What are the basic characteristics of film and television pictures?

Basic characteristics of film and television pictures

1, the movement of TV picture

"Motion is the most unique and important feature of a film picture" (film language, page 2). Similarly, sports is also a feature of TV pictures, but it is not unique, but has something in common with movies. The meaning of sportiness includes the following three aspects:

First of all, TV images are converted into electrical signals through the optical lens of the camera and its photoelectric conversion, which are transmitted to the imaging terminal (TV) and presented on the TV screen. Images on the TV screen are scanned (replaced) at a speed of 25 frames per second (24 frames per second for movies). These moving fixed frames record the moving objects, and the moving illusion image is formed by the visual residual effect of human eyes. This process of recording sports is very similar to that of movies. Even if a static object is recorded by a fixed camera, the picture is constantly moving (frame changes) to show the static state of the object.

Secondly, TV pictures can show the movement process of objects. Therefore, it is different from painting, sculpture, photography and other plastic arts as space art, making it a kind of space-time art, which can not only show the realistic three-dimensional space, but also show the flow of time, so it is called four-dimensional art, and photography can only show dynamics, so it is called instantaneous art. The movement of TV pictures makes it more realistic than other arts (see the characteristics of camera art for details).

Third, sports achievements. Motion performance, also known as motion camera, refers to the static or moving state of an object displayed by the camera in motion. Sports photography has broken through the limitation of fixed picture frames and expanded the picture space. A moving camera can get different scenery and angle changes in a picture, and at the same time, the light and color are constantly changing during the movement. These changes make TV pictures get a more realistic feeling in reproducing reality.

2. Sub-lens narration.

A single picture can't constitute a complete work of art. Although every shot picture has certain significance, it can't express the theme of the work alone. Many pictures with different contents, different scenes and different angles must be connected through montage in order to create a complete artistic image and tell a complete story.

Television pictures are an inseparable part of TV programs. A single picture is incomplete, and its meaning is often vague or ambiguous. Every picture (that is, shooting) has its own function in a TV program, but it cannot exist independently. Every picture is a link in the whole program content chain. Therefore, each picture is required to be unified with the front and back pictures in content and modeling form (light, color, rhythm, etc.). ), so as to realize the connecting link between the preceding and the following pictures. This requires the cameraman not only to consider the integrity of a picture like taking a picture, but also to pay attention to the connection between pictures. This is what we usually call "the montage factor of film and television pictures". Take TV series as an example, a scene or a paragraph is usually represented by several pictures. The composition of each picture does not necessarily require complete balance, but it must be combined to see the complete effect. The characters in each picture don't have to be centered, and the head can be cut off by the border. There is not necessarily too much blank in front of the line of sight, and the light is not necessarily everywhere. It should be based on a living light source. In short, a single picture is incomplete, and the relationship between a picture and a paragraph is a partial and whole relationship. If we think too much about local integrity, it will destroy the integrity of the whole.

Movies are born in the form of moving photos. The early documentaries produced by Lumiere and Meria's drama films were not strictly films, but only moving photos. Lumiere's record of life segments is good, and Meria's record of drama performance is also good. Its essence is a kind of activity photography. Unlike photography, it only records movement. The real birth of the film began with: (1) liberating the camera (sports photography); (2) Strip shooting (strip shooting of different scenes); (3) Group narration (the use of montage). No matter how long a film and television work is, it always consists of many paragraphs, and each paragraph is composed of more than one shot. Each shot is different in length, but it is cut and shot separately, so it is not an independent work, but a part of a complete work, and it is a constituent element of a complete picture image. Therefore, every shot cut and shot separately must also be combined. "Connecting the moving shots into a complete work of art in a certain order is called Meng." (Kuleshov's "Basic Skills of Film Directors", page 27) This is the combination of film and TV pictures, that is, the combination of cutting and continuous narration, which is an important feature of TV pictures. . Connected shots not only objectively reproduce the scene, but also the combination and impact of shots will produce new meaning and charm. These new artistic factors can't be found in the original single shot. For example, when a hero walks to the execution ground, he inserts dark clouds, pine trees and roaring sea when he dies, which adds to the hero's emotion and praise.

