Knowledge of editing and directing lens language

Knowledge of editing and directing lens language

We can usually see the photographer's intention through the pictures taken by the camera, because we can feel what the photographer wants to express through the lens from the changes of the theme and pictures. This is the so-called' my lens can talk', which is also commonly known as' lens language'.

However, most beginners are still in the stage of "learning to speak", unable to clearly express what they want to say through "words", and even incoherent and confused. Therefore, as long as you understand the' lens language', you can' speak freely' and make clear what you want to express in a few words, which makes people no longer feel inexplicable. Using' language' as a metaphor shows that photography is like speaking, the beauty of words is the second, and people can understand it is the most important. Therefore, you need to express an event through the lens, so that others can easily see what your movie is expressing. For example, if you take a picture of the door of the Chiang Kai-shek Memorial Hall, everyone will understand it as soon as they see this picture, but some people are afraid that you won't remember it. It's like an old man with Alzheimer's disease repeating the same words in your ear. Are you tired of it? There are many people who shoot still life, such as flowers, utensils and pictures. However, for a beautiful but not very vivid theme, the camera has been stagnant for a long time, which is like explaining something clearly in a few words, but using a long speech. Of course, you won't have the patience to listen any longer. Similarly, in the video world, although the expression is different from the usual speech, the purpose is the same, so when you shoot, you fantasize that you are telling a story, so that your head will not be empty and you don't know what picture and content to shoot.

First, the scenes of movies and TV programs.

Scenery, according to the distance and perspective of the scene, is generally divided into:

Extremely distant prospect: extremely distant lens scenery, people as small as ants.

Foresight: the far-reaching lens landscape, the characters only occupy a small position in the picture. Wide field of vision is divided into three levels: large field of vision, prospect and small field of vision (semi-field of vision) according to the distance of the scene.

Panorama: a picture containing the whole subject and the surrounding environment. It is usually used to introduce the environment of film and television works, so it is called the widest lens.

Panorama: a film and television picture that captures the whole body of a character or a small scene, which is equivalent to the scenery in the "stage frame" of a drama or song and dance theater. In the panorama, you can clearly see the movements of the characters and their environment.

Small panorama: the actor is "indomitable", in a much smaller size than the panorama, while maintaining a relatively complete specification.

Mid shot: commonly known as the "seven-point image", it refers to the lens that captures the part above the calf of a character, or is used to shoot a scene equivalent to this. It is a common scene for performing scenes.

Bust scene: commonly known as "bust", it refers to the scenery from the waist to the head, also known as "mid-close shot".

Close shot: refers to the film and television pictures taken above the chest, sometimes used to show a certain part of the scene.

Close-up: refers to photography, where the camera takes pictures of objects at close range. Usually, the head above the shoulder of the human body is used as a framing reference to highlight a certain part of the human body, or the corresponding object details and scene details.

Close-up: Also known as "close-up of details", it refers to the parts that protrude from the head, or some details of the body and objects, such as eyebrows, eyes, bolts, triggers, etc.

Second, photography, camera movement (shooting mode)

Push: push the lens, push the lens, that is, the subject does not move, and the shooting machine moves forward to shoot. The shooting range is changed from large to small, which is divided into fast push, slow push and hard push, which is essentially different from zoom push.

Pull: the subject is still, and the shooting machine pulls back. The viewing range changes from small to large, and it can also be divided into slow pull, fast pull and quick pull.

Jitter: When shooting, the camera stays still, the fuselage moves up and down, left and right, and rotates on the chassis on the tripod, so that the audience can look around and see the people or things around them as if they were standing in the same place.

Moving: Also called moving shooting. Broadly speaking, all kinds of sports shooting methods are mobile shooting. However, in general, mobile photography refers to placing photography and cameras on vehicles and shooting objects while moving along the horizontal plane. The combination of panning and panning can form a panning shooting mode.

Follow: refers to following the shooting. Follow-up is one kind, and there are follow-up, follow-up, follow-up, follow-up and so on. It will be combined with more than 20 shooting methods such as pull-ups, shaking, moving up and down. At the same time. In short, the methods of follow-up are flexible and diverse, so that the audience's eyes are always fixed on the human body and objects being followed.

L: Photography and video recording.

Student: A little bit of photography and video.

Bow: Bow and arrow, often used to show the overall appearance of environment and occasions in a macro way.

Yang: Yang school often means tall and solemn.

