The production process of MV

(1) If there are multiple audios in the MV, if there is no special need, keep their volumes consistent.

(2) If the MV is pure music with pictures, it will be fast and slow.

(3) If the MV is music with lyrics, the lyrics should match the picture quickly and slowly. It is suggested to lay the lyrics on the track first, because only the PREview of the lyrics will not get stuck, even if you use 128 pre. Adjust the subtitles of lyrics to match the audio of lyrics, so that when laying videos, you can easily aim the related videos at the lyrics.

Video and audio association

(1) If the lyrics are matched with pictures, they may not all match (it is not difficult for the original singer to do this), but it is necessary to ensure that everything that can match matches.

(2) Between two lyrics, between lyrics and front/back/end, rhythm change point, etc., the video picture should be changed.

(3) Fast-paced songs, fast-paced places, the video should always change with the rhythm-even if you change the picture so that people can't see the content clearly when they first appreciate it.

videotape

(1) In photography, "static" videos such as conversations, meditations and close-ups with constant lens range and focal length and basically unchanged characters' movements should not exceed 3 seconds unless there is a special need. Pull, push, follow and zoom photography are the first choice for MV film sources.

(2) There should not be too many close-ups and close-ups of people (even different people) in a MV, and the far, middle, near, front and back scenes should be reasonably distributed, and some landscapes or empty shots in which the protagonist is absent should be properly put.

(3) If the film source has black edges, it is best to trim it uniformly; If you don't trim it, you can't use transitions such as stereo and page turning, so that there is a black edge in the center of the picture, and there can't be a black edge on the edge of the picture. The existence of black edges will also affect the effect of some filters, such as general filters-narrow black edges will also be blurred, and the magnification will be more obvious when blurred.

(4) Try not to appear anything similar to logo. There is really no way to cover it with light, halo, fine-tuning filter and so on.

(5) Don't use fancy transitions at random, and don't always use dazzling flash transitions. Transitions are just embellishments, not MV themes. Generally, fade-in and fade-out transitions should be the most commonly used. Others, the strong voice "Explosion" uses the smash transition, the memory and flashback use the flash transition, and so on.

(6) The problem of dialogue and subtitle should be dealt with as needed. If people want to see subtitles clearly, they should choose videos with subtitles. If you don't want people to see it, you can make a full-screen MV, or try to add subtitles to the video, and you can add lyrics and filters.

(7) Don't "plug" the content of an MV. Some videos, no matter how perfect they are, should be deleted if they don't need MV.

(8) Don't remember the scenes of handsome men and beautiful women, and be sure to turn when changing places.

(9) Without special needs, the adjustment of video speed should be no less than 50% and no more than 125%, otherwise there will be obvious traces of artificial processing.

(10) If you want to show something, you should choose the most suitable and clear lens on the screen.

Video scene selection

(1) Those who do highlights should be assigned objectively, and they should not be biased towards which role because of their own preferences.

(2) If you are a single person, don't always give the camera to the protagonist, especially the close shot, but also give some distant views of the protagonist, close shots of others and related empty shots. If the protagonist only has a close shot, then what's the use of the filter mask, artificially processing the level of MV, at least giving the protagonist a panoramic view behind the close shot.

(3) No special needs. If there are many actors in a character on TV, it is best to give only a close-up of one of them; If an actor has multiple roles, then the close-ups of actors representing two roles should not appear in one MV.

(4) If the subtitles are to be typed uniformly, you can make your own fonts in PS into a format similar to the subtitles on TV, and it will be fake when typed.

(5) For the fighting scene, if the shooting effect of the original film is not good, it is necessary to switch shots frequently, and there is no transition in hard cutting, and the transition of 10 frame is crossed in and out. In addition, if you speed up the video properly, the edited fighting scenes will look better.

(6) Empty shots-sky, sun, sunset, moon, clouds, mountains, rivers, waves ... If appropriate, use them.

Appendix 1: film and television terminology-post-production (black is the original, green is my mark)

The film of film and television is nothing more than the synthesis of n shots. Although the concepts of MV and MV are different, in a sense, MV is a collection of some TV drama plots, but the production methods can be used for reference, which imposes a certain talent on MV. Here we try to analyze one or two.

