Is there anything wrong with our conversation? Is it wrong to learn more experience? Or did I say something wrong?

The specific application of three-person dialogue is 1. The actors are shoulder to shoulder. In some cases, these two roles are a straight line. The most common scene is two people sitting in the front seat of a moving car. At this time, the dialogue between the two roles will take a parallel position. When the two actors line up, they have a sense of direction-they all look forward. At this time, the internal relationship between them can be well shown by axial shooting, and the positional relationship between the two roles can be clearly shown. . The internal backhand angle of placing the camera between interlocutors can be used to express the image of one of the characters. You can also use the parallel lens position to shoot from the front of the person. At this time, there are two characters facing the camera or facing away from the camera. Actors in tandem When two people ride on the same horse, bicycle, motorcycle or canoe, they are forced to talk in a fixed posture. People in front often look at people behind them out of the corner of their eyes. In this case, it is usually represented by a double lens of a single camera position. Then, you can point the camera forward in the coaxial position and shoot these two people separately. The final editing is often the alternate use of double shots and single shots. Two actors are fighting in the classroom, so they can only shoot separately, and then edit alternately to show the process of their dialogue. This situation seems to have little to do with the relationship axis, but in fact, many directors will put two actors in opposite directions. In other words, we assume that this is a dialogue between two people in the same space, and then express the dialogue according to the axis method. The advantage of this is that it can create a sense of normal conversation and strengthen the sense of communication between the two sides of the dialogue. Four. Three-person dialogue 1 Many three-person dialogues are simplified into two-person dialogues. When one actor stands on one side and the other two actors stand on the other side at the same time, the number of people participating in the dialogue increases, but the axis between roles does not increase. In this case, the performance method of the three-person dialogue scene is the same as that of the two-person dialogue. The following are some routine methods to shoot a three-person dialogue, which can be used as a reference for learning a three-person dialogue. (1) First, explain the whole group with an account lens, which is the full-angle lens mentioned above in this book. In conventional movies, full-angle shooting often appears in dialogue paragraphs many times. According to the general custom, this shot is used at the beginning, middle or end of the scene. (2) Focus on one of the actors from the inside backhand angle. This single actor is often the protagonist of this dialogue. (3) Shoot the other two people with the inside backhand angle. (4) Shoot an actor with an outside backhand angle. At this time, the over-the-shoulder shot can be distinguished from the actor's last shot. (5) Return to the full-angle lens. Show the results of the dialogue or the movement of the role. 2. How to deal with multiple axes When three figures are arranged in a triangle, multiple axes will be formed. When dealing with multiple axes, you can use the inside/outside backhand method. We first use a lens to show the positional relationship between three people, and then put the camera in the center of three people to take a single shot of three people in turn, so that we can clearly show the relationship between the interlocutors. Complement the experience of expressing three-person dialogue. If all three actors are standing, further changes can make two actors sit in the same room or arrange them at different heights on multiple floors. This subtle change, including the change of different spatial distances between characters, will help to make up for the rigid picture composition that is easy to appear in linear plane layout. 5. Dialogue scenes of four or more people 1. The basic skills of performing two or three people's static dialogue scenes are also applicable to people who perform a lot. However, it is rare for four or more people to have a conversation at the same time. Among them, there is always a leader, consciously or unconsciously. As a host, he shifted the audience's attention from one person to another. Therefore, the dialogue always takes place in different regions. In relatively simple cases, one or two main characters are interrupted only occasionally by others. In this group, if someone stands and someone sits, the whole composition is triangle, square or circle, which can highlight any one. This technique is often called hidden balance on the stage. Sitting people are balanced by standing images, and vice versa. If some people are closer to the camera than others, it will strengthen the illusion of depth of field. In the performance of a group of people, in order to highlight the key points, the pattern of lights also plays an important role. As a rule, the main characters are brightly lit, while others are dim, which is visible, but in a secondary position. 