Swing: Swing shot, that is, scanning shot, refers to the sudden transition from one subject to another as a means of scene change, without traces of editing.

Hanging: Hanging photography, sometimes including aerial photography. It has a wide range of expressive force.

Empty shot: also known as empty shot and scene shot, it refers to a pure scene shot without characters (whether people or related animals) in the play.

Cut: the generic term for the conversion lens. Any shot clip is a "clip".

Synthesis: refers to comprehensive shooting, also known as comprehensive lens. It combines several shooting methods such as pushing, pulling, shaking, moving, following, ascending, descending, leaning, leaning, spinning, throwing, hanging and flying into one lens to shoot.

Short: refers to a short shot. Movies generally refer to shots with a duration of 30 seconds (24 frames per second) and a film length of 15 meters; Television is a continuous picture of 30 seconds (25 frames per second) and about 750 frames or less.

Length: refers to the long lens. Film and television can be defined as a continuous picture of more than 30 seconds.

For the distinction between long shots and short shots, there is no recognized "scale" in the world, and the above standards are all general. Hitchcock's The Rope has a long shot of 10 minutes, which is as long as a book (referring to a tin box copy), and a short shot of a war movie, which is as short as two frames, depicting the shadows of fire and guns.

Counterattack: refers to the camera, which shoots in different directions when shooting a scene of two people. For example, shooting a man and a woman sitting and talking, first shooting the man from one side, then shooting the woman from the other side (close-up, close-up, bust), and finally cross-editing to form a complete clip.

Zoom shooting: photography, the camera does not move, through the change of lens focal length, you can clearly see people or things in the distance, but also change the close-up from clear to blurred.

Subjective shooting: also known as subjective lens, that is, the lens that expresses the subjective sight and vision of the people in the play often plays the role of visual psychological description.

Third, the picture processing skills of film and television

Fade in: Also known as fade in. It means that the brightness of the first shot of the next scene gradually increases from zero to normal intensity, just like the "opening" of the stage.

Fade out: Also known as fade out. Refers to the last scene of the last scene, which gradually darkens from normal brightness to zero, like the "ending" on the stage.

Transformation: Also known as "dissolution", it means that the previous picture just disappears and a second picture appears at the same time. Both of them complete the replacement of screen content in the state of "dissolution". Uses: ① Used in conversion of time; (2) expressing dreams, imagination and memory; (3) The landscape is unpredictable and dizzying; (4) naturally undertake the transition, and the narrative is smooth and smooth. This process usually takes about three seconds.

Overlap: Also known as "overprint", it means that the front and back images have not disappeared, but only a part of them are "retained" on the screen. It shows the connection of characters by dividing the picture and promotes the development of the plot.

Pai: Also known as "Pai in and Pai out". It is different from melting and overlapping, but a skill to change the content of the picture with lines or geometric figures, such as circles, diamonds, curtains, triangles, polygons and so on. If you use "circle", it is also called "circle in and out"; "Outside the curtain in the curtain" is also called "outside the curtain in the curtain", which means changing the lens content like a roller shutter.

Painting: refers to the person entering the camera frame, which can be up, down, left and right.

Painting: refers to the person leaving the shooting picture from top, bottom, left and right.

Freeze-frame refers to adding several films or pictures with the same frame to a certain film or TV picture by technical means, so as to achieve the purpose of keeping the picture still. Usually, every segment of a movie or TV picture begins with a freeze frame, changes from static to static, ends with a freeze frame and changes from dynamic to static.

Inverted image: use the screen or the horizontal center line of the screen as the axis, and use 180 to invert the original image from inverted to positive or from positive to negative.

Flip the screen: take the vertical center line of the screen as the axis, 180 flips to make the screen disappear and lead to the next shot. Generally speaking, it shows a strong contrast between new and old, poor and rich, happy and sad, present and past.

Start frame: refers to the first picture of photography and video shooting.

Left: refers to the last picture before the camera stops.

Flashback: a way to express the inner activities of characters in movies and TV shows. That is, a scene is suddenly inserted in a very short picture to show the psychological activities and emotional ups and downs of the characters at this moment, and the technique is extremely concise and lively. The content of "flashback" is generally a scene that has appeared in the past or something that has happened. If it is used to express the imagination and premonition of the characters about the future or upcoming events, it is called "pre-flash", and together with "flash back" it is called "flash back".

