How does the lens in film and television combine with the lens? What are the rules?

Editorial means

Various processing methods and editing rules. The editing methods of movies mainly ensure the distinctiveness of characterization, the coherence of stories, the rationality of time-space relationship and the accuracy of rhythm processing.

Common editing methods are as follows: 1. In order to adjust the relationship between time and space, or extend the time to expand the space, increase drama rendering and adjust the rhythm, methods such as multi-purpose, repeated insertion and transplantation are adopted; 2. Ellipsis in the middle of the picture and splicing and extension of the picture; 3. The absence and excavation of vocal cords, serial changes and displacements; 4. The method of connecting the lens with action and changing the lens with action illusion; 5. In order to get emotional aftertaste or sudden shock effect, special treatment of lens length is adopted; 6. Enhance the rhythm of the plot through repeated short-shot jumps, and create a sense of momentum through static short-shot jumps; 7. Use special "cut-off" (refers to the stable moment caused by the number of pauses after the movement of the action and the camera) to play the role of punctuation in film grammar; 8. Use additional optical techniques, such as hiding, revealing, changing, scribing and overprinting, or special techniques as the transition between scenes and paragraphs; 9. Shift adjustment and addition and deletion of drama paragraphs 10. Music, language (dialogue, narration, monologue, inner monologue, explanation) editing and natural sound configuration. Different editing methods can be adopted for films with different themes and styles.

montage

A special montage technique is a combination of a close-up shot directly jumping to a panoramic shot or a panoramic shot directly jumping to a close-up shot. The combination of two-pole lenses can make the development of the plot change from dynamic to static or change in static, resulting in special artistic effects. The film adopts this combination form, giving the audience a strong sense of directness. A sudden change in rhythm will produce a special effect.

Step lens editing

A special montage technique. In the same direction, the same person is connected with panoramic, middle, close-up and close-up pictures, or vice versa. This technique can only be used in specific scenes, in order to depict the inner world of the characters, emphasize the contrast of modeling, render the atmosphere and add a strong sense of rhythm.

Variable grid editing

One of the editing skills. In order to meet the special needs of the plot, the editor makes extraordinary changes to the action and time space in the process of combining the picture materials, which leads to the emphasis and exaggeration of the dramatic action and the enlargement or contraction of the time space. It is an important means to render emotions and atmosphere. Can directly affect the rhythm of the film. The method to change the format is as follows: 1. The camera is shooting at a normal speed, but in order to enhance the audience's impression of what happened, directors and editors use editing methods to lengthen or shorten the time process and spatial distance from the occurrence, development to the end of an event or suspense; 2. In order to highlight the intensity of a character's emotions and actions, some action processes were cut out during the editing process.

Split shear

One of the editing skills. Cut a shot into several segments and use it in several places. Sometimes it is because there is not enough picture material needed, but it is impossible to make up the shot, so we have to divide a shot into several uses; Sometimes a shot is intentionally reused to show it. A person's feelings and memories; Sometimes it is to emphasize the unique symbolic meaning of a painting to make people think; Sometimes it is to echo from beginning to end, thus giving people a sense of rigor and integrity in artistic structure. If the shots of the same picture used in several places are shot in advance according to the structure of the script and the director's idea, it is not a editing technique.

Digging and shearing

One of the editing skills. In order to solve the regret and deficiency caused by some reasons in the shooting process of a lens, we adopt a method similar to surgical removal in medicine to remove some unnecessary performance processes, long pauses, and technical measures that must be removed because a push-pull action in the process of lens movement does not conform to the actor's performance.

tailor

One of the editing skills. Make up for the lack of picture length by stitching. Due to various reasons and difficulties in the shooting process, some picture materials are not ideal. For example, when shooting scenes of wildlife activities, animals don't listen to instructions and can't meet some special requirements of photographers, so they can only listen to nature. So sometimes, although it is shot many times and the number of feet is very long, the number of feet available is very short, which can not meet the requirements of length and rhythm. In this case, if there are spare shots with the same or similar painting content, cut their available parts and then splice them together to reach the necessary length of the picture.