Film and television pictures are the means used by film and television photography to express content, and they are also the basic elements of film and television language. Film and television pictures are an integral part of film and television programs, and each picture is also a link in the whole program chain. Therefore, it is required that each film and television picture must be unified with the front and back pictures in content and modeling form, forming a link between the preceding and the following. This feature requires film and television photographers to learn how to use montage to reproduce and express their life in the process of shooting. If it is limited to the direct recording of a single picture, there is no internal connection between the upper and lower shots, and it lacks the artistry of assembly. Like foreign movies, it completely loses the expressive power of film and television photography.

It is this way of continuous narration that makes complex content often explained by several different pictures (shots), so the composition of film and television photography pictures is not as rigorous as that of photo photography, and some film and television pictures (shots) are allowed to ignore the integrity of a single picture and the perfection of painting.

3. Time limit for viewing.

Every TV picture has a certain time limit, so we can't watch every work for a long time like art exhibitions and film festivals. Although TV videos can be parked, watching TV programs is limited by time. A TV series lasts about 50 minutes, and every picture is an instant. This feature, for film and television art * * *. This feature of TV pictures requires that the modeling of pictures must be concise and clear, as well as pictures with few characters and many mass scenes. Composition and modeling intentions should be simple and clear, clear at a glance, and not vague. The picture has passed, and the meaning is still incomprehensible. Secondly, it is required to master a certain period of time, and the pictures and panoramas with more content should be longer and the close-ups can be shorter.

4. Fixity of frame form

The format of TV pictures is fixed. Although the size is different, the ratio of length to width remains the same. They are all 4: 3 (or 16: 9). The normal frame of the movie screen is 22:16 (1:1.37), and the overlay frame is1:1.66-1:1.68, with wide screen. Wide-screen movies have a wide field of vision and a strong sense of space. Television is limited by the format of TV receiver, and there are only two kinds of frames: ordinary and covered. The covert form of TV series is to remove a part of the 4: 3 picture from the top and bottom, so that the already small picture is lost, and it does not broaden the space, just to pursue the beauty of the composition of the long picture. Paintings can be mounted according to the performance content. Although the film size is only 35mm, 120mm, it can be enlarged for cutting.

5. Realistic visual images

When talking about the realism of film pictures, French film theorist Marda wrote in the book Film Language: "In some cases, film pictures arouse a strong sense of reality for the audience and make them believe that everything that appears on the screen is objective." This argument also applies to TV pictures.

The fidelity of TV pictures is compared with other art forms. For example, if painting is too realistic, it will be dismissed as "kitsch" and "naturalism" because it destroys artistry. Call music that is too analog a low-level thing. For example, in China's play, there is no scenery. You can ask people to go out, enter the door, ride horses, wade in water and so on. Only by the actions of the actors. There are two wine glasses on the table. Blow them and a banquet will be over. This is very hypothetical. As far as TV plays are concerned, artistic treatment must be true in plot, language and details. All false treatment, the audience will not buy it, lose authenticity and artistic charm. But art is not a mirror reflection of life, truth is artistic truth, and the pursuit of truth is only the pursuit of truth. Of course, different programs have different requirements for authenticity.

In camera modeling, authenticity is the pursuit of realistic screen visual effects. Not really, the sun scene is not like the sun scene, the night scene is not like the night scene, the light is not like the light, and the candlelight is not like the candlelight. Although the scenery can be plastic, it can't be seen that "this is fake". Some indoor dramas are shot with scenery, and the scenery looks fake. The real scene is real, but it also has limitations. "Seeking truth and beauty" is the mainstream of contemporary screen modeling. Realism has different requirements for different types of programs.

6, the specific visibility of the image

The image of TV pictures is concrete and visible, which is different from the image of literature. Literary images can be described in detail but not visible, and their specific images depend on readers' imagination, vary from person to person and are limited by literary level. In life, people mainly rely on external information such as vision, hearing and touch. Experiments show that it takes different time to identify a thing with different methods, and vision is the most effective. Television pictures can express psychological time and space, but they must be visualized. This feature makes TV art an art suitable for all ages. It is very important to speak with images in TV works and play the role of visual images.