[storyboard]

Also known as "director's script". Divide the literary content of the film into a series of working scripts that can shoot scenes taken on the spot. According to the ideas and images provided by the literary script, the director will embody the screen image of combining sound and picture in the future films through the overall conception and the way of sub-lens. The director divides the lens according to the visual characteristics of people, concretizes and visualizes the life scenes, characters' behaviors and relationships in the script, embodies the theme of the script and endows the film with a unique artistic style. Storyboard is the blueprint for the construction of the film designed by the director, and it is also the basis for all departments of the film crew to understand the director's specific requirements, unify their creative thinking, make the shooting schedule plan and determine the film production cost. In storyboards, tables are mostly used, with different formats and details. Generally, there are columns such as mirror number, scene, shooting method, length, content, sound and music. The "shooting method" in the table refers to the angle and movement of the lens; "Content" refers to the actions and dialogues of the characters in the picture, and sometimes the actions and dialogues are listed as two items separately. Before each paragraph, there is a scene, that is, the place and time of the plot, and between paragraphs, there is also a camera combination technique. Some detailed storyboards are accompanied by sketches of screen design and descriptions of artistic treatment.

Shooting MV is not as complicated as shooting TV. The copy of MV can be roughly equivalent to the above. Whether your copy is written or not, you should always keep a general concept in your mind. The written draft is just too complicated and too long to remember.

[synthetic lens]

Generally speaking, it refers to the lens picture taken by "synthetic photography". Sometimes it refers to the sound-picture synthesis of the focal plane. In the process of filming, the picture and sound are recorded on two carriers respectively, and the picture and vocal cords are not printed on one film until the printed film is copied. Therefore, shots with both sound and pictures are also called "synthetic shots". Video and audio, approximately equal to MV, are combined.

[Audio-visual synchronization]

A relationship between sound and picture in movies. Refers to the consistency of artistic conception and rhythm between music and pictures. Sometimes a picture is formed, and the music and sound effects are synchronized. Video content approximately equal to MV is synchronized with the music rhythm.

[Flashback]

A technique to express the inner activities of characters in movies. That is, a scene is suddenly inserted, and a short picture is used to show the psychological state and emotional ups and downs of the characters at this moment. Different from ordinary memories and flashbacks, flashbacks do not need to interrupt the movements and rhythms in the original scene, but capture the most distinctive and vivid movements or details, emphasize and express them in a very concise and vivid way, and give the audience a clear and profound impression. The content of "flashback" is generally the past and what has happened. For example, "pre-flashback" is used to express the imagination and premonition of characters about future or upcoming events, both of which are collectively called "flashback".

[picture in picture]

An electro-shadow art technique for dealing with lens structure. The central figure or moving object in the lens picture leaves the picture, which is called painting; When people or moving objects enter the picture, it is called painting. When an action runs through more than two shots, in order to make the action flow continuous and not confuse the audience, the drawing direction of people or moving objects between the connected shots should be basically the same, otherwise a neutral shot must be inserted as a transition.

[Fade in and out]

Also known as "fade in and out". One of the skills to express the transformation of time and space in movies. The picture behind gradually appeared, and finally it was completely clear. The beginning of this shot is called "fade in", which means the beginning of a paragraph. The previous picture fades away until it disappears completely, which means the end of a paragraph. Fading in and out is slow and lyrical, which can give the audience a visual pause and produce a complete sense of paragraph.

Orange memory feeling this refers to the fading of MV to black, or the fading of fuzzy class.

[in and out]

Also known as "dissolution and dissolution" or simply "dissolution" or "dissolution". One of the ways to express the transformation of time and space in movies. Refers to the gradual disappearance (melting) of the previous movie picture and the gradual appearance (melting) of the latter picture. Both of them are hidden and displayed at the same time, and overlap on the screen for a short time, that is, they appear alternately through the state of "dissolution", which is often used to express the relationship between reality and dreams, memories and associative scenes. The method of "transformation" is subtle and euphemistic, and often has a certain meaning. According to the needs of content and rhythm, the time of "transformation" can be long or short, generally between 1-3 seconds. It seems that this is what MV often says about cross-dilution.

[interjects]

Refers to the direct connection between the upper and lower lenses. The first shot is called "cut out" and the last shot is called "cut in". This method of lens assembly without any additional skills can enhance the consistency of action without interrupting the flow of time, and it is clean, compact, concise and vivid. It is often used to describe the environment and connect people's conversations and actions. In the shooting of feature films, this connection method is generally used for the shots of the same scene. As the lens cuts in, the audience gradually understands the performance object in the constant change of viewpoint, and does not feel the trace of picture combination.

Original TV movies are generally called "hard cuts" without transitions on MV. On the MV, it is impossible to use transitions between shots, and some original films can be "hard cut", all of which are very coherent shots.