Split shear insertion

One of the editing skills. In order to enhance the dramatic effect or make up for the shortcomings and deficiencies in the shooting process, two shots showing certain action content are divided into two, three or more segments in proportion, and then assembled alternately according to the development order of the story. The following two kinds of problems can be solved by cutting and splicing: 1. In the process of editing, it is sometimes found that a certain two shots or a certain group of shots (such as two characters talking, quarreling, chasing or shooting at each other), if combined intact according to the original arrangement order stipulated in the storyboard, will appear that the shots are too long and the rhythm is too slow, and can not express the emotional communication and psychological reaction between the characters in time and quickly, which not only weakens the drama. Therefore, it is necessary to use the method of splitting and splicing to re-split and combine the original material, change the original slow rhythm, and make it compact, smooth and lively; 2. Sometimes the situation itself needs to clearly express someone's reaction to an event and a sentence, as well as the resulting intense inner activities and the sparks generated when two contradictory ideas collide with each other. However, in the process of editing, it is found that the material shot here lacks some shots to express the above content. In this case, we can divide the cut parts of some shots that have been used in the original material but meet the requirements of the specified situation into two or even several segments as needed, and interweave them with other related montage factors, and use them repeatedly and alternately, so that monks can render a certain mood and atmosphere, reveal a certain meaning or strengthen a certain drama climax.

insert shot

Also known as "clamping". Cut it off in the middle of the shot and insert another sharp figure representing a different subject. There are two kinds of lens insertion: one is that the author and director suddenly insert the subjective line of sight of a representative character in the process of a scene (such as a person walking on the road or looking out in a car) in order to reveal a side or privacy of the character's life experience; It means that he inadvertently saw someone and something, and then intuitively felt or caused associations. The other is closely related to digging and shearing. Sometimes, in order to prevent the cut lens from showing traces and jumping, we have to insert the lens as an interval.

clamp

(1) dynamic connection

The switching method of two connected shots with obvious visual dynamics. Verb-to-verb conversion should strictly distinguish between action splicing points. The action tangent point is the shot switching mode of the same subject, and the dynamic connection is the shot switching mode of different subjects. For example, the last shot is a moving train, and if the next shot is connected with the scenery along the way, it must be connected with the moving scenery with the same train speed, so as to meet the visual and psychological requirements of the audience. Moving and moving also include the combination of various moving lenses. When editing, we should firmly grasp various dynamic factors, such as the movement of characters, scenes and shots, and use these factors to connect the shots to make the rhythm smooth and natural.

(2) Static connection and static connection

There is no obvious dynamic lens switching mode visually. There is no absolute static lens in film expression, especially in feature films. The existence of each shot has a positive role in promoting the development of the plot and the shaping of characters. Therefore, stillness and stillness are relative, and most of them refer to the state of some pictures before and after lens switching. For example, when A hears B calling after him, A turns to look. If the next shot B stands still, you should change the shot after A's posture is stable, so as not to destroy the external rhythm of the scene. Therefore, static connection is also a combination way to ensure smooth lens conversion. Sometimes, based on psychological actions, emotions are connected by static connection and static connection, and deep and dignified emotions are rendered by the combination of emotional and static connections, instead of obvious external dynamic lens conversion. Static connection also includes the combination of scene paragraph transition and various moving shots with static head and tail; It pays more attention to the continuity of the lens and does not emphasize the continuity of the movement.

(3) Static connection and dynamic connection

The connection method between the shot with no obvious motion and the shot with obvious motion. Static connection is a special law of lens assembly. The sudden change from the static picture of the last shot to the picture with strong action of the next shot is a kind of impetus to the plot. It is worth noting that the still pictures in front of the camera often contain strong internal emotions.

(4) Dynamic connection and static connection

The connection method of shots with obvious action and static feeling. It is a special law of lens combination. If two shots are connected, if the motion of the previous shot is obvious, connecting a still shot will cause a sudden pause in vision and rhythm. However, this obvious contrast between motion and static is an abnormal treatment of emotion and rhythm. In the composition of movies that are good at sports, the special function of motion and static even exceeds some effects of motion and static. In the transitional treatment of special rhythm changes, it can cause a strong contrast between the two scenes in emotion and atmosphere.