Montage: French transliteration of montage, which originally means combination and editing, refers to arranging and combining a series of shots taken in different places, different distances, different angles and different ways, and is one of the main narrative means and expression means of film creation. It can be roughly divided into "narrative montage" and "performance montage". The former mainly aims at expressing events, and the general parallel mosaic and cross mosaic (also known as parallel montage and cross montage) belong to this category. "Performance montage" is to strengthen artistic expression and emotional appeal, and to produce new connotations that were not originally available through the connection of "unrelated" shots or the mutual comparison of contents.

(represented by Britain and the United States, it is called film editing. Montage, represented by Soviet Union and France, refers to the combination or editing of shots in Chinese translation. )

Editing: one of the film and television production processes, also refers to the full-time staff who undertake this work. After the filming of film and television works is completed, according to the requirements of plot development and structure, the pictures and vocal cords of each shot are selected, sorted and cut, and then combined according to the montage principle and the most artistic order to become a film and television work with complete content and artistic appeal. Editing is the decomposition and reorganization of video audio-visual materials, and it is also the re-creation in the process of shooting.

Four, other terms involved in this book

Foreground: the person or thing in the lens near the front or in front of the subject. In the lens picture, it is used to set off the main body or form a part of the drama environment, and enhance the spatial depth of the picture, balance the composition and beautify the picture.

Backshot: a person or thing near the back or behind the subject in a shot. The background is sometimes the main body or companion of the performance in the lens picture, but it is mostly a part of the drama environment, and sometimes it directly constitutes the background.

Mid shot: The middle part of the picture. The general subject will appear in the middle scene or between the front and middle scenes.

Foreground, middle scene and background are the basic levels of photographic composition, which can make the picture rich in layering and depth. Some pictures are more finely divided, such as many pictures in Spielberg's Saving Private Ryan, which can reach seven or eight levels.

Interior: Also called "shed interior". Refers to the scenes set in the studio (including indoor scenes or outdoor scenes).

Exterior: The scenes outside the studio, including real scenes such as natural environment and living environment, and also indoor scenes built outside the studio. Its advantages are truthfulness, naturalness and liveliness.

Studio: a special building dedicated to shooting film and television works. The larger studio area is generally over 400 square meters to 1000 square meters, and the height is over 8 meters. There are sky patches around the shed to draw the background, equipped with various lighting facilities, sound conditions, sound insulation, ventilation, temperature regulation, drainage and other equipment. Various indoor and outdoor shooting scenes can be built in the shed.

Modeling language: in the traditional sense, it refers to the sum of the means and techniques of painting, sculpture and other artistic categories to shape visual and intuitive images with certain material materials. For film and television, various means and techniques of visual plastic arts (such as lines, colors, lighting effects, tones, composition, perspective rules, material structure, space processing, etc.). ) and the factors of sound modeling (volume, timbre, tone, movement, direction, distance, etc.). ) together form their plastic language system.

Voice-over: refers to the sound outside the picture used in film and television works, that is, the sound is not directly emitted by people or things in the picture, but comes from outside the picture. Narrator, monologue and explanation are the main forms of voiceover. The use of off-screen sound is also an important form of voice-over. Voice-over makes sound get rid of the subordinate position attached to the picture and strengthens the audio-visual combination function of film and television works.

What is a film and television long shot?

A long shot refers to a shot that continuously shoots the next scene, a scene or a shot to complete a relatively complete shot paragraph without destroying the temporal and spatial coherence in the development of the event.

When shooting a long shot, through the movement of the lens, the effect of multi-angle and multi-lens is formed, resulting in a picture.

The realism of space and the sense of wholeness are achieved in one go.

It was originally a film shooting technology, which came into being in the 1920s. At the beginning of film invention, editing technology was not available.

When it became a special production method, most of the film pictures were shot with long lenses.

The most fundamental thing about a long shot is the documentary produced by the scene depth scheduling in the shot and the realistic style reflected by the rhythm conversion of the whole movie. Of course, relatively speaking, emphasizing the scene scheduling within the depth of field will make the lens time longer and the rhythm slower. It is obvious to look at the films directed by Taiwan Province, such as Hou Xiaoxian.

194 1 orson welles of the United States successfully used long lens paragraphs and depth of field lens, sports photography and multi-angle narrative structure in his classic film Citizen Kane. This film is called "the milestone of modern film".

How to express emotions through long shots?

The style of the lens language of a work should be determined by the style and emotional content of the story-because the lens language serves them completely.