[action connection]

Editing method makes the main movements of the film coherent. Include character movement, camera movement and scene movement. The body movements of characters take the turning point of action transformation as the splicing point, and the transformation and connection between the previous shot and the next shot are continuous without jumping by decomposition or addition and subtraction. Lens action refers to the splicing of moving lenses such as pushing, pulling, shaking, moving, following, ascending and descending. Generally, the upper and lower lenses are organically and smoothly combined by moving one by one and combining static and dynamic. Scene action refers to the action of natural scenery in the lens, such as a moving ship. Trains, sunrises and sunsets, changeable situations, and so on. Generally, the best editing point is selected according to the film content, plot and characters' emotions, so as to achieve the artistic effect of blending scenes.

You don't need to pay attention to this when you do a general MV. Television is cut for you. If it's the plot MV of "Replacing Trees with Flowers", you have to carefully select irrelevant videos to connect.

[color]

Color comparison is one of the most basic and important functions of digital synthesis. Before synthesis, it is often necessary to compare the colors of foreground and background pictures to keep their tones uniform. Many times, even if there is no stunt shot, there is no need to synthesize it, but in order to make the picture more beautiful, the director will also ask for color contrast of the shot.

To make an N-film MV, it is generally brilliant, and the color tone and film source of one film are all revised.

[geometric transformation]

The transformation modifies not the color value of the pixel, but the position of the pixel on the screen. The most basic geometric transformation is to translate, rotate and scale the picture on the plane. Another basic geometric transformation is mirror image, which is often used when imitating specular reflection. Complex geometric transformation is to transform the geometric position of a picture in three-dimensional space. The most complex geometric transformation is the deformation and distortion commonly used in numbers and the gradual change based on it. It's very common on MV.

[filter]

The filter uses neighboring pixels within a certain range of the picture to calculate new pixel values. There are many kinds of filters with a wide range of uses, and the functions that can be realized are also strange. More common in MV.

[image synthesis]

By composition, we mean the process of merging two pictures into one picture. There are many common synthesis methods, which are basically simple arithmetic operations on two images (sometimes a separate Alpha channel is needed).

The common masks on MV are often separated from the original background and synthesized into a new background by themselves.

Appendix 2: Film and Television Terminology-Lens Types

[Follow the camera]

Also known as "follow the trend". A photograph taken by a camera following a moving object. Follow-up lens can continuously and carefully show the movements and expressions of characters in action, which can not only highlight the main body in motion, but also explain the direction, speed, posture of the moving body and its relationship with the environment, so as to keep the movement of the moving body coherent and help to show the mental outlook of the characters in the dynamic.

[Push lens]

A shooting method in which the camera is placed on a moving car and pushed forward towards the object and the picture. When the lens moves forward, the subject gradually becomes larger in the picture, guiding the audience's attention to the part to be shown. Its function is to highlight the theme, describe the details, make the emphasized person or thing stand out in the whole environment, and strengthen its expressive force. Pushing the lens can constantly show the changing process of characters' movements, from body movements to facial expressions or action details, which is helpful to reveal the inner activities of characters.

[Zoom in]

Put the camera on the moving car and pull it back to the person or scene to get the picture. When the lens gradually moves away from the subject, the picture gradually expands from a part, allowing the audience to move back and see the connection between the part and the whole.

The above three items are perfect if you make full use of them in the film. Movies are used a lot, and TV stories are long and seldom used, especially ancient movies, which are basically not used. In recent years, movies have been used well, and it is easy to make a good movie MV. Sometimes you can manually push and pull the lens on the film source, provided that the clarity of the picture is guaranteed.

[Panorama]

Capture the movie picture of the whole body or the whole scene of the character. The panoramic space is vast, which can fully show the overall movements of the characters and the relationship between them. In the panorama, people and the environment are often integrated, which can create a vivid picture of people and scenery. Compared with close-up, panoramic view has a great difference in sight distance. If the two are directly combined, it will cause a great leap in vision and emotion, and often receive unique artistic effects.

[potential customers]

A person or thing in front of the subject or near the leading edge in a lens. In the lens picture, it is used to set off the main body or form a part of the dramatic environment. It has the function of setting off the main body and decorating the environment, which is helpful to enhance the spatial depth of the picture, balance the composition and beautify the picture. In some mobile phone photography, the sense of movement and rhythm of the lens can be enhanced through the change and alternation of the foreground. The foreground should be organically combined with the content of the picture. One-sided pursuit of the decorative beauty of the foreground will break the unity of the picture and even weaken or confuse the subject. According to the needs of scene scheduling, with the movement of the camera in the scene and the change of position, the foreground may also be transformed into the background accordingly. It can not only make the audience clearly see the expression of the characters, but also help to show the body movements of the characters. Because of the wide shooting range, several people and their activities can be photographed in the same picture, which is beneficial to explain the relationship between people. The middle scene occupies a large proportion in the film, which is often used in situations where it is necessary to identify the background or explain the action route. The use of the intermediate lens can not only deepen the depth of the picture, but also show a certain environment and atmosphere, and through the combination of lenses, it can also describe the course of a conflict in an orderly way, so it is often used to describe the plot.

[background]

People or things behind or near the camera. In the lens picture, the background corresponds to the foreground, sometimes as the main body or companion of the performance, but most of them are part of the drama environment. After-shot can enrich the image of the picture, produce the modeling effect of multi-layer scenery and increase the spatial depth of the lens, thus forming the typical environment and living atmosphere of the scene. When the camera shoots the tilt angle, the performance of the background in the picture is the most obvious. In some scene processing, the background is the background. According to the needs of scene scheduling, with the movement of the camera in the scene and the change of position, the background may also be transformed into the foreground accordingly.

[vision]

Take movie photos of people and scenery from a distance. This kind of picture allows the audience to see a broad and far-reaching scene on the picture to show the spatial background or environmental atmosphere of the characters' activities. Foresight can be used to express large-scale crowd activities and render magnificent scenes. At the same time, vision is often used to express emotions and create artistic conception, that is, to contrast or highlight the inner waves of characters through the description of natural scenery.

[Mid shot]

Take a movie photo of the character above the knee. The sight distance is a little farther than the close shot, which can provide actors with more room for activities, not only let the audience see the expressions of the characters clearly, but also help to express the body movements of the characters. Because of the wide shooting range, several people and their activities can be photographed in the same picture, which is beneficial to explain the relationship between people. The middle scene occupies a large proportion in the film, which is often used in situations where it is necessary to identify the background or explain the action route. The use of the intermediate scene can not only deepen the depth of the picture, but also show a certain environment and atmosphere, and through the combination of shots, it can also describe a conflict process in an orderly way, so it is often used to describe the plot.

[Close shot]

Take a movie picture above the character's chest. The line of sight is a little farther than the close-up. In close range, the upper body activities of the characters occupy a prominent position in the picture and become the main performance object, which can let the audience clearly see the facial expressions or some kind of body movements of the characters. Close-ups and close-ups have similar functions. That is, the visual effect is clear, which is conducive to the detailed description of the appearance, expression, clothing, instrument and so on. Close shot has its unique artistic function in expressing the emotional communication of characters and revealing the specific relationship between characters. Close-ups are sometimes used to capture part of a scene.

[close-up

Shoot a person's face and part of the subject. A close-up shot is the shot with the closest sight distance in the movie screen. Because of its small viewing range and single picture content, the performance object can stand out from the surrounding environment, resulting in a clear visual image and emphasized effect. Close-ups can show the subtle emotional changes of the characters, reveal the instantaneous movements of the characters, and make the audience strongly infected visually and psychologically. The combination of close-up shots and other scenery shots can create a special montage rhythm effect through the change of lens length, distance and strength.

[close-up]

Also known as "close-up of details". A detail of the subject takes up the whole picture. The framing range is smaller than the close-up, so the object is enlarged. This obvious emphasis and prominent role makes the close-up as unique as the close-up and has extremely bright and strong visual effects. If such scenes in a film are too long and too many, it will also weaken its unique appeal.

[empty lens]

Also known as "scene shooting". A scene in which no characters (mainly those related to the plot) describe natural scenery or scenes. It is often used to introduce the environmental background, explain the time and space, express the feelings of characters, publicize the festive nature of events and express the author's attitude. It has the functions of explanation, suggestion, symbol and metaphor. In the film, it can produce artistic effects, such as expressing feelings by borrowing things, seeing scenery, blending scenes, rendering artistic conception, setting off the atmosphere and arousing associations, and it also plays a unique role in the transformation of time and space of the picture and adjusting the rhythm of the film. There are two kinds of aerial photography, one is called landscape photography, and the other is called "detail description", which is usually close-up or close-up. The use of empty lens is not only a simple description of scenery, but also an important means for film creators to combine lyric techniques with narrative techniques to strengthen the artistic expression of films.