What is the consistency principle of lens assembly?

Lens is the smallest unit of TV works and the basic element of picture language. A single shot cannot be used to describe and express meaning independently, and the meaning of a picture is realized by a shot paragraph composed of several shots. Excellent TV programs need photographers to conceive and plan as a whole, and use the unique image thinking and expression techniques of TV to process and combine many shots. Only when the upper and lower lenses are connected can a certain meaning be expressed and a complete work be formed. Therefore, TV producers should master the basic knowledge and artistic skills of lens assembly.

The combination of TV program pictures is the most important work in the process of TV works creation, and it is a process of artistic re-creation, which is difficult. According to the requirements of storyboard, it is necessary to combine the scattered material lenses into a complete TV program. The combination of TV pictures, like writing an article, needs to abide by the grammar and rhetoric rules of film and television language. Through the coherent picture, the audience can better understand the theme content that needs to be expressed from the continuous visual experience and auditory experience. This section expounds that the development and change of TV lens should follow certain assembly rules and methods. There are mainly the following aspects. First, we must conform to the laws of thinking logic.

The combination of pictures should conform to the development of the viewer's thinking logic, and combine pictures according to the progress of events and cognitive rules. If you follow a person for a long time with a shaking lens, the purpose of the lens is to focus on the plot factors related to the character. If the plot of the next picture has nothing to do with this character, it does not conform to the law of logical thinking. In a TV movie about marine animals, the wonderful pictures of the underwater world are combined with the scenes taken at the bottom of the river. On the surface, the picture seems smooth, but it violates the logical law of life. For another example, the students in the classroom are sitting and listening to the teacher attentively, followed by a series of fierce races and aiming shots on the sports field, and the audience's thinking understanding will be very different. The combination of TV pictures should conform to the logic law of viewers' thinking, make sentences and articles with picture language, carefully arrange and skillfully arrange shooting materials, so as to make the lens conform to the cognitive law, thus creating the profound connotation of the lens picture and enriching the information of the picture. Second, it should conform to the principle of visual criticism.

The visual direction of people in static pictures is closely related to the movement of people or scenery in front and back pictures. Only when the subject keeps the continuity of setting direction in static and dynamic pictures can the consistency of theme movement and visual direction be guaranteed. Although there is no motion axis in the static picture, there is an imaginary relationship axis between people in the static state (different from the motion axis, it is always a straight line), and the camera can only make a semi-circular motion of 180 on the same side of this relationship axis, otherwise it will also cause an "axis jump" error. At this time, the position of the characters on the front and back pictures is not only opposite, but also the direction of people's gaze is opposite. In order to avoid the "jumping axis" error of the subject in the front and back pictures, we should pay attention to the framing or left picture of each picture, especially the visual direction, movement and position of the subject in the left picture. Because the end of one picture is the beginning of the next, if the end axis is different from the start axis of the shot, a new axis must be set between the objects before the end of the shot. Third, the rational use of picture orientation method

The motion of the camera lens is equivalent to the external motion of the picture frame relative to the main body, which is an internal motion that changes constantly in time and space. If you shoot with a continuous long lens, it is easy to distinguish the moving direction of the subject on the screen. When the subject is described by lens language, a complete action is always decomposed in time and space, and then it is embodied by the method of fragment combination and connection. Therefore, on the screen, the movement of the subject will have a sense of space jump. If the pictures taken from different sides are combined together, the direction of the subject's movement on the picture will be chaotic. In order to avoid this confusion, the camera position must conform to the general angle rule of 180. That is, when the subject is moving, the plane must be selected on the same side of the imaginary motion axis of the subject, otherwise "axis jumping" will occur. If such an "off-axis" lens appears in the early shooting, it must be handled accordingly in the later editing work. Fourth, it should match the position of the subject of the picture.

Subjects in a single direction should keep moving in the same direction in the front and back pictures. Assemble a subject with a circular motion composed of opposite transverse oblique lines, and there should be clearly marked reference objects in the front and back pictures to indicate the motion direction of the subject. When two subjects in opposite directions move towards each other, they can alternately describe the scene where the two sides are about to meet, and at the same time, they can make the pictures of the subjects clearer and shorter to strengthen the atmosphere of conflict. When the camera body is connected reversely or reversely, the picture moves forward or backward in the longitudinal direction, which is neutral (similar to the still picture), and can be connected with the picture in any moving direction, but the transition of neutral lens (that is, the rising of the main body or the left picture in the moving direction) should be implied between the movement and the static. Five, should match the main action of the picture.

In order to realize the internal coordination of subject's own motion, camera's subjective motion and subject's motion caused by picture combination, the key is to find the best combination point of subject's motion, namely "joint motion". Because a complete subject action in the picture is decomposed into a series of action fragments with different directions, different angles, different scenes and instantaneous changes, the selection of the best combination point should follow the principle of "moving in motion" to ensure the coherence of the subject action. Otherwise, the main action will produce a sense of jumping. The so-called "dynamic-dynamic" principle means that the best combination point of the subject's action should usually be chosen at the instantaneous turning point (static-static) or during the action (dynamic-dynamic).

The fixed lens and the fixed lens or the fixed lens and the moving lens are connected to the same body and switched according to the following principles.

Motion and motion-motion refers to the motion of the subject in the picture. When the moving body is connected with the moving body, it can receive a smooth effect, but the speed and direction of the movement cannot be too different.

Static and static-static means that the main body of the picture is static and the picture itself is a fixed lens, and the static subject is connected with the static subject, which is the combination of two typical static composition pictures. Sixth, the transition to farewell should be natural and reasonable.

When two adjacent lens groups representing the same object are reasonable, smooth and without jumping, the following three rules must be followed:

1. The scene must change obviously, otherwise the picture will jump obviously.

2. When the scene is not big, be sure to change the lens position. Otherwise, the picture will have obvious beat, as if a continuous shot was cut off from the middle.

3. Unable to connect with the scene. Because the performance of the same object in the same environment, the scene is the same, and its picture content is similar, without much change, so it doesn't make much sense to connect. Seven, grasp the rhythm of the lens combination

The theme, style and style of film and television programs, as well as the environmental atmosphere of the plot, the emotions of the characters and the ups and downs of the plot, are the general basis for the rhythm of film and television programs. The movie rhythm should not only be reflected by the actor's performance, the change and movement of the lens, the coordination of music and the temporal and spatial changes of the scene, but also be accomplished by using the combination method, strictly grasping the size and quantity of the lens, sorting out and adjusting the order of the lens, and deleting redundant details. Eight, clever use of hue, color, light modeling effect.

Depending on the connection and logic of the content of the lens picture, the form of connecting pictures, also known as picture switching, is characterized by natural coherence, clear rhythm and no need for technical treatment in operation. In addition, we can also use the modeling effect of hue, color and light to connect the pictures, and use lens technology to make the pictures connect vividly and artistically. For example, hue refers to a black picture, and the scenery on the black picture, no matter what color, is represented by many different shades of black and white. For color pictures, we should also pay attention to the color problem, whether it is black and white or color picture combination, we must maintain the consistency of tone and color. If two lens groups with strong light and dark or color contrast are connected together, it will make people feel stiff and incoherent, which will affect the smooth expression of the program content.

There are many ways to combine shots, and they are created according to the intention of the creator and the content and needs of the plot, without specific regulations and restrictions. In the specific post-editing, you can try your best to play according to the situation, but don't be divorced from the actual needs. As TV program producers, they should master the basic knowledge of lens assembly and artistic expression skills, strive to enhance the artistic appeal of TV programs and create more excellent TV works.