Long shots are mainly used to express two emotions: long and silence (or both)

You can refer to the following:

Long shot, also known as paragraph shot in film and television art, refers to the continuous shot taken by the camera after a long period of non-stop movement, and some long shots can last for more than a few minutes.

The long shot theory was first put forward by French film theorist andre bazan. He believes that the movement of the lens and the depth of field lens can avoid strictly limiting the audience's perception process, pay attention to the real, normal and complete movement of things, ensure respect for time, and let the audience see the whole picture of the exhibition space and the actual connection of things. Its significance can not only greatly reduce the times of montage assembly, but also play an important role in developing and studying the artistic potential of montage inside the lens. Especially for the feelings that need to be constantly expressed, it needs a coherent lens and a lens that needs to be continuously introduced into a vast space, which has its special artistic value.

However, Bazin absolutes the aesthetic significance of long shots, only emphasizes the truth, and ignores the artistic essence of external montage assembly skills. Through montage combination, the typical shot representing * is selected, thus creating a new shot that spans time and space and shortens meaningless space, so that the audience can receive its artistic effect instead of simply copying and observing objective time. The extensive use of long shots in domestic TV dramas often gives people a feeling of procrastination, which is not as intense as that in Hong Kong, Taiwan or the West.

Long shot theory and performance skills are part of film and television art, which can complement each other with montage assembly skills. But we can't abuse it, especially in feature films and MTV. We can use it properly in documentaries, teaching films or some news films to show some details.

After World War II, Bazin, a French film theorist, opposed the role of montage, arguing that montage imposed the director's point of view on the audience, limiting the fuzziness of the film, and advocated using depth-of-field lens and scene scheduling for continuous shooting, believing that only in this way can the integrity of plot space and real-time flow be maintained. However, the role of montage is undeniable. Film artists always use montages and long shots to create films. Some people think that the long shot actually changes the scope and content of the shot by using the action of the shot and the scheduling of the actors, which is called "internal montage"

Depth of field lens

Bazin called the long lens a depth of field lens. The depth of field lens is a long lens (not a long focal length lens). Long lens and long focal length lens are two completely different concepts. One is the creation problem, and the other is the zoom optical lens and zoom picture. So a long lens can't be called a long focal length lens.

montage

The basic element of the film is the lens, and the main way and means to connect the lens is montage. It can be said that montage is a unique expression means of film art.

Since the smallest unit of the film is the lens, what is the basic element of the film-the lens? What does it have to do with montage? As we know, the lens is a piece of film shot from different angles, different focal lengths and different times, and has undergone different processing. In fact, montage has been used since the camera shooting.

As far as the lens is concerned, shooting from different angles naturally has different artistic effects. Such as frontal shooting, cypress leaning, upward shooting, side shooting, backlight, filtering, etc. The effect is obviously different. As far as the lens with the same focal length is concerned, the effect is different. For example, distant view, panoramic view, middle view, close view, close-up and large close-up have different effects. Furthermore, different processed lenses will also produce different artistic effects. In addition, due to the use of spaces, abbreviations, upgrades and other techniques, it has also brought a variety of specific artistic effects. In addition, because of the different shooting time, there are long shots and short shots, and the length of the shots will have different effects.

At the same time, when connecting lens scenes and paragraphs, we can choose to use different connection methods according to different changes, different rhythms and different emotional needs, such as speaking, changing, scratching, cutting, winding, pinching, pushing and pulling. In short, what kind of shots to take and what kind of shots to arrange together. In what way to connect the arranged shots, the way and means for filmmakers to solve this series of problems is Meng Daqi. If picture and acoustics are the "vocabulary" for the film director to communicate with the audience, then the montage means of using picture and acoustics to form shots and combining shots to form film rules is the director's "grammar".

For a film director, mastering these basic principles does not mean mastering "grammar". Montage often presents a variety of faces in the specific content and aesthetic pursuit of each film.

Montage is from point to surface for the audience. For the director, montage is first divided into parts, then edited, and then divided into parts, that is, combination. The smallest unit of cutting is the lens, so the director has to write a storyboard. As an audience, how should we appreciate the director's art from the perspective of montage? After all, montage is a way for directors to tell stories; The audience always wants the story to be smooth, vivid and infectious, which can arouse the association and interest of the audience. These requirements fully apply to montage. The audience is not only satisfied with understanding the plot. Or roughly understand the idea of the film, but it requires clear and smooth perception of every link and detail of the film narrative process. The montage of the film must first be understood by the audience.