2. The specific application of multi-person dialogue (1) uses the same visual axis and represents multi-person dialogue as two-person dialogue. Multi-person dialogue can be regarded as two-person dialogue in many cases. In fact, in order to avoid too complicated axis operation, directors often deliberately form such a situation through the scheduling of characters. In this case, the dialogue is divided into all the characters and the central characters. If all characters and central figures must be visually represented, then at least two basic main shots should be assumed, one is a panoramic view of people, and the other is a close-up of one or several main actors. We can edit two shots alternately with the same visual axis. (2) People sitting around the table can often see people sitting around the table in movie scenes. There are several ways to explain them to the audience. Using the method of inside/outside backhand can effectively deal with the dilemma of this kind of scene in the script. Just like a three-person conversation, we need a shot to represent all the participants in the scene. Then you can put the camera in the middle of the crowd and shoot the person you want to show alone. At this time, the camera can shoot radially at a point or at a right angle. (3) The speaker faces an adult. In many films, it is often necessary to show that the protagonist faces a person. The number of people here doesn't really matter, because there is only one axis between them and the central figure. When a person faces a crowd, he may form two physical relationships with the crowd: either opposite to the crowd or in the crowd. In the first case, the crowd faces the speaker in an arc. At this time, you can use the triangle principle in the dialogue scene of two people to shoot these two people. When the speaker is in the crowd, he often takes a panoramic shot from the outside of the person from the perspective of the top of his head to show the positional relationship between the speaker and the crowd. Then push the camera to the same visual axis, use a straight angle to represent the speaker, and then use the speaker as the axis to represent the people around you. Note that what is simulated here is the actor's subjective line of sight, and the shaking lens represents the surrounding people in turn. There may also be two situations in the conversation: one is to treat all people as a complete individual; The first is to regard the crowd as a series of parts with main actors. In the first case, the crowd in the film and our geeks form the two poles of concern, and there is a virtual relationship between them. When the camera selects one side of the relationship line, the shooting position can be arranged according to the triangle principle. At this time, the application of the relationship axis is no different from the dialogue between two people, because in the scene scheduling and story plot, the main actors always look forward and regard the audience as a whole. At this time, no matter how many actors are participating in the performance in the lens, they can be regarded as a whole from the axis. The premise of this is that the members of the crowd do not appear as individuals in the plot. No one stood up to talk to the speaker. The crowd (no matter how many) is a passive audience there, they just come for entertainment or education. In the second case, if there is a person who interacts with the central figure, he may be a worker's representative to lightly sentence the factory director; Or the most naughty child in the class, making trouble with the teacher. At this time, we need to take pictures of these people on the same visual axis, and the other rules remain unchanged. In the third section, the dialogue scene shows the dialogue between characters by lens technique. Whether it is a dialogue between two people or many people, the application of axis is only the basic basis for us to correctly show the logical relationship of the story. To describe a dialogue scene wonderfully, it is not enough to rely solely on the axis technique. We must consider many other factors. How to let the audience naturally enter the dialogue scene; How to improve the rhythm of the film when the dialogue is long; The proportion of lens distribution between the speaker and the listener, etc. , are the key issues that affect the dialogue scene. Do one or two actions on these issues, which is an important part of the actor's dialogue scene in a fixed place. If the actor is already in the designated position and the dialogue starts at the first frame of a scene, the audience will have a certain degree of sudden feeling and cannot enter the actor's performance mood. The audience is used to watching a conversation in the natural order of events: first meet, then talk, and finally break up. Sometimes at the beginning, the people in the play are already in place. At this time, actors are usually arranged to do one or two actions before speaking. The design of this action will become a dramatic factor in this play, which is directly related to the content of the dialogue. This relationship is sometimes to define the drama atmosphere, and sometimes to naturally divert the audience's attention from the main characters in the dialogue. Here are a few common schemes that can make the dialogue go smoothly. Of course, according to the plot of the play, there are various techniques, and the scheme provided here is for beginners' reference only. (1) Start the dialogue with an empty lens. This is the most commonly used technology. There is an empty shot of a dialogue scene at the beginning of the film. The actor walked into the scene, then stopped and began to speak. For example, we can play a conversation between two primary school students on their way to school. We can take an empty shot of the road first, and then a pupil walks into the picture. At this time, another student called his voice outside the picture, and finally another student entered the picture. The two children walked and talked. In this way, (2) it may take some time for the protagonists to show their works in turn. For films that want a fast pace, a compromise method can be adopted, that is, an actor appears in the picture at the beginning of the film, and then other performances are performed. (3) In order to naturally draw the audience's attention to the center of the plot, one or two actors can be translated or followed until they stop. It should be noted here that in many movies, the use of panning or following objects is not directed at the direct participants. For example, now we want to show a conversation between two people in a restaurant. We can let the camera follow a waiter in the restaurant and follow the waiter to the protagonist's seat. (4) For visual enjoyment, modern movies often start from a place where there are no