Teach you four tricks to edit the director's thinking.

First, the director's thinking understanding: Jing Bie

1. Vision, landscape and big scene (creative power)

First of all, the use of remote scenery has a wide shooting range and is difficult to shoot. It is not a narrative scene, but mainly the style of presenting the environment.

2. The relationship between panorama, people and space (the scene is more prominent/far away/with a sense of distance)

Panorama of characters: When all the characters are exposed from head to toe, but the characters occupy a smaller part of the space. Mainly highlight the relationship between a character and the environment. People and space can be incompatible, which is a subjective content.

Panorama of architecture: directional content, such as squares, can be photographed by photographers, but not by photographers like Hai.

3. Mid shot, narrative shot, characters and environment (often used as transition shot, turning point, introduction and use) (the dialogue between characters is mostly mid shot)

Mid shot is the most commonly used shot, and it can also be used as a transfer of characters' emotions.

4. Close-up, depicting the character's heart, (externalization of the heart)

Internalization: the joy, sadness and sadness of the characters. Editing needs to be expressed by audio and video. The editor of the close-up scene will imagine the inner emotions of the characters.

5. Close-up, the most suspenseful shot (magnification, emphasis, rendering, visual pressure) (close-up should not be used indiscriminately, but should be used to depict key content)

Second, the director's thinking understanding: Angle

The angle mentioned here is not about the shooting angle, but the application angle of the relationship between the characters in the film determines who is watching the film (subjective or objective).

Therefore, when shooting the dialogue between characters, the photographer will shoot many angles, but not all the shooting content will be selected, but the lens from which the relationship between characters can be reflected.

Third, the director's thinking understanding: dialogue

How to deal with the drama, we must first understand what the dialogue is saying. The dialogue is about the relationship between people. What two people discuss is basically about the other person. Is the form of dialogue only based on positive and negative battles? Common dialogue will make the audience feel bored, so appreciate the dialogue lens arrangement in excellent movies.

Fourth, the director's thinking understanding: space

Space can greatly omit your screen time, and can extend new contents and discoveries without delaying your screen time. The director's scheduling of space is a test of the director's logic, and space is also a character in the service film.

Space is divided into real space and unreal space.

Real space: that is, the space in our reality, not the real space: the illusory space that only exists in the film creates a new time and space through montage, and two or more time and space are juxtaposed. For example: dreams, fantasies, memories, hallucinