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BOOKS AND ARTICLES Video editing techniques
The creative process can be seen as an attempt to streamline our concepts of the world. Editing technique is the identification and organization of order in the law of montage. Montage is a means of organizing the logic of the story, its form and emotional expressiveness. "On the screen, as in other art forms (and even a primitive "talking head", getting into the frame, is perceived by the viewer as an artistic form of presentation, and it is completely independent of the desire of the authors - A.K.), one cannot be natural without resorting to to artistic methods. Primary material requires in-depth work, for it is more plastic than any other, and the camera is more "realistic" than any other medium of artistic expression. Gorlov V.P. Omission (ellipse) plays an important role in the expressiveness of the screen language. Thanks to the extraordinary originality and power of the language of images, screen expressiveness is built on constant omissions. Omissions are introduced for three purposes: 1. Omissions due to the fact that the screen is an artistic form of presenting material, which means that it is based on the selection and placement of material - lengths and "weak times" of the action are thrown out. 2. Everything that is shown on the screen should have a certain value, insignificant should be omitted, i.e. the action on the screen, even in comparison with the theatrical, should be more "compressed", unless the director pursues a specific goal and does not seek to create the impression of duration, idleness or boredom. 3. Screen entertainment directly depends on the dynamics and tension of the action. Pudovkin and Eisenstein, and after them the rest of the direction, in order to emphasize the speed and intensity of the action, often omit its decisive moment and show only the beginning and the result. Indeed, in a montage phrase referring to a blacksmith, it is not at all necessary to show the entire forging process. Much more efficient to mount: 1. Wed. square, the blacksmith raises the hammer. 2. Cr. sq., the hammer falls on the workpiece. 3. Cr. sq., into the water, hissing, the finished horseshoe descends. 4. Cr. square, the blacksmith raises the hammer. 5. Wed. sq., ready, still smoking horseshoe falls on the previous one. Etc. "A montage plan, a phrase, and even an episode is part of the whole, which is completed in the mind of the viewer. But for this, the part must carry enough information necessary to complete the construction of the whole. But the whole cannot be shown, because it is the law (trope - A.K. .) Post pro Toto (a part instead of a whole - A.K.) makes it possible to create an image of a phenomenon, and not show it simply as a fact or a sequence of phenomena. Latyshev V. A. In each frame, in each montage phrase, action, episode, there should be reticence, lack of information - as the main method of maintaining interest. To determine this moment, the director must have a very sharp sense of rhythm and intuitively feel the information richness of the frame. Ideally, the frame should be cut a moment before the viewer fully considers it, just like the ideal end of dinner is when you are a little undernourished. Otherwise, in both cases, satiety sets in, spoiling the overall impression and, instead of pleasure, a feeling of heaviness of "overeating". On Griffith's Parallel Editing. The principle of its construction is simple and similar to the literary formula "At this time ...". This technique is good for sharpening dramaturgy. For example, it helps to accurately organize one of the types of intrigue: "The viewer knows, the hero does not know." He works brilliantly when editing various chases, emphasizing the simultaneity of several events. But in order for its use to carry some meaning, the mounted events must be, if not rigidly connected, then at least somehow correlated with each other. Reception works equally well in the game and in the documentary. But even with documentary filming, its use must be planned in advance, at the level of the director's script, so as not to make a mistake in choosing the direction of movement, views, shooting points, etc. The next most important principle of organizing editing is rhythm. Rhythm determines the flow of screen time, organizes the audience's perception and dramaturgy. Rhythm has the ability to harmonize the compositional structure. Rhythmic lack of concentration, as well as rhythmic monotony, gives rise to rapid fatigue. Precisely organized rhythm is a powerful means of controlling the sensual-emotional sphere. In a rigidly organized rhythmic structure, rhythm failure is always perceived as a powerful accent. The primitive of the rhythmic organization is the metrical rhythm, when the length of the plan is determined physically (on tape) or by the counter of the VCR. The metric structure is always linear: it either speeds up (increasing tension), or slows down (decay), or is kept at the same level (to convey a sense of mechanical monotony, for example, the sound image of a factory in Ravel's "Balero"). Such an organization of the material does not take into account either the content of the frames or intraframe rhythm. Therefore, frames intended for metric editing must either be extremely unambiguous, or absolutely accurately calculated for all components, depending on their place in such a structure (a classic example is the attack of the Kappelites in Chapaev by the Vasiliev brothers). The pulsating organization of metrical rhythm is an extremely difficult technique to implement and usually does not give a special effect (a well-known example: waves broken into plans and assembled by Pudovkin by metrical montage only weakened the impact of the shots taken by the cameraman). The clash of two metrical rhythms looks much more interesting, for example, with parallel editing: for example. acceleration of the rhythm in one place of action, with its monotonous slow flow in another. But this technique must be laid down at the level of the director's script, otherwise, with inaccurate shots and especially errors in the intra-frame rhythm, its organization becomes problematic. More often on the screen, rhythmic editing is used, taking into account the composition and content of the frames. The main elements that determine the length of the plan in rhythmic editing are the complexity of the outline and background of the main object, the complexity of the overall composition of the frame, and intraframe rhythm. The frame must be "read" by the viewer, and this requires a certain time. The intra-frame rhythm and general dramatic tension influence the time of this "reading": the higher they are, the more intensely the viewer "reads" information from the frame. Those. in rhythmic montage, the focus is not on the objective time of viewing, but on the subjective time of perception. Oddly enough, but two adjacent frames - a simple, static, with a clear, uncomplicated outline and a solid background, and a complex, dynamic, with a broken outline or a complex background - despite the fact that the second will be, say, 2 times longer in footage, subjectively will be perceived as equivalent in duration, because the intensity of reading the 2nd will be an order of magnitude higher, and the time for it, even with such an intense perception, will be spent 2 times more. To determine this subjective time required for reading, one can only intuitively, because. it depends on too many factors and nuances. But the general rule is this: the simpler the frame, the lower its "price", the less it should take screen time. The rhythmic organization of the material is an extremely important thing in any tape. But it requires special attention if it is supposed to use music. It doesn't matter if you work in one of the musical genres or just intend to put background music under the narration. Most musical works have a simple or complex, but clearly expressed rhythm, which, superimposed on the montage structure, immediately becomes the rhythmic dominant for the entire material. And any inaccuracy in the rhythm of the montage, as emphasized, is accentuated by the music and begins to simply "beat in the eyes." The director's sense of rhythm should not be inferior to the musical one. The director must develop an automatic and unmistakable sense of tact in order to maintain at least simple rhythms in the montage. The coincidence of rhythms in the selection of music for the episode is by no means the only one, but the first condition for its compliance. If you have problems with the feeling of tempo-rhythm, as a last resort, select the music in advance, write it to the master cassette and mount the picture directly by the measures. However, this method should always be resorted to in difficult cases where precise synchronization with the music is needed. Even if you can keep the beats of rather complex rhythmic structures "on the machine" during shooting and editing, without loading your head with this. But if a phonogram has not only a background or rhythmic, but also a significant dramatic significance, always try to select and prescribe it in advance. Because then you can accurately build the montage not only by the clock, but also by the height-dynamic intervals. In general, the musical structure is so strong rhythmically that, with rare exceptions, it will almost always be decisive for the perception of the overall tempo-rhythm. It's a paradox, but even if your editing is rhythmically flawless, and there is a rhythmic failure in the musical performance, the viewer will nevertheless perceive it as a mistake in the rhythm of the editing. And the last. We must not forget that the montage rhythmic structure is laid down during the shooting and to a large extent it depends on the intra-frame rhythm, the tension of the action, the sensual-semantic content and the composition of the frame. Therefore, the rhythm of each episode, its pulsation, must be decided even before shooting, otherwise the editing will no longer have to work, but to extricate itself. Getting out is not always possible. This, by the way, is one of the most serious problems when working with material "from the selection". Always, if possible, it is better to reshoot the material as needed for a particular episode than to take frames, albeit of very high quality, but shot for another job. Here I depart from Eisenstein's classification of montage. Today, certain points of this classification are partially outdated, and new ones have been added. But at the same time, it remains a classic and is used by film schools around the world. True, it seems to me that in his classification Eisenstein still speaks not of types, but of the levels of montage organization of the material. It must be remembered that no one level cancels the other. Any, the most complex montage, must be built according to logic, rhythm and other features - without this, it will remain, at best, a student experiment. The next level of montage organization is montage according to dominants (tonal in the classification of S. M. Eisenstein). As a dominant, any essential feature of the image can be chosen, developing the sensation necessary for the author, through which the idea of the episode or the task of the montage phrase is realized. The only condition is that what is taken as a dominant must be clearly (not necessarily accentuated) expressed, have a certain, again intelligible, development and carry a certain sensual-semantic charge. An emotional montage phrase is built in ascending order, but depends and is determined by the final point (cad). This may be the development of a light or color dominant, the outline of the main object, the background, the composition of the frame or the fineness. But the development of the dominant must fully comply with the laws of dramatic construction, i.e. have their own plot, ups and downs, climax, stop, turn and denouement. Only then does the dominant become a form-building and sensual-semantic sign, i.e. acquires the qualities of an artistic element. The turning and denouement of the dominant line can be its resolution by another dominant, which picks up the previous one and begins a new plastic theme. Dominants are built, resolved and flow into each other in a similar way to events in a dramatic construction (but without replacing them!). They reveal in the plasticity the main motive of the episode or montage phrase, correlated with the general task of the episode. Those. the maintenance and development of the dominant is the plastic motive. The dynamics of the increase in tension and rhythm, the revealed expressiveness of the dominants and the compression of the material eventually give an explosion. In montage, thematic and supporting dominants are distinguished. The former develop within the framework of a montage phrase or episode, while the latter pass, changing, through the whole thing, uniting its graphic series into a single whole. Maintaining several dominants at the same time in documentary material is usually inappropriate. Firstly, it requires the introduction of several more conditions, often contradictory to each other, at the shooting, with an already too large number of tasks being solved simultaneously, and is doable, most of all, only on staged shootings. Secondly, already two dominants significantly complicate the perception of the tape, and out of three, at least one will almost certainly simply not be perceived by the viewer. Although here everything depends on the specifics of the frame, the accuracy of the reception and the semantic complexity / saturation. At the same time, for example, three dominants can be developed at the same time during the editing of the sunrise completely freely. The first of these will be the increase in illumination, the second - the development of the outline of the circle (the solar disk), and the third, the most dynamic, the development of the color scheme from dark blue to bright orange or yellow. This line can be resolved even by the bright green color of a sun-drenched meadow with glare from dew drops (light motif) and, for example, by a cartwheel, the outline of which will coincide compositionally with the disk of the sun. If then the wheel still starts moving and the cart drives through the meadow, then such a precisely made phrase will immediately throw the viewer into the myth of the "sun-chariot" of Helios or another similar one - this motif is archetypal, occurs among all peoples and is deducted almost unambiguously ( see C. G. Jung, Archetype and Symbol). One of the variants of dominant montage - montage rhyme - is based on the similarity of frames or montage phrases: temporary or spatial (refrain), or direct, or the roll call of plastic motives. The rhyme serves to associate 2 scenes that are similar in meaning, emotions or paradoxically overlapping. In this case, the montage rhyme becomes a support, uniting, associatively developing the rhyming frame or montage phrase. The further in time the rhymes are built up from each other, the greater the similarity, up to their complete coincidence, is required in order for the viewer to realize their rhyming. However, this similarity or identity is a coincidence precisely in form, but not no matter how it is deciphered - semantic or emotional. Otherwise, the rhyme turns into a tautology. Such a rhyme will resemble a graphomaniac verse, with a rhyme of one word. The method of editing rhyming is quite complicated, but performed accurately, it can give a powerful artistic effect that is difficult to achieve by other means. For example, the plastic rhyming of two episodes of different content sets their semantic identity, and not subjunctively, but very rigidly dictating just such a reading of them. By rhyming the initial or ending frames of several montage phrases, one can achieve the effect, as it were, of "counting from one point" of various situations (beginning), or the patterns of a single ending of different in content, but, for example, essentially