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BOOKS AND ARTICLES Assembly according to tradition or assembly as a craft
Almost any creative work, and editing is no exception, has two sides. One side, as a rule, is individual, where a person himself establishes laws and judges himself only by them, where everything is decided by his personal taste and talent. The result of his work can be assessed in different ways: someone will come to an indescribable delight, and someone will yawn indifferently - creativity is individual, but perception is individual. Another thing is when a person expresses himself, not by discovering and establishing personal rules, but by acting within the framework of existing generally accepted laws. This is not a question of conformism, but a professional approach - a craft above personal ambitions. Craft is understood here as craftsmanship within tradition, it is a world of "made" and not "born", a rational approach instead of an intuitive one. Handicraft is a dynastic thing, skills and rules acquired as a result of many years of practice are transferred along the "teacher - student" chain. A craft can be taught or learned. This is not yet a guarantee of the appearance of an artist, but a necessary stage in his development. Remember that Leonardo was Ghirlandaio's apprentice, and Salvator Dali copied Velasquez in his youth. For a truly creative person, mastering a craft is not only about acquiring skills and following principles, but also about understanding the possibility of self-expression within the canon. It is difficult, but in overcoming difficulties, art is born. French classicism set before playwrights the task of preserving the trinity - time, place and action, not so much from the desire to bring art closer to reality or to put the masters on equal initial conditions, but, above all, from the desire to make art difficult. In the aesthetics of classicism, art is a overcome difficulty. Artificial frames force the artist to overcome the material, to find unity in its diversity. What will help in solving this problem - talent, inspiration or skill - does not matter, but if the problem is solved successfully, then a true artist is born. Corneille, Racine and Moliere - confirmation of this. Why these lengthy and not directly related to montage reasoning? They are caused by a situation that has long been established on television - the prevalence of personalities and the complete oblivion of the craft: with the exception of some author's programs, all other production only claims to be artistically or professionally made. This misfortune, in my opinion, is due to the incorrect attitude of the majority towards the craft as something secondary, if not the opposite, in relation to creativity: either I am an artist and this should be seen at a glance, or I "hack" - a permissible weakness for making money. Either I "turn over what I want", or I am bought and do "whatever you want". The position is comfortable, but completely unprofessional. This is especially evident in variety programs, when Kobzon is filmed in the same way as Lika MC, or they try to turn the broadcast of the concert into a clip. Lack of mastery of the craft leads to the fact that a good director is one who is able to bungle something outwardly edible out of indigestible material, and a good editor is one who has the practical skill of working at the console. Editing as a craft, in my opinion, requires the ability to think montage, that is, to understand that montage is a game with time and space recorded on film. With its help, we can compress and stretch time, and construct screen space from real space. Like any game, editing has its own rules. First, you can't treat montage only as montage of an image - the principles of montage apply to light, color, and sound. They mutually determine the montage style and it is impossible to mount the image in one manner, and the sound in another, of course, if this is not a condition for solving a certain artistic task. Secondly, you need to remember that editing begins before shooting, and not after - that is, to assume in advance what “sticks together” with what and accordingly plan the scenery (or choose the interior), set the light, arrange the cameras or build the frame. Thirdly, keep in mind the tempo-rhythm, that is, the ratio of the frame rate (set by the duration of the plan) to the rhythm of the episode (set by the number of frames), and, accordingly, the rhythm of the episode to the overall rhythm of the transmission (set by the number of episodes). These relationships must be built according to certain principles - unison, resonance, counterpoint, ragtime, etc. And, finally, fourthly, follow a certain mounting system, which largely determines everything that was said above. There are two main systems - comfortable or accent mounting. Comfortable editing imitates the flow of life, confessing the constancy of time, place and action. Its laws are built in such a way that the viewer's eye does not notice the "glues" and the viewer constantly understands where he is and what is happening. It gives screen time and space as real. In contrast to the first, the accent montage is torn, spasmodic, emphasizing the joints and taking the viewer from one place to another, pushing people, phrases, rhythms, forms, thoughts together. Both mounting systems are built either on following or on violation of the general principles of mounting. Editing by size There are three main types of shots: general, medium and close-ups. The scale for assigning a particular frame to a particular plan is a human figure. If it entirely falls into the frame, then this is a general shot, if only part of it is then medium, if only the head is large. In turn, each size is divided into three gradations:
In a comfortable installation, adjacent grains cannot be pushed together, the optimal installation is through the grain size. For example, "medium second - large third", but not "general first - average third" or "general third - large first". Special, in terms of size, are shots for which it is impossible to use a human figure as a scale. These are shots taken using special optics:
In addition, sometimes it is necessary to highlight a part of an object or a part of the body (watch face or human eye) - such a fineness is called a "detail". The use of these frames in a comfortable montage must be justified by the preceding action, for example, the hero looks at his watch or leans towards the microscope. When it is not possible to exactly follow the principle of comfortable size editing, you need to remember that the length of the plans can smooth out the jump in size - the longer the plan, the softer the transition to the next size will be. Montage by geography Between any two people in the frame, you can mentally draw a line that repeats the direction of their views on each other. Such a line, called "communication line" is the main criterion for comfortable installation based on the principle of geography. All shooting points should be on only one side of it. You can cross it only in one plan, when the frame starts on one side of it and ends on the other. The montage jump (even through interruption) will destroy the idea of space for the viewer, who, during a conversation between two people, will see two unidirectional profiles. When editing a conversation between two people, the left profile of one and the right profile of the other are alternately mounted, or vice versa - the so-called "figure of eight". This principle is observed both when people in the frame are not talking, and when there are more than two people. When there is no actual communication of people in the frame, we must assume such a possibility with a given placement of them in the frame and draw a line of communication, based on which we choose angles. The presence of