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BOOKS AND ARTICLES Assembly workshop for beginners
Shooting mounting material Ask the most patient person to help you. Let's call it N for short. Sit N on a chair in the middle of the room. Light it so that the eyes are clearly visible and there is no shadow from the nose on the cheek or lips. The description of lighting schemes is not included in my tasks, they are better found in books on cameramanship or photography. Just in case, I’ll just warn you that artificial and natural light should not mix in any case, and a little backlight (behind the back from top to bottom at an angle of 45º) will prevent the figure from merging with the background. And now, asking N to look straight ahead, slightly down, take a few shots. Moreover, wherever you move with the camera, the direction of X's gaze should remain the same - straight ahead, slightly down. Set the zoom lens of the camera to the middle position, approximately corresponding to the corner of one eye (F=50) and do not touch it anymore, and in order to frame the frame, move the camera itself. If you have a tripod necessarily take it off. For those who are not entirely sure about the size of the plan, I give a drawing from A. Mitta's book "Cinema Between Hell and Heaven".
I will only add that the division of plans by size is a rather arbitrary thing. Everything that is larger than the head with the neck (close-up in the figure) is already a detail, everything that is smaller, up to the portrait to the chest - large, even smaller, up to the generational plan - medium (moreover, the plan is just below the belt, when "you can see the holster ", is called the American average; and finally, everything that is common to a generation is common and then the most common. Just do not forget that all sizes are differentiated relative to a person. Otherwise, an ant, shot in full frame with all its paws, you will have "in general plan". Now let's print out this table and, when shooting, we will mark the shot plans in it. In fact, it usually fills to shooting, if staged, or afterwhile viewing footage. But, since we now have a laboratory situation, we will use a ready-made shot plan. Time is not important for us yet, pay attention only to the fact that the plan is not shorter than at least 10 seconds. And no arrivals - departures - panoramas. We are still far from them. In the "Notes" column, make your notes, eg. selected takes, etc. We shoot:
Let's release our sitter N, promising to reward his long-suffering with a brilliant plot with his participation. And having a rest, we will continue shooting. Let's select a few objects. For example, a plate with a sandwich (for greater expressiveness, you can bite it), a photograph of a person of the opposite sex lying on the table and ... remember, Kuleshov had a hungry child, but where are we going to look for him now! Let's say a window with a curtain. We shoot:
Enough. We won't break glass today, blow up gas stations either, although it's hard to deny the showiness of these shots. If there is a computer, we transfer the material to the HDD, if not ... well, you know your "montage" better than I do. Frames are numbered as in the filming plan. It remains to stock up on patience and sound. We will need: a mournful violin or cello - solo ("Do they bury a brownie ..."), a "light" theme - a piano solo, wind noise, thunder, children's voices on the street, muffled noise of cutlery and voices at the dinner table (you can record during a family dinner), the noise of a passing car and ... perhaps that's enough. Now you can and for the installation. Finally! I will no longer describe the plans, I will use only their numbers, because the frame plan is in front of your eyes. And even on the "non-linear" do not disassemble the previous gluing for the next one - just copy the plans and assemble the phrase again, breaking them, for example, with a black field - so everything will become much clearer. Installation "Glue" plans 1 - 2. M-yes, bad. Maybe 2 - 3 would be better? No, poor N has become too "twitchy" with us. And if 1 - 3? It's better. Let's increase the effect - 1 - 4. no, now it's a complete "misunderstanding". But 2 - 4 is quite a possible option. Try on other frames of the same object. In general, editing through the size will be "cleaner". An exception is a part that is mounted almost always and with everything, and only end-to-end with the general plan, it must be used with extreme caution (check it on another part - plan 10). That is why you need to collect as many frames of detail as possible during the shooting - they will help you mount plans that cannot be connected in any other way. But! Let's try to sequentially mount the plans in the most "illiterate" way: 1 - 2 - 3 - 4. Isn't it an interesting effect? And if you add another frame 10 in the finale... Often you won't use this technique, but in terms of the strength of the accent, it is one of the most powerful editing tools. Here you have the "inviolability" of the installation rules. Or maybe someone has already heard or read more than once that "the general shot with a large one is mounted only through the middle one" ... Do not believe it! Checked, the main rule of installation, overlapping all the others, is one: mounted all with everythingif exactly you knowwhy just such a sticker you chose. Strange beginning of the workshop, huh? Actually, after that you don’t have to read further - we can always think of a “why”. But only with the same success can you come up with an excuse for spelling errors. On the grounds that the reproduction of a character's illiterate speech is a common technique in literature. On this occasion, I really like to recall the apt phrase of V. Tsygankov: "To be eccentric in art, you must at least know where the center is." First, it is still worth "taking over" the capital already accumulated over the century, and then - disposing of it, as God and talent will put on the soul. Between justification и knowledge - a huge gap. Our next gluing will be: frames 1 - 11. (Here and below, take shots of the same length - 2 seconds each.) Well, how? Something doesn't stick very well, does it? Now let's replace 1 with 2. A little better. But still, both N and the sandwich exist on their own. With shot 3 taken from the same point, plus or minus, the result will be almost the same. Now let's replace plan 1 with 5. Here! The man is already clearly looking at the sandwich. But if you change 5 to 6, this relationship becomes even clearer. Shall we try number 9? Now N, on the contrary, "turned away". By gluing plans 9 and 6 you will make N look at himself. In this case, gluing is meaningless, but the effect itself is worth remembering: it will come in handy for filming dialogue, including one that never existed in reality. A clash of opinions looks much more spectacular on the screen if the people expressing them seem to look at each other, if only thanks to our will. Now let's put together a short montage phrase: 6 - 11 - 7 - 12 - 8. What happened? Our N wanted a sandwich I've never seen before! But all we did was use the most reliable editing technique - the "eight", i.e. the effect when the subjects being filmed are on one side of the number "8", and the camera looks at them at opposite angles on the other. And immediately objects, even those that have never been close in life, begin to interact with each other. And now add frame 10 to the end of the phrase. Wow! N no longer just "wants", but also with difficulty restrains himself so as not to pounce on this bitten sandwich. Let's continue the experiment. We will replace the plans of the sandwich with similar plans of the photo. Those. 6 - 13 - 7 - 14 - 8 - 15. So, now we have the episode "Memories of ...". But! Let's go over this phrase: 6 - 15 - 7 - 14 - 8 - 13. It turned out almost the same But - almost: the meaning of the phrase remained - the person looks at the photo - but something has changed. The emotion on the screen is different. If in the first variant N obviously goes into memory, then in the second case - rather, breaks up with him. From the change of places, the amount has changed. Now, in both phrases, let's put plan 10 last. Look, the fist now expresses the restraint not of hunger, but of emotions, the pain of memories! Now it's time to move on to larger forms. Let's replace the photo with plans 16, 17 and 19. Something is not quite clear ... Let's go through the phrase, for example, like this: 5 - 16 - 6 - 17 - 7 - 18 - 8 - 19 - 10. This is already better. But look, doesn't it seem to you that the last gluing is somehow ... to put it mildly, "not very"? Although before that the last plan was glued without any problems. Maybe try moving plan 19 forward? It got even worse. Move frame 19 - two or three options, and you will see that not a single plan is glued to it cleanly. That's the frame! What's stopping him? Symmetry interferes, the absence of a diagonal. Such a fully balanced frame can only be the last one. Then the end of the phrase will look like this: ...8 - 10 - 4 - 19. Frame 4 enhanced the effect by turning N's gaze directly at the viewer. Once again we are looking through ... Now everything is in place! Why the effect of frame 19 is not present in #4 is easy to explain: firstly, the human face is never perfectly symmetrical, and secondly, it is a detail that, as already mentioned, is mounted with almost everything. And thirdly, and most importantly, the gaze has its own mass on the screen, which violates the complete balance of symmetry (that is why, shooting a person in profile or full face, they always leave more "air" in the space where the gaze is directed) Look, this phrase has nothing to do with either "hunger" or "remembering". Rather, it "smells" of sapens in the spirit of A. Hitchcock. If we also add an appropriate sound ... but we will wait a bit with the sound. What happened on the screen? Our N is clearly not hungry, did not remember the person in the photo, did not experience fear ... But we created all this on the screen. We just repeated the experiment of L. Kuleshov, from which the history of the editing language begins. This is the property of a frame to change its meaning and be deciphered depending on which frame is before it and after it, which is how it is called all over the world - the Kuleshov effect: the combination of two frames gives rise to a third meaning. Now there is a feeling, not at the level of the head, but a feeling, that frames are not just "addendums", but "multipliers" and "dividers"? If you don't catch it, try to "shuffle" the frames - while maintaining the meaning, the emotional sensation will change all the time. Why do I insist on exactly what should arise sensation: in our business, understanding "from the head" for practice gives very little. In order to take good-quality editing material on the set, you need exactly feel the frame as an element of a montage phraseto represent it in its entirety. "Tadpole" will shoot 30 frames where 5 is enough, and as a result, something will not be enough in its "reserves" anyway. As a consolation, I can only say that even the coolest masters of directing always looked like "tadpoles" for some time, and only then turned "from frogs into princes." Let's take a close look at the last sentence. You do not have the feeling of a sort of "drumming"? Plans of the same length "beat off" the rhythm like a wall clock. Sometimes this technique is useful, for example, to create a feeling of monotony (think of Ravel's Bolero) or "countdown before the start." But in our phrase it clearly interferes. Especially the ending, which destroys the whole feeling. Experiment with the length