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BOOKS AND ARTICLES Little tricks of the big montage
Common Incoherent script? No idea, so you don't know where to start editing? Make a selection of the best, in your opinion, plans, moments, phrases. Name them and sort. This time, in any case, will not be wasted. These plans will still be useful to you, and in the selection process, perhaps a lot will become clear to you. Plan your work schedule. Try not to postpone the most difficult creative part until the end of the working day. There are only a few hours for creativity - then the mind runs out of steam and begins to demand a break, continuing to work purely mechanically. Start editing with the best shots and strong episodes, this will set a good mood for editing. However, remember - there are not many good plans. Therefore, when you feel that they are coming to an end, check whether there is enough material for the rest of the fragments of the film, video, clip. It may turn out that you have already done all the work and the pieces that lack good material should simply be thrown out. It is always better to discard part of a failed work than to jeopardize it entirely. If you want to check the quality of your work - never ask the viewer to immediately specify the sensations, pointing to, in your opinion, a problematic fragment. Even a professional first looks like a spectator - no need to shoot him down. If something jarred the viewer - find out what exactly and in what place. What did he not understand? Analyze the causes of what happened in the second place. The overall feeling of your work is much more important than the particulars. Time management In order to speed up an action scene (for example, a fight or a chase), make cuts in motion, slightly shifting them forward in phase. Thus, part of the movement is eaten up, which is completely imperceptible to the viewer, but in general, the whole action becomes clearly faster. Thus, in films, even from inept stuntmen they make aces. And vice versa, if you want the viewer to look at the scene for a long time on which the most money was spent, rewind the cuts a little back. This is the favorite technique of all Hollywood directors. ALL of their explosions are mounted that way. And one of the most common ways to skip a long period of time is to montage for a short time to other characters and to another place of action. That is, for example, the hero leaves the house in the morning, and we go to his girlfriend, who is shopping at that time. After that, we can return to the main character, when the working day is already in full swing. To make a quick transition from one scene to another - put a "patch", for example, in the form of a plan with a general view of the city. This is not a very elegant technique, however, this does not prevent it from being widely used in most, even the most pretentious television series. But still, try to put some kind of plan with meaning as a patch - a clock, a sunset, or something like that. Using a short cut, you can compress arbitrarily large periods of time quite meaningfully. In our example, the hero closes the door of the apartment / his girlfriend puts the purchase in the basket, the hero gets into the car / the girl hands money to the cashier, the hero presses the signal of the car in traffic / the girl puts purchases in the basket. Thus, having spent a few seconds, we showed a whole hour from the life of the heroes, and, at the same time, we were able to tell in detail what happened to them and how. gluing To hide a not too successful gluing, mask it with sound by making the so-called oblique gluing. That is, first do the gluing by video, and then by sound (or vice versa). The main thing is that there should be a distance between them, at least a few frames. For example, when editing an interview, don't splice exactly according to the words. If the gluing is rough, most likely, the viewer will notice that you cut off the speaker in mid-sentence. Let the end of the phrase go a little bit into the next plan - this will look more natural. If you need to stick together, but there are no necessary plans, then you will have to put the so-called "patch" or "interruption". That is, the plan from some other place, for example, when shooting a concert, is usually the audience. This approach always looks rude. Try not to put such a plan alone. If you're going to put a patch, then pretend that this is how it should be - put several of these plans together, as if you decided to show something very important, in addition to the main action. Putting short "interruptions" / "patches", try to catch any, even the smallest and most imperceptible movement on the screen - blinking, a hand gesture or a change in posture. This will help to revive even the most boring scene. The greater the difference between the sizes of the plans being glued together, the better the discrepancy in the location of the characters, their postures, etc. is masked. The following trick has saved clipmakers more than once. To disguise the wrong gluing or an unsuccessful effect - turn them into an author's move, pretending that it was intended. To do this, repeat this technique several times in a row after a short period of time. This does not work in all cases, but in clips or commercials it often works. The viewer of such forms is ready for experiments and favorably perceives something unusual. However, remember; in order to break the classic rules of installation, you need to know them well and be able to apply them. The more often gluing - the more obvious and clear the movement should be and the larger the object. The human eye first perceives the very fact of movement, and then considers what exactly it was. Sound The editor often has to use "dirty synchro". That is, the sound, which is superimposed on some extraneous noise. This often happens when shooting outside the pavilion. Even if this noise is barely audible in the background, it can be very annoying. Even an experienced sound engineer cannot always cope with this. Therefore, remember that noise is heard, mainly in the pauses between words - cut them out and extraneous noise will no longer be so noticeable. And sometimes you can "hammer" unnecessary noise with music. Active noise suppresses weaker noise. For example, this technique works well if you are interviewing in a crowded place. Even if the speaker's voice is VERY loud, you still hear extraneous voices, which you involuntarily listen to, trying to make out what they are saying. It is distracting and interferes with the perception of information. It is enough to turn on light background music in words and the noise will be lost. Often you need to synchronize two fragments. If they both contain the same audio track, then one of the easiest ways is to put them together in a montage (on the timeline) and move one relative to the other. As soon as the echo disappears, the tracks are in sync. Effects To make the effect of appearance (wipes, wipes, flyouts) more natural - do not leave its setting linear (uniform). For example, in Avid, any effect has a standard acceleration function. When it is turned on, the effect loses its strict mathematical form. That is, let's say, the curtain is no longer extended evenly, but at a variable speed, as if it were being moved by a human hand. If there is no such function, you can adjust the effect manually by changing the coordinate-time graph from a straight line to a sinusoidal curve (similar to an inverted "S"). A small black line (border) will always add clarity to any border, increasing the readability of the title and graphics, clearly separating one video from another, for example, when using the picture-in-picture effect. Using the visual mixer effect (fade) smoothes the scene and slows down the action, giving it a lyrical mood. Any transition effect (fade, wipe, push, console) rewinds time forward. The effect of the "picture in picture" type (picture in picture) well emphasizes the parallelism of the action, that is, the fact that different events occur at the same time in different places. The effect of converting a picture to black and white mode allows you to increase its clarity and depth. The human eye is more sensitive to brightness than to color in an image, so this technique is used to emphasize details and mask operator errors. Quite often, the video image is “blurred” and “whitened”, however, this can be corrected by increasing the contrast with brightness. The dip to color effect ends the action. Therefore, it is used in interviews to emphasize the end of a topic, thought or phrase, and in movie trailers to create a sense of the diversity of scenes and events in the announced film. The appearance of any title or graphics on the screen intercepts the viewer's attention and distracts him from the main image. Don't put captions on a beautiful video - it's better to move them to a boring piece. Rhythm With a lack of experience, it is sometimes difficult to catch the rhythm of editing. Try to start by mounting plans of the same length. Sometimes it helps. If you edit to music and doubt your sense of rhythm - turn on the graphical display of the audio track (Sample plot) and mount by peaks on the graph. As usual, the rhythm on it is clearly visible. Author: Maxim Bukhteev; Publication: mabuk.ru
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