similar paths of various characters. The rhyming of the first and last frames gives a feeling of infinity or cyclicity of the process, i.e. closes the thing in a ring of circular composition. Omitting Eisenstein's division of montage into tonal and overtone (after all, the same emotional mood and atmosphere of a shot can be the same dominant line as color, outline, etc.), let us dwell on montage, which in the classification has received the name "intellectual", deciphered by S. M. Eisenstein himself as "the sound of overtones of an intellectual order". This name rather reflects Eisenstein's own type of thinking and predilections. This path is one of the possible ones, but it is the path of the "tadpole" director. It is extremely difficult to achieve an artistic effect on it, because. intellectual concepts can be admired for their philosophical complexity or paradox, but feelings are almost never touched. Moreover, as you know, it was this technique, by and large, that caused the failure of the film "Bezhin Meadow". Intellectual constructions too often result either in puzzles, or - and in practice much more often - in primitive metaphors such as "soldiers are driven to the barracks - sheep are driven to the pen", "the criminal is a spider", the finale "Long live Mexico!" and so on. - i.e. into a straightforward metaphor or allegory. The allegory on the screen, due to its clarity, looks like an artificial fiction, is perceived as a rude imposition of some intellectual comparisons on the viewer. Therefore, if complex philosophical constructions are not your profile, it is better to use them less often and with extreme caution. And at the same time, only a few are given to shake the audience's emotion. In any case, Eisenstein himself did not succeed. There are no bad methods, and the same intellectual montage today perfectly exists in ... comedy, especially in eccentric. There it is used either as a parody of this very direct metaphor, or directly, again as a parody, but already of a character or situation (in Gaidai's "It Can't Be", etc.). Although even there a lot of effort is needed so that it does not look like flat buffoonery or a puzzle. Later, the limits of intelligent editing were expanded. Going beyond purely speculative ideas, this type of montage was called "associative". Perhaps, it is precisely here that a direct access to the very nature of screen artistry is laid down, and the possibilities of the most interesting directorial and cameraman's decisions. The associativity of the construction gives the montage subtext, depth and, finally, figurativeness. It sort of defines the sensory-semantic context in which the viewer must consider the given episode or frame. In B. Shunkov's film in "The Flood Zone" in the finale, the singing old man is associated with an ancient stone idol. Or in Y. Schiller's "Flute": the individuality of the boy, the hero of the tape - a flute, drums - extras, the crowd, school officialdom, etc. The association can be, as in the previous case, interframe, i.e. correlate events or objects within the same tape. Or maybe, going beyond its scope, include associative circles, a priori known to the viewer. These can be both phenomena of reality or history that have become symbolic, as well as artistic images (for example, the final episode of the masquerade ball of the film "On the Edge" by B. Shunkov). It is even better if the perception of the original itself also changes (the finale of the film "High Security Comedy") In any case, these elements must be either well-known, or, at least, be included in the circle of concepts of those viewers for whom this tape is designed (i.e., the viewer's address - there will be a separate discussion about it). Any element can be used to include an association. The only conditions are: its identification, memorability in the "original" image and contextual "readability" of the correlation of the frame or montage phrase associated with it. One of the most common options for including an association is through a sound series, i.e. through the alignment of the sound vertical in the editing (vertical editing - frames connected with the sound range give rise to the 3rd meaning). In fact, it is enough to turn on some bright music or text associated with an object or concept, as the viewer correlates with them what is happening on the screen. Of course, one sound is still not enough; some kind of correspondence must be built in the picture, situation, character, etc. The simplest example: take a whitewashed shot of some garden and say behind the scenes in a woman’s voice the phrase: “Oh, wonderful, beautiful cherry orchard!..” - for those who know the play, the association is both with “The Cherry Orchard” and with A itself P. Chekhov is provided. And if you let another woman in a long white dress walk along it, and even better - in a hat with a wide brim... Intraframe sign-association is a more complicated thing. In order to correlate, for example, a feast with a collection of desks. cells, it is not enough to throw a red tablecloth on the table. It will take at least two or three more elements for the viewer to consider this association adequate to the idea (for example, the types and poses of drinking companions, some kind of ceremonial portrait behind the "presiding" and a faceted decanter in front of him, etc.). The situational