a large number of people in the frame complicates the task. In this case, in a comfortable editing, we should start with a "address" plan that will show the relative position of all the characters, and then divide people into communication pairs and, in each specific case, choose shooting points based on their lines of communication. If everyone is talking at the same time and constantly changing interlocutors, then you can’t do without a moving camera and a general plan. All of the above applies not only to people, but to any subject. Mounting in the spotlight Any new frame attracts the attention of the viewer. His first reaction is to understand what he sees. To do this, depending on the size and complexity of building a frame, it needs 2-4 seconds. If nothing happens in a static frame for 4-6 seconds, then the viewer's interest in it disappears. You can return the viewer's attention either by changing the frame, or by increasing the duration of the frame for more than 10 seconds, when the viewer begins to peer into the details, look for nuances, realize the semantic load of the frame, or by starting the action in the frame. Any action in the frame is a movement, and the pupil of the human eye is instinctively attracted to any moving object, which becomes the center of the viewer's attention in the frame. When moving from shot to shot in a comfortable montage, this center of attention should not shift by more than 1/3 of the frame area. In a static frame, the center of attention is the center of the composition. Installation by light A change in the illumination of frames in a comfortable editing should not "hit the eyes". The transition from a light frame to a dark one is impossible in one gluing, it is necessary to make this transition in several stages, gradually brightening or darkening the frame. This is determined by the need to adapt the human eye to changes in the illumination of the frame. Mounting by color The color scheme of the joined frames in a comfortable editing should not collide contrasting colors - the laws of color apply here: the neighboring colors of the rainbow "red-orange-yellow-green-blue-blue-violet" are combined, "green" not only divides the colors into two scales - " red" and "blue" (which are incompatible with each other), but also combined only with their "neighbors". The transition from one primary color of the frame to another in one gluing is not possible, it is necessary to change the color ratios step by step in several steps. Installation in the direction of movement of the object In comfortable editing, the direction of movement of an object in the frame can change by no more than 90 degrees, if the line of communication does not intersect, and it does not matter whether the camera moves or not. That is, to change the movement of the object from left to right, you need an intermediate plan with movement forward or backward. This principle also applies to a moving camera without a moving object in the frame, when an intermediate zoom-in, zoom-out, or static frame is required to transition from left-to-right panorama to right-to-left panorama. Editing by motion phase With comfortable editing according to this principle, the transition from one frame to another should occur at the most unstable moment of the object's movement in the frame, and the next frame should capture part of the movement of the previous one, as if catching it. With the cyclic movement of an object in the frame, this principle allows you to stretch time or compress it, repeating the phases of the cycle or, conversely, throwing them away. Editing by the speed of the object When changing the size, the apparent speed of movement in the frame of the object being photographed changes. We know that when using wide-angle optics, the apparent speed of the movement of an object is greater than when using long-focus - on the "wide-angle" it is enough for a person to take a step so that the plan turns from a general to a large one, and on the "telephoto" - the apparent size of a person and in a few steps not changes. The greater the difference between the focal lengths of the lenses that took the first and second frames, the greater the jump in the apparent speed of the object in the frame. Therefore, in a comfortable editing, the time for an object to cross the frame should be the same for all sizes. Mounting by motion mass A change in size leads to a change in the amount of moving mass visible in the frame - on a wide-angle human head occupies an immeasurably larger frame area than the same head taken with long-focus optics. The change in the amount of moving mass in a comfortable montage should be no more than 1/3 of the frame area. This applies not only to the subject, but to any movement. For example, an object in the frame is practically motionless, and the background flashes behind it, which means that when changing the size, the change in the background area should not exceed 1/3 of the frame area. It is necessary to observe all the described principles in comfortable editing in a complex - compliance with one and non-compliance with the other in one scene leads to the destruction of screen time and space. Moreover, these principles are interdependent and together determine the montage structure of the scene - both its individual elements and the conditions for their comparison. The simplest example: a presenter and three interlocutors in the studio. The “geographical” principle requires starting from a general plan, so that the subsequent “eights” for the viewer are associated in the mind with specific spatial coordinates, otherwise, when the leader’s head turns in one direction or another, it will not be clear who he is addressing. Thus, the "geographical" principle also provides a starting point for the principle of size distribution. The same applies to all other principles. This is precisely the system, all elements of which must be in a harmonious combination. The highest manifestation of comfortable editing can be considered the so-called "intra-frame" editing, when the on-screen action unfolds without "gluing" - in one frame, the size, angles, lighting, etc. change, which allows maintaining the audience's interest for a long time. The more time the director can hold the viewer's attention with one shot, the higher his professional level. Many who are not fans of the work of A. Hitchcock will understand why he is constantly in the top ten film directors according to professional polls, if we recall that among his works there is the film "Rope" - a tape where the number of frames is equal to the number of episodes, and their length maximum technical capabilities of the time (10 minutes). Accent mounting is based on violation of the principles of comfortable mounting. This is a special type of montage thinking, where everything is decided by the director's taste and sense of proportion, his ability to think paradoxically and the ability to "knit" associative chains. Many discoveries in the field of montage belong to specific individuals: "parallel" montage by D. Griffith, montage of "attractions" by S. Eisenstein, "Kuleshov effect", "associative" montage by D. Vertov, "remote" montage by A. Peleshyan, etc. The art of montage is a living thing and everyone can invent a personal method or discover a new effect, you just need to understand that the sum of techniques is not yet a new concept. A personal approach does not contradict the craft, but grows out of it. Only when the old form is unable to accommodate new content does it need to be replaced. The wretchedness of thought cannot be covered up by external pomp. Editing is not the ability to make candy out of a..., but the art of harmonious subordination of form and content. Author: Andrey Ganson; Publication: videomount.blogspot.com
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