How can the director shoot the opposite scene well?

The negative scene is one of the basic parts of a movie. The result of the joint efforts of the director, photographer and editor is that the audience can correctly understand the purpose of the script and feel the same through the performances of the two actors.

Not only the lines taken for the scene, but also the recording can be done. It's not just an actor's performance. In that case, we can also make a stage play with fixed seats. It can't be understood as the randomness of performance and the combination of shots, so the grammar of the director's scene scheduling and shot combination is impossible.

Dialogue scene is an organic combination of a group of carefully designed, carefully arranged and rehearsed events.

There are two core issues to be considered in shooting the opposite play: first, the content of the dialogue; One is the typical atmosphere. Under this premise, the director should design reasonable events to serve the dialogue and typical atmosphere. Then this series of reasonable events designed by the director covers: the actor's position, action expression, speaking opportunity, shooting axis, performance, plane position, lens movement and so on.

The following questions about the arrangement and shooting of opponents are also from these aspects to analyze the working skills of directors and photographers. In order to facilitate understanding, it is helpful to classify the scene arrangement of mobile games according to their characteristics.

Parallel narration

Parallel narration is more conducive to the audience to understand the content of the scene, because the information is presented in a cross-presentation way, so the results appear more smoothly.

Action and reaction are the issues that are considered in the whole movie. From shooting to editing, the director always combines the shots organically, and sometimes even combines the actions and reactions in multiple clues side by side, eventually becoming a parallel combination of the whole story structure.

Operationally, there are two ways to tell stories and highlight typical atmosphere through parallel combination:

First, short single shot combination: that is, several actions, different angles, short shots, multiple shots and continuous editing.

Second, the long main lens combination: that is, full action, different angles, long lens, multi-lens, parallel editing selected fragments.

The first method, only by connecting all the shots together, can we see the logical relationship of the whole event clearly. The second method is actually to edit the best clips in the later multi-camera material side by side. Either way, the lens will be full of action in the operation.

In the shooting of the dialogue scene, parallel narration makes the actions and reactions of both sides of the dialogue alternate, complement each other, and alternately provide the information needed for the development of the story, thus becoming a complete story. Parallel narration is the best way to convey the required information to the audience, and the picture feels much more wonderful than recording the whole scene with one lens.

The intervention of editing idea

The clip is based on the time reference point, and the shot is the picture of the spatial area, which is limited by the scene frame of the movie picture and what the camera shoots.

At present, movies rarely use a single long lens to tell stories. The combination of shots and clips is needed to build a true story with soul and create space and time for scene scheduling. The editing has entered the shooting perspective in advance, and the editing thinking is used to guide the shooting scheduling.

Editing should conform to the audience's way of thinking and the law of film and television performance, and to the logic of life and thinking. Unreasonable audiences may not understand it, or what they understand is contrary to what the director wants to convey.

Editors should also pay attention to the principles of dynamic connection and static connection.

If the main action in the picture is coherent, the action can be followed by the action, which can make the audience obviously feel the smoothness of the action and the vision of the picture.

If the action effects in the two shots are not coherent, then when shooting, we should take a shot with the left picture and a shot with the lifting frame after a complete action, so that the two shots will be connected. The lifting frame is a picture that stays still for two to three seconds before shooting the moving shot, and the left picture is a picture that stops for two to three seconds at the end of the moving shot. The lifting frame and the left picture are static, static and static.

The combination of moving lens and fixed lens also needs to follow this law. If a fixed shot picture is connected with a panoramic shot picture, the starting picture of the panoramic shot should have a rising frame; On the contrary, if a panoramic lens picture is connected with a fixed lens picture, then the end picture of the panoramic lens should have a left picture, otherwise the picture will give people a beating visual sense.

Sometimes, in order to have a strong personality and outstanding feeling in the content or picture, there are also static or dynamic shots.

Grasp the length of the lens

The length of the lens is determined by the information and content you want to convey in the picture. It contains less content, and the audience can see it clearly in a short time, so the picture can stay for a shorter time, and you can choose close-up or close-up.

The pictures with large lenses contain a lot of contents. It takes a certain time for the audience to see the contents on these pictures clearly, and it takes a long time. You can choose the distant view or the middle view.

The length of lens time is the director's grasp of the content and a feeling he wants to convey to the audience. If what the director wants to convey to the audience has been fully reflected in the 5-second picture, then the picture of 10 second will not only make the audience feel procrastinating, but also make the audience interpret the content that is contrary to the theme of the film.

Unification of lens colors

When combining pictures, we should pay attention to whether the color relationship between the upper and lower lenses is unified. Connecting the lens groups with strong light-dark relationship or color relationship will make the audience feel jumping and uncomfortable, which will affect the smooth expression of the content.

The director who shoots with editing thinking will consider whether the lens position and the design of the scene are reasonable and whether it is conducive to later editing. Whether the colors of lights, props and actors' costumes in the scene picture meet the editing requirements.

Scene scheduling completely subverts and extends its own meaning. In the expressive and ideographic features of image technology, especially in the scope of image art and visual art, it has surpassed and is surpassing its connotation and extension application, expanding and upgrading the picture context of scene scheduling.

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