of the plans yourself - make your own discoveries. You will obviously want to "disperse" the rhythm, especially towards the end of the phrase. But then the final frames are very short and do not have time to shake the emotion. And I will offer my own version - on the contrary: we "stretch" the last 3 plans - 2 times longer. It worked? Now the finale is clearly in focus, which is what was required. But the previous shots "hold" the phrase, like a bad engine on a steep hill. We shorten the plans - while mechanically proportional (s. - seconds, k. - frames): 5 (2 s.) - 16 (2 s.) - 6 (1 s. 12 k.) - 17 (1 s. 12 k.) - 7 (1s. 6 k.) - 18 (1 s.) - 8 (1 s.) - 10 (2 s.) - 4 (3 s.) - 19 (4 s.). What have we done? Starting from frame 4, the rhythm abruptly breaks - there is a kind of delay, a pause, which, oddly enough, in this very place increases the tension of expectation (in dramaturgy this effect is called "stop"). And the next frame - a clenched fist - breaks the situation of the hero's tense but passive expectation, suddenly giving him determination to act. This is dramaturgy, albeit only one phrase so far, but created without a single word or even sound. Moreover, with a total length of the phrase of 19 seconds, it is this culminating frame that falls on 2/3 from the beginning ("golden section") - the 12th second. And now try to describe this on-screen action in words, something like: "He, tensely waiting for something, kept looking out the window and his hand clenched into a fist." Perhaps you will come up with a more accurate description, but how wordy and faded it will look next to a short editing phrase in just 19 seconds of screen time! Yes, there is still too much "mechanism" in this rhythmic scheme - the specific length of the shot depends on many factors, including the speed and intensity of the intra-frame action, so it is impossible to give an exact recipe specifically for your shots. You will find the exact rhythm yourself. But now the phrase lives on, it has gained tension. The dramaturgy of the phrase grows and is resolved... by nothing. Nothing? But maybe it is the absence of the ending expected by the audience that will give it a non-standard sound? Replace plan 19 with any "blue hand" from a "horror movie" or a barrel from an action movie - and the phrase will become only informative, moreover, a bad copy of what has been seen a thousand times. We will do it differently. Put in the noise of a passing car. And so that the climax of the noise - the peak of the volume - coincided with frame 10, a little later than its beginning. Mix the extra sound at the beginning and end, and it should subside a second before plan 19 ends. Well, how? Now, if only the expression on N's face was more appropriate for the situation ... But - we have a pure laboratory experiment on editing. But it is already quite possible to "reward" N for patience with this. However, we still have not voiced the first two stories. "Reminiscence": try to put in turn all the stored arsenal: a mournful solo, a "light" theme, wind noise, thunder, children's voices on the street, noise at the dinner table. See how not only the mood of the phrase changes, but also the attitude of the character to the object, and the memory itself acquires other shades. Moreover, it is the noises that work more interesting, giving also the depth of the character's "prehistory". Let's check this effect on another material. "Hunger": let's put a mournful solo (that's what they usually do in such plots). The mood intensified, but ... it seems that the effect of the phrase itself somehow "smeared", the music "blurred" the feeling of precisely hunger. Now you know why we needed the noise of cutlery and voices at the dinner table. Let's put it on - the emotional impact is clearly intensified. The sound does not "smear" the perception of frames, but, on the contrary, enhances their impact. Moreover, the situation has acquired a "prehistory", a semantic depth has appeared. SM Eisenstein called this technique "vertical montage": the combination of a montage phrase with sound gives rise to a third meaning. Somehow this "third meaning" has surfaced again... But parallel montage (introduced into the cinema by A. Griffith), which we do not consider here due to its simplicity (this technique is a complete analogue of the literary "and at this time"), also similar to the Kuleshov effect in that the viewer, knowing what is happening simultaneously in two different places, can predict the "third element" - the result. Yes! It is the birth of a third meaning, different from the visible and audible, that gives any screen thing a quality called artistry. And its absence "dumps" the material into the boredom of banality. And although knowledge of editing techniques alone is not enough to create works of screen art, they will always help to keep the viewer's interest. But this is a feature film! - tell you. What about shooting real people in real situations? And despite the fact that there was neither an actor nor a plot here, and the frames were used, although they were specially filmed, but the most banal (you have not forgotten, How were they filmed?). But even with these means, we managed to tell something meaningful from the screen - without any announcer's text and "explanatory songs". This is what it means to be able to mount, i.e. speak from the screen in frames, their combination, assembly language. To think montage means to perceive frames not as separate pictures (this is the way of photography), but as an element of a montage phrase, episode, the whole thing. Those. a piece of coherent text that you create by telling a story on the screen, whether it's fictional or real. But you have taken the first step in installation. Bon Voyage! Author: A.Kaminsky; v-montaj.narod.ru
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