characters before a certain paragraph of the film, and then push the camera to the main body of the conversation until the end of the camera. Because it is not limited by real time and space, this method is very common in animated films. This kind of lens modeling has a strong visual impact, and it also shows the time and environment where the story happened. The shaking of the surrounding environment often serves as the rendering of the atmosphere and the foreshadowing of emotions in the whole scene, forming an extremely pleasing paragraph. Second, the change of axis The advantage of using the axis method to express the dialogue is that it can clearly explain the positional relationship and plot logic of the interlocutor, but it also means that we can only shoot one side of the interlocutor, which will inevitably lead to the limitation of seat selection and the monotony of the background. If the dialogue is long and the actors lack action, the axis method will often make the dialogue itself long and monotonous. The solution to this problem is to jump the axis, that is, turn the camera to the other side of the axis to shoot. Here are several commonly used methods of jumping axis: (1) jumping axis with the intervention of a third party. The third party referred to here is actually an actor used to improve the rhythm of the film. By changing the orientation of the picture, he naturally jumped off the axis. For example, in a long conversation, Han L heard the voice of a third party, and the two main actors turned their heads to the direction of the voice. Then, we cut to the scene where a third party greets them. Usually, this actor can draw pictures soon. At this point, the camera returns to the protagonist in the conversation, and the camera has switched to the other side of the relationship line, so the camera can start again. Our two main actors switched positions on the screen, which was done unconsciously. Because of the intervention of a third party, the axis temporarily changed the audience's visual habits. (2) Change the shaft with an empty lens. During the conversation, the camera no longer shows the two sides of the conversation, but takes an empty shot. Because of the intervention of the empty lens, the axis disappeared temporarily. When we return to the dialogue scene again, the camera has changed its axis, and the audience will not feel that the picture jumps too much. The empty lens here can be a prop to participate in the dialogue; It can be a clock, the sun or the moon that shows the conversation time; It can be a landscape that shows the dialogue environment and so on. (3) use the camera to cross the axis. When shooting a dialogue, the camera makes it transition from one side of the axis to the other. Note that the picture at this time should be double lens, so that the audience can intuitively feel the process of changing direction and adapt to the change of axis. (4) Passing through the shaft with a coaxial lens. Before changing the axis, you can also shoot several sets of coaxial lenses repeatedly, that is, the actor's front lens, which can blur the sense of direction brought by the axis and pave the way for the later axis crossing. Third, we must insert reaction shots into the dialogue to show the dialogue scene. When the dialogue is going on, as the story unfolds, the audience needs to know the audience's feedback on the dialogue. Therefore, a listening actor's silent response is often more expressive than the speaker's expression. (Schindler's list) 4 Intermittent and static long conversations are visually unsustainable. A long conversation requires several consecutive attention peaks. At this point, we need to have a visual pause in the conversation. A visual pause refers to something that displays content related to a scene but does not affect the scene. In fact, it is not limited to dialogue scenes. In many drama scenes, we all need this pause. (Little Horse King-Little Horse King was born) V. Compression of Time In some cases, in order to correctly express what happened, it is necessary to maintain a long dialogue. This kind of dialogue tends to slow down the pace of movies. There is a semi-solution to this situation: compress the time flow of the dialogue scene, especially the time in the middle part-first, you can select some fragments to show the actors appearing in different postures and places. Alain resnais used this effect many times in Love in Hiroshima. A Japanese lover recalls the past to a French actress. The three scenes that show his words are roughly arranged as follows: the Japanese is lying in bed talking, when he finishes an idea, the camera cuts to the same background, and the Japanese is sitting in bed talking, and his words continue the previous idea. At this time, the camera cuts to the same background, the Japanese stands, and his narrative ends. In fact, the author omitted the reaction of the woman who listened to her on the screen. If she doesn't omit her reaction, she must speak, so the Japanese must answer, which will take more time. In this scene, the whole scene is concise and compact because unimportant time periods are omitted. In Schindler's List, Spielberg also adopted the method of compressing time. In the photo, Schindler is talking with his manager, Si Tong. He asked Skong to bribe Nazi officers with his gold watch and rescue a Jewish couple from the concentration camp. Yu Dele said as he took off his watch. Then the camera switches to a Nazi officer wearing his gold watch leading the Jewish couple out of the concentration camp. Meanwhile, Schindler's words continued outside the painting. Cut back to Schindler's office. He is still talking. He told Si Tong to send the two Jews to his factory. In the dialogue, the camera switches to two Jews walking into Schindler's factory. Throughout the scene, the dialogue has been uninterrupted, and a single picture is repeatedly switched between Schindler's office and Schindler's factory, which greatly enriches the content of the dialogue, broadcasts more information per unit time, and improves the visibility of the film.