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BOOKS AND ARTICLES Useful Video Editing Tips
Professionals say that the first frame of any work should contain the entire work, in other words, the first frame should be symbolic. As a rule, 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. In a static frame, the center of attention is the center of the composition. In adjacent frames, the same method of intra-frame editing (transition of depth of field, panorama, approach and or departure) should not be used. Every zoom in and out of the camera or change in the focal length of the lens, especially with rotation, as well as fast panning, must be justified, as their frequent use can cause dizziness. To make the viewer feel comfortable, these techniques should not be abused. Remember that an edited frame is less annoying than a zoom frame, and too frequent frame changes, screen flicker, excessive variegation or defocusing of an image (most of all, a moving one) quickly tire your eyesight. Throughout the film, the viewer should not have the desire to adjust the volume or picture settings on the TV screen. A total of 30 episodes of 15 frames and scenes can be shown in a 400 minute movie. A frame should not be shorter than two seconds, and a scene should not be longer than two minutes. Shoot "montage" - so that during the shooting you get a finished plot, and not just a set of more or less successful shots. If a novice cameraman deliberately forbids himself to make panoramas and use a zoom lens, he will gradually begin to wean himself from the shooting style typical of an inept amateur, when the camera “does not stand still” for a second, but senselessly “dangles” back and forth and left to right. It is impossible to say exactly what is the maximum allowable size difference in neighboring frames. In general, filmmakers and television people make gluing by size rather intuitively than guided by any theories: "It sticks with this." - "Why?" - "Yes, God knows. Glued - and that's it." The standard difference is "general-medium", "medium-large", etc., but, for example, in the film "Moscow Does Not Believe in Tears" there is an episode where shots are glued together in which the hero and heroine are completely of the same size and equally, in the center are located in the frame. How so? And here's how: the heroine is on a dark background, and the hero is on a light one! This is absolutely enough for such gluing to "work" normally, because the main principle is not violated: frames with a dark and light background are compositionally very different from each other. Returning to the analogy with literature "frame = phrase", what can be said about "punctuation marks" in cinema and video? - Probably, a quick TF zoom can be compared with an exclamation mark, a panorama through several objects - with several adverbial phrases separated by commas, etc. - But where did you see a page of text, completely dotted with commas? Or ten sentences in a row with exclamation points at the end? Meanwhile, in inept amateur videos, there are whole scenes where sharp TF zooms were present in every frame. - I advise you to carefully use the techniques of intra-frame editing, it has already been said enough above about how powerful these artistic means are. There are as many cameramen in the world as there are so many ways to shoot the same shot. After all, in the end, filming as an activity is a way of self-expression - you can break any rules and canons, as long as the shots you take convey your feelings about what you are filming! However, please note: it is “violate”, and not “neglect” or, even worse, “not knowing” - that is, I mean that first you still need to master these very canons, and only then... When the characters are taken from the side, in profile. This angle is generally very unfavorable for the human face, because the eyes are practically invisible, which, as you know, are the mirror of the soul and therefore are very important for the content of the frame. In general, a frame with a face "in profile" is more of a "symbol" than a "portrait": "Lenin - Stalin" - remember? 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. 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. Editing articulates frames filled with time, but not concepts, as was often proclaimed by the proponents of the so-called "montage cinematography". A stable result is a sign of professionalism, but the same result is a sign of craftsmanship. A real artist is creative. Editing - shooting, which requires a minimum or no subsequent frame-by-frame editing "on the table". In neighboring frames should not use the same method of intraframe editing (transition of depth of field, panorama, approach or departure) Try to intersperse complex shots with camera techniques with simple and static shots, "pictures" - this will allow the viewer's attention to rest and "digest", decipher that, say, "zoom with a panorama and transition of depth of field" that you did in the previous frame. (By the way, if you remember, people used to call a movie that way - "picture".) - Is it because the frames of the old cinema were very stingy with the techniques of intra-frame editing, they were mostly static and strict in composition and were associated with viewers with canvases artists? - If so, isn't it better to think ten times over the composition of a static shot than to wrap one camera technique on another and turn the home story "Vasya's friend's birthday" into a kind of music video in the tradition of "MTV". Every movie is completely enclosed within the frame so that, after looking at only one frame, one can, I think, say with confidence how talented the person who shot it is. The horizontal composition of the frame in cinema and video is justified by the fact that human vision is panoramic in width, and not in height, because cinema or video is essentially a "view from the eyes of the observer", in contrast to the photo, which is still probably worth much closer to painting, with both vertical and horizontal compositions inherent in it, than cinema and video. One of the main principles of video editing: the viewer must forget that "this is a movie." at the same time, he must "not feel the camera" and not "stumble" on the gluing. Rule of Eight: Two people talking can only be filmed from one side of them. Publication: videomount.blogspot.com
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