Nowadays, a contemporary feature film usually consists of about 500 to 1000 shots. The scene, angle, length, action form and the combination of picture and sound of each shot all contain montage factors. It can be said that montage has existed since the beginning of the lens. At the same time, the treatment of lens angle, focal length and length has included the photographer's will, emotion, praise and criticism and ingenuity.

In the arrangement, combination and connection between shots, the photographer's subjective intention is more clearly reflected. Because each shot does not exist in isolation, its form must be related to the upper and lower shots connected with it, and different relationships will produce different artistic effects such as coherence, jumping, strengthening, weakening, parallelism and contrast. On the other hand, the combination of shots not only plays a role in vividly describing the contents of shots, but also produces new meanings that may not be expressed by a single shot itself. Griffith's first attempt to use montage in film history was to combine the shot of a man trapped on a desert island with the close-up of a wife waiting at home. After such a "combination", the audience felt "waiting" and "leaving sorrow" and produced new special imagination. Another example is to arrange a group of short shots together and connect them with a quick cut method. Its artistic effect is very different from that of the same group of lenses arranged together and connected by a "light" or "chemical" method.

For another example, if the following three shots A, B and C are connected in different order, different contents and meanings will appear.

A, a person is laughing; B, there is a gun pointed at; C, the same person's face showed surprise.

What impression did these three close-ups give the audience?

If connected in the order of A-B-C, the audience will feel that this person is a coward and a coward. Now, the shots remain the same. If we just change the order of the shots above, we will come to the opposite conclusion.

C, a person's face shows the appearance of a courtyard, b, a gun is pointed at; A, the same person is laughing.

If you connect in the order of C-B-A like this, that person's face will look frightened because there is a gun pointed at him. However, he thought about it and thought it was nothing, so he smiled-in the face of death. Therefore, he gave the audience the impression that he was a brave man.

In this way, changing the shot order of a scene without changing each shot itself completely changes the meaning of a scene, draws the opposite conclusion and receives completely different effects.

This coherent organizational arrangement is to use the unique montage means of film art, which is also what we call the structural problem of film. From the above examples, we can see the importance of this arrangement and combination structure, which is an important means to organize the materials together to express the film ideas. Meanwhile. Due to the different arrangement and combination, different artistic effects such as positive, negative, deep, shallow, strong and weak have been produced.

Eisenstein, a Soviet movie master, thinks that shot A plus shot B is not a simple synthesis of shot A and shot B, but will become a brand-new content and concept of shot C. He clearly points out: "The juxtaposition of two montage shots is not the addition of two numbers, but more like the product of two numbers-this fact was correct before, and it still seems correct today. The reason why it is more like the product of two numbers than the sum of two numbers is that the result of arrangement is far from each individual component in quality (in "dimension" if mathematical terms are used). Let's go back to the above example. Woman-this is a painting, a woman's mourning-this is also a painting; These two pictures can be expressed in kind. The' widow' produced by the juxtaposition of these two pictures is no longer something that can be expressed in kind, but a new representation, a new concept and a new image. "

It can be seen that the use of montage can make the connection of shots have a new meaning, greatly enrich the expressive force of film art, and thus enhance the appeal of film art. On this topic, we can also get great inspiration from a phenomenon in physics: as we all know, carbon and diamonds are two substances. As far as its molecular composition is concerned, it is the same. But one is surprisingly brittle and the other is unusually hard. Why do scientists' research results prove to be caused by differences in molecular arrangement (personality structure)? In other words, the same materials, due to different arrangements, may produce such diametrically opposite results, which is really thought-provoking.

Hungarian film theorist Bella. Balaz also pointed out: "Once the last shot is connected, the extremely rich meaning hidden in each shot is emitted like an electric spark." It can be seen that this kind of "electric spark" meaning is "hidden" by a single lens, and people are unaware of it. Only through "combination" can people have a new and special imagination. When we say montage, we first refer to the combination relationship between shots, including the combination relationship between time and space, sound and picture, picture and color. And the significance and function of these connections.

In a word, montage is the connection of movies. The whole film has a structure, and every chapter, paragraph and paragraph should also have a structure. In the film, this connection is called montage. In fact, it is to combine the lens group into a segment, then combine the short segments into a large segment, and then organize the large segment into a movie. There is no mystery or trick in this process, which conforms to the logic of rationality and sensibility, the logic of life and vision, and looks' smooth',' reasonable', rhythmic and comfortable. This is a splendid montage, and vice versa. "There is no such simple explanation and elaboration as montage.

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