situation is made up of the coincidence of significant elements of the action, situations, clarified, again, either by the sound range or by the elements of the frames ("Flute" by Yu. Schiller). It is important to remember that an association that arises spontaneously in the viewer can lead him away from the author's intention in any direction and infinitely far. Therefore, for its correct reading, separate efforts are needed to build the reference points of association. One of the most common mistakes of novice (and not only) directors is relying on their own perception: "once I saw, then everyone will understand." Sometimes this is due to the fear of "squeezing". Therefore, the constructed associations, at least for the first time, must be checked by showing the material not only to colleagues, but also to everyone whom you can attribute to your potential viewers and check the adequacy of the reading on them. The second danger of this technique is to lose the line between the readability of association and banality. The montage of attractions is a technique that brings the montage principle to its logical limit: here they collide, giving birth to a third meaning, no longer shots, but montage phrases and episodes. On this reception, in particular, M. Romm's "Ordinary Fascism" is built. The word "attraction" here does not mean some kind of entertainment or trick, but calculated for an emotional and semantic result and at the same time a spectacularly effective, sharp connection. The elements collided in the attraction do not necessarily have to be contrasting in their content - contrast is only a particular and not always the best way to implement this technique. The main thing is that a new interpretation and attitude to what is happening should arise, but not as a logical conclusion, comprehension, but as a discovery, a viewer's insight, but prepared, organized by the author. Amusement montage is also not a cinematic invention. Eisenstein himself originally developed this technique in relation to the theatrical stage. And long before him, literature, painting, and music also used it: to enhance the effect of both tragic and comic. For example, in literature - the collision of episodes. The scene with the gravediggers in Hamlet and the storm in King Lear are the same attractions. Just like Pushkin's finale of "Mozart and Salieri": "But is he right?
It is the correlation, the "montage joint" of this monologue with the previous poisoning scene that reveals both the senselessness of the act and the fact that Salieri will remain "second", even when the genius dies. A well-crafted, effective plot twist is also usually built on an attraction (O'Henry's Peaches). For the screen, due to its visibility, this technique has become one of the most powerful means of influence precisely because of the possibility of its purely plastic implementation. Moreover, as an editing technique, it turned out to be, perhaps, the most valuable for documentary filmmakers, because. allows sometimes to raise already filmed, but by its nature, material, to a figurative structure. Another editing technique we will focus on is A. Peleshyan's remote editing. In fact, he repeats the refrain technique, but combining it with Eisenstein's overtone montage (parallel to I. Weisfeld). This technique is implemented as follows: a certain frame or montage phrase, verbatim or slightly modified, is repeated several times in the tape. But, unlike the usual refrain, the episodes inserted between them each time set a new decoding of the semantic meaning of this phrase. Here, the reading of a frame also depends on its contextual position. But unlike Eisenstein's principle of "carving meaning" from the collision of frames or montage phrases, Peleshyan, in his own formulation, strives "not to bring them together, not to push them together, but to create a distance between them." This makes it possible not to integrate, but, on the contrary, to split the meanings of one frame into a multiplicity gradually presented to the viewer. Instead of complicating the semantic field, its temporary simplification occurs. And the viewer, instead of "three meanings" (2 personnel and 1 integrated) is presented as if his "third" or "quarter". Reducing the technique to a primitive form, we can say that, unlike the classic gluing A + B + C + D, the principle A - B, A - C, A - D, etc. works here. As a result, a kind of gradual semantic turn occurs, the filling of an object or phenomenon with more and more new meanings, gradually overlapping each other and bringing it to the level of ambiguity of the artistic image. At the same time, the structure of the tape also turns out to be clearly structured in rhythm by identical, repetitive frames-rhymes. “Such a structure is very reminiscent of the structure of a verse or a crystal. It is difficult to create it, but after the final design it can no longer be changed. Moreover, according to Peleshyan, in such a structure, even a withdrawn element will have its own meaning and affect, precisely by its absence, on the perception of the overall structure "- wrote one of the critics in the journal Art of Cinema. However, it must be added here that this last property is inherent in any finished artistic image. Author: A. Kaminsky; Publication: v-montaj.narod.ru
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