Action transition editing

One of the editing skills. With the help of people, animals, vehicles or war tools, action and dynamic potential are connected, and action similarity is used as a means of scene or time-space transformation. For example, fill the screen with the directional lens of the character to end a scene, and then use the character to leave the lens and go somewhere to start another scene. Use the momentum of cars, tanks and planes to pass or block the lens, and then pick up other vehicles or people to leave the lens; For example, at the end of one scene, the heroine slaps the hero, and at the beginning of the next scene, the hero throws himself on his bed in pain. Usually, the scene is changed by the way that the wheels of cars and trains fly and connect with the propellers of airplanes, which is also the editing of action transitions.

Close-up transition clip

One of the editing skills. The editing technology of ending a scene with close-up or unfolding another scene from close-up means that the last shot of a scene ends with a part of a person (such as head or eyes) or a close-up picture of an object; The latter refers to gradually expanding the field of vision from the close-up picture; To show the environment, characters and stories of another scene. Closing a scene with a close-up picture or opening a scene with a close-up picture is to emphasize the inner activities or emotions of the characters, and sometimes to express the concept of time and space and symbolic significance contained in an object and props (such as clocks, flashing red lights, crosses, etc.). ), thus creating a complete sense of paragraph. One of the main purposes of close-up transition is to unconsciously change the scene and narrative content when the audience's attention is focused on the expression of a character or an object without making people feel uncomfortable.

Language transition editing

One of the editing skills. The natural transition of scene change can be realized by using the connection between the first sentence of the dialogue in the latter scene and the last sentence of the dialogue in the previous scene or the repeated thread machine connection.

Music transition editing

One of the editing skills. Skills of realizing natural transition of scenes with music. Break the traditional mode that music is completely synchronized with the beginning and end of the matching picture, and extend the music to the end of the previous scene or the beginning of the next scene for a certain length. If this technique is used well, it can go far beyond the scope of the transfer function. The combination of music and painting makes a particular scene have special attraction. Sometimes it can immerse people in the aftertaste of beautiful things, and sometimes it can give people a premonition that disaster and misfortune are coming.

Audio transition editing

One of the editing skills. Using acoustic elements, with the help of the same, similar or serial sound effects (leading or continuing) at the intersection of two scenes, the natural transformation of the scene can be realized. This transitional sound effect is also used as an artistic means to arouse the memory and association of characters and audiences.

Scene transformation editing

One of the editing skills. With the help of scene shots and the interval between two scenes, the scene transition is represented. Scenery lens includes two aspects. One is a scene-oriented lens with objects as the background. This kind of lens is used in transition editing, which not only shows different geographical environment and scenery characteristics, but also shows the change of time and means, and is also a means of expressing emotion with scenery. The other is a lens with objects as the main object and scenery as the foil, such as tractors passing through the lens in the field, X birds on the sea, cars and carriages passing through the lens in urban streets and so on. Many movies use various means of transportation to pass in front of the camera, or use static objects (such as pillars, statues and indoor furnishings in front of buildings) to block the camera as a means of transition.

Emotional transition editor

One of the editing skills. Use the continuity of emotional rendering for transition. When the emotional rendering of the characters reaches the saturation point and the audience is immersed in the infection of passion, the scene is transformed through the infiltration of emotions, which is compact and does not reveal traces, and plays a connecting role.

Optical skill transition editing

One of the editing skills. The additional skills of optical printing represent the transformation of time and space and paragraphs. This is a traditional film technology. These techniques also have the function of omitting the process of time and space. In the traditional film form, in order to show the changes of time and space, the techniques of overlapping printing, melting out, blending in, fading out, fading out and paddling are often used between scenes and paragraphs, especially between the ups and downs of large plot paragraphs. Generally, "overprint" is used to express memories, "fade out", "fade out" and "melt in" to express the transformation of time and space, and "brush strokes" are used to express the alternation of time and space in some simple, short-lived and fast-paced scenes. However, due to the different styles of each film, the usage is also different.