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What is the hardest thing on the screen? Of course, the visualization of abstract concepts. How to convey the feeling of love and hate, happiness and sadness...? But you have to deal with it all the time.

The proposed workshop is intended to help develop solutions to such problems. I must warn you right away that mastering the editing is not enough here. Without calculating each frame, without a plan, it will be possible to assemble, at best, some kind of abstraction commented on by the text. But this text will not be allowed into the illustration either: that's why it was chosen. Is that the clock on the table can not be avoided. Such an abstract text will have to be solved only through association and imagery.

Yes, I must warn you: this text has nothing to do with metaphysics, religions, etc. regions. This is an excerpt from the purely philosophical work of A. F. Losev "Dialectics of Artistic Form". Therefore, religious iconography will clearly go against the author's meaning of the text (which means it will destroy the tape as well).

So, the workshop: read the text, shoot and edit a video that exactly matches and reveals the meaning of the text, and voice it.

Try not to use any specials. effects. Is that the mixer 2-3 times.

But once again I remind you: this is a task for professionals. Can you? :-)

"We still do not know anything and do not approve anything. We take one. What exactly is this one thing is not important, since we take exactly category one that is everywhere, in all things, the same. What we get here is, first of all, a pure one, which as such is indistinguishable and is an absolutely indivisible singularity. Take this clock on the table. Although actually they are made up of many parts, but meaning they are a singularity, no longer divisible by anything else. Take now all the things that make up the world. Thought demands that they be, first of all, something indistinguishable one, a singularity, so that everything that exists in it merges into a super-existent, into the first one, which is already an individuality and continuity no longer divisible into anything. If we take being as a whole, then it no longer has anything to differ from and, therefore, it has no boundaries; it means it is above boundaries, above outline, above meaning, above knowledge, above being. Such is the singularity of the world as a whole, such is the singularity of each thing separately. (in relation to separate parts of a thing). So, the beginning of the dialectic - unthinkable, superiority, absolute singularity, which is neither this, nor this, nor that, in general, no separate thing, but - the potency of all things and categories.

However, to remain on the basis of an unthinkable, higher being, only potentially determined essence, would mean falling into metaphysical agnosticism, into the dualistic doctrine of "things in themselves." Thought, demanding in the beginning unthinkability, immediately demands assumptions this one, requires Being this one. One is no longer one, it is also Yes. When there is only one one and - nothing more, it is not one at all and is nothing at all, since it does not differ from anything. But here's one Yes one, one exist. What does it mean? This means that it differs from the other, is outlined in its borders, becomes something, determined, comprehended, shaped. From now on, it is not just an indivisible one, but also a separate many, for it has accepted the border. It has received a shape and, therefore, comprehension. It has become something definite and, therefore, being. It is that singularity which is given as a divided multiplicity."

(Losev A.F. Dialectics of art form. Sat. Form - Style - Expression. M, "Thought", 1995, p.10-11)

Well, how do you like a purely philosophical text? :-))

Agree, filming this, finding a director's and cameraman's solution to this problem is worth a lot. Maybe take a chance?

Honestly, if I had money for prizes, I would announce a competition for the best solution.

Good luck to everyone!

Make a small sketch: shoot and edit in at least 10 shots, each at least 5 seconds long, the simplest action: a person goes to a bookcase, chooses a book, takes it and sits down to read - period.

Result: an unprepared viewer should be interesting is to watch (trust me, this is quite achievable). The result is checked on the bottom. And advanced, but benevolent colleagues will help to find "blunders".

Worked out:

1. Taking into account the editing of plans in the process of writing a shot plan (and without it it’s impossible to shoot normally) and, of course, on the set.

2. Attention to the smallest details of the action, details. And not only WHAT, but also HOW a person does.

3. Mounting by motion is being worked out - the cleanliness and accuracy of gluing.

4. Accuracy of mounting accent.

5. Proportionality of intraframe and editing rhythms.

6. Attention to the key light tones of frames and their compatibility in editing.

7. Experience in filming staged montage phrases and episodes with a documentary hero (ie non-actor).

8. Building the length of the storyline and keeping the viewer's attention with purely editing and filming means.

And much more.

