames taken by two cameras at the same time, as they may have a different white balance setting.

1. It is recommended to limit the displacement of a plot element (center of attention) to a third of the width and height of the screen.

2. The area of large dark or light areas in neighboring frames should not change by more than a third.

3. New colors should not be entered in more than a third of the screen area.

4. The presence of a common background object in adjacent frames (the corner of a house, part of a window, a piece of furniture) will facilitate spatial referencing.

5. When changing the color temperature of the light source (a cloud covered the sun), be sure to insert a separator between frames (a frame with a cloudy sky).

Frame separator. To connect frames that are not consistent according to the above rules, a separator (or "interruption") is used. Between poorly joined shots, you can show a close-up of a subject of secondary importance (for example, a detail of an interior or a driver’s face when shooting city landscapes from a car), you can show the scene’s surroundings (for example, the setting sun when shooting an evening walk). A suitable transitional effect can also be used as a separator.

Too long shots, including editing ones, evoke melancholy. Therefore, interruption can also be used to reduce the video sequence; here it is appropriate to insert archives on the topic of narration. It is only necessary to avoid multiple returns to the continuation of the same frame, as well as any monotony.

Publication: videomount.blogspot.com

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