A few tips:

• pay attention to the shot plan, do not stop at the first option - it is usually the worst. G. A. Tovstonogov liked to repeat that the 1st option that came to mind is a stamp, the 2nd is an anti-stamp, an interesting solution is between options 5 ... 20;
• don't take an actor. A good one will play everything in 1 frame (and what do we have to do with it then?), And a bad one will spoil the most brilliant idea. Therefore, do not force your sitter to play. Just tell him: "come to the shelf", "hold out your hand", "remember something pleasant", etc.;
• you should not make a clip out of this plot: before you "shear sheep", it is better to "grow" them first. It's a practice. Therefore, the restriction on the minimum plan length;
• carefully follow the installation of the phases of movement. When gluing by motion, you must definitely release a few frames, otherwise the gesture on the screen will be unpleasant to "twitch". Oddly enough, with accurate phase synchronization, there is a feeling of "return of movement" - after all, visually the moment of frame change is perceived as missed time. How many phases to release - depends on the intraframe tempo-rhythm;
• Don't flood the story with music. Noises are often much more interesting and informative. And even more figurative;
• Do not count on a decent result the first time. Make 3 ... 4 options (and not only mounting ones - there may be more);
• Before shooting, re-read everything you find on editing.

This workshop is a direct continuation of the previous one.

Sound the previous etude in at least 3 versions, trying to create a completely different feeling, atmosphere and even genre with a sound picture. Naturally, we are not talking about "flooding" everything with one or two muses. topics. Try to create rich sound pictures that unfold and even reverse the meaning of the action taking place in the frame - this is a direct path to vertical montage and further to amusement montage. For example: romanticism, detective story, loneliness... (add to taste).

Using less than two tracks is unlikely to work - after all, there must be a general breath of the atmosphere, and synchronous sounds, and accents, and what is happening (sounds) at that moment outside the frame ... But any average linear editing complex is at least 2 tracks provides. You can also (after all, we do not broadcast) to bring them into one on top of another cassette, and then put 3-4. Well, if in the hands of a "non-linear" ...

True, a sense of proportion is good in everything: a poor sound picture will not give any effect, it will be boring, and oversaturation with sound can also either blur the meaning of the video sequence, or, with equal strength of accents, turn it into a drum roll. Therefore, the selection of sounds must be extremely meaningful and accurate.

Result: an unprepared viewer, again, should be interesting it is to watch, but he must perceive all three plots in different ways, i.e. read their idea, plot and meanings in different ways. If possible, at least one should be worked out with a professional sound engineer.

Worked out:

1. Accounting for combinations of diverse sounds and their impact on the audience's perception.

2. Organization of the atmosphere of the episode by means of the soundtrack.

3. Ways to create "depth" of action, events, expansion of the frames of the frame with off-screen sound, avoiding the "poverty" of personnel specifics.

4. Accuracy and intelligibility of sound accentuation.

5. Proportionality of intraframe and offscreen sounds, their tonalities and rhythms.

6. The length of the sound line and the use of sound to enhance dramaturgy and hold the attention of the viewer.

7. Approach to the complex audiovisual development of the episode and, further, the screen image.

Etc.

This practice helps to really move from "voicing" to working with sound, as a full-fledged screen element, to make the strongest means of controlling the perception and attention of the viewer work for itself.

A few tips:

• First, work everything out on paper. Yes, 80% of filming and editing work is done at the desk. Many generations of students have rebelled against this statement, but it is true and we must come to terms with it. How? Just remember that we are paid money not for technology, but for a smart head (and this is more pleasant, right?);
• do not start 2 sounds at the same time: this usually leads to the fact that both are "blurred" and their meaning becomes slurred;
• several sounds cannot have the same or close level (loudness). There is always one thing in the accent;
• the coincidence of the beginning of the sound with the gluing gives a powerful accent. The reception is powerful. But is it always necessary?
• Again, do not expect a decent result the first time. Make 3...4 options;
• before work, re-read everything you find on editing and sound in films and on TV (there is no fundamental difference).

The name of this workshop is not very compatible with video technology, but I will call it the same as almost 20 years ago, when I came up with it for myself - "Basket".

The essence of the exercise was to come to the editing room after work, scoop out of the basket (not the trash!) Trimmings of the film not included in the editing and try to compose something meaningful from these frames. Once, a whole term paper was done this way, and it was very dissident in content.

But what prevents us today from replacing fragments of film with frames, for example, of a 180-minute source cassette, on which news stories are shot in a row? After all, the task is to create a story that never filmed. It is clear that collecting one out of 5 football matches is not a practice. And of course, all the possibilities of the sound track are also in your hands.

Timing - any. The main condition is the comprehensibility of the topic and the idea of ​​the plot to the ordinary viewer and, again, the retention of attention, i.e. absence of boredom.

And the practice is good. It is not for nothing that the true luminaries from the cinema did not disdain skits - after all, the approach there is absolutely the same.

And no takedowns. Unless the result exceeds expectations and will be worthy of the broadcast, and 2-3 frames are clearly not enough or they will not be clear enough. But this is no longer a practical task.

And at the same time, let's try, at least once, for the sake of experiment, to be patient and follow the path of directorial work on editing professionally, competently and to the end.

So, we take any archive, the more diverse in content, shooting locations, seasons, and so on, the better. After all, it is much more difficult, but also more interesting to find a beautiful transition from winter to summer, and at the same time not to use any mixers, curtains and other special effects. A prerequisite for this workshop is working only in direct bonding.

And we write the story.

Worked out:

1. The relativity of the content of the frame - after all, each time its specific meaning depends on the montage phrase in which it enters.

2. Organization of the event and dramaturgy by purely montage means.

3. The ability to see behind the specifics of the frame its full "sound", both semantic and tonal, overtone.

4. Accounting for the tempo-rhythm of intra-frame action, lighting tone, composition, direction of movement and other elements in various frames.

5. Taking into account the cameraman's shooting style (if the cameraman is good, the bad one is precisely distinguished by the absence of any style).

6. Creativity in using the studio (personal) archive is a skill that is especially necessary for directors and editors of small studios who do not have the opportunity to shoot as much time as necessary.

7. Development of creative imagination and the ability to vary any material depending on the idea.

8. Introduction to the on-screen "sopromat" - not every frame will fit into any montage phrase and turn into the meaning that the author wants to put into it. The ability to "hear" the meanings of a frame and see the possibility of its turn, not to break the structure of the material, but to follow it always betrays the hand of a serious professional.

And so forth ...

A few tips and work plan:

• look at the source material, and some frames several times, then put it aside and (someone will need a week, someone 2 hours, but at this time it is better not to look at the screen) formulate a theme (i.e. problem) and an idea (i.e. your way to solve the problem). And definitely on paper. Memory is too unreliable storage for brilliant ideas. By the way, it is precisely formulated on paper thought has a chance to reach the viewer. Have you noticed how difficult it is to briefly and clearly write down even something that is like "it's so clear"? That is why all directors formulate their intentions on paper;
• when the theme and idea are determined, once again look at all the material selected for editing and (oh, this scribbling!) Write down each of the selected plans on a separate card: the content of the frame, timing, size, tonality, and other details of the composition that are important for you in this frame . How exactly? Anyway, there are no recipes. The only important thing is what will help you remember this frame by looking at the card and take into account its place in the future editing phrase. Sometimes it is enough to write "00.10.15. Square, the dog looks at the camera, 7 sec.", and sometimes the 2nd side goes to the description of the details;
• now we sit down at the desk and lay out "solitaire" - an occupation, at least, no less exciting than playing "Solitaire". Shifting the cards, we collect montage phrases, of which - episodes and finally the whole plot. Of course, this can also be done in a text editor on a computer, but, as experience shows, the tactile sensations from the cards give this process not only a special charm, but also have a beneficial effect on the imagination. (I adopted the technique with cards at one time from the brilliant documentary filmmaker Yu. A. Schiller. And if world-famous directors do not disdain such techniques, then it would be a sin for us not to learn useful techniques from them);
• when the "solitaire" is over, we check the result for the final, i.e. we look at everything from the end, removing unnecessary frames or replacing them - a very effective way to check, by the way, for scripts too;
• we solve the soundtrack: we write out the numbers of the cards on a separate sheet and mark what and how it will sound in this place.
• Now - for the installation! The papers are at hand, but each gluing invented at the table is tested by practice. And here, even a brilliantly invented montage phrase often has to be redrawn to fit the reality of specific shots, or even come up with a new solution. After all, our solitaire is not a dogma, but only a plan for an assembly solution;
• and again, do not count on a decent result the first time. Be careful as in any on-air work. And with this attitude, you will have to return to the desk more than once.

Select and mount frames, selecting them according to the development of one, and then several dominants at the same time. For example, a gradual transition from frames, blue tone to frames of red. Or from a pronounced vertical outline to a horizontal one. It is important that 3 conditions are met:

1. Frames must be mounted in size, angles, etc.;

2. for the viewer, the transition should be organic and imperceptible;

3. The chosen dominant should develop dramaturgically, i.e. have a plot, development, climax, turn and denouement.

We also work here only in direct bonding, without mixer and special effects. And we compose a plot, at least just a visual one.

A few tips:

• to begin with, take some pronounced feature as a dominant;
• select frames that correspond to the plot and contain this sign. The first experience can be purely formal, but starting from the 2nd or 3rd, it is better to simultaneously hold on to some kind of plot or at least atmospheric task;
• sit down at the desk and lay out "solitaire". In this case, it is important for us to mark in the cards the dominant that will be worked out;
• try to build the first sketch so that the dominant appears in the 1st frame, for example, as a small spot of blue, then the blue fills more and more of the screen from frame to frame, but somewhere in 2/3 of this filling red already appears a spot that gradually replaces the blue color. At the same time, it is desirable that the dynamics be present not only in size, but also in the saturation of color spots;
• don't stop at the first experience. Make a dozen of these sketches - it can be just editing phrases from 5 ... 10 frames - each time taking a new element into the dominant.
• As soon as you feel confident, immediately begin to use this technique in your work. After all, the ultimate goal of our exercises is to integrate "school" into daily professional work.

Good luck! With careful implementation and a serious approach to the workshop, the growth of professionalism I guarantee.

This workshop will allow you to sum up the editing training by completing a rather non-trivial task: to assemble one solid plot from the ready-made plots of previous workshops. Those. the "Reader" plot, which is taken as a basis, is somehow connected with the "Basket" and "Dominant montage" plots into a single whole. The method depends only on the content of your stories, intent and imagination.

Mandatory conditions: a rigidly constructed internal logic of the development of the entire plot, the alignment of inter-episode associative links, stylistic unity. And of course, work only in direct gluing, without mixers and effects.

Difficult? Yes. But I guarantee - it is quite achievable.

And then, who said that directing is easier than, say, atomic physics?!

About fantasy: a direct move, suggesting itself, to embed the plots as images or memories of the hero read in the book. But this is the first layer that lies in the realm of banality. Still, it is worth dreaming up and finding a really original move. After all, this is no longer a technical, but a real creative task that requires an adequate solution. But that's why this practice is valuable.

And the last. Of course, before starting the first workshop, most of you have read them to the end. But try all the same, although this is ideally not achievable for the human psyche, do each exercise without focusing on the final result of Workshop No. 5. Otherwise, it will be a game of giveaway with yourself.

Author: A.Kaminsky; v-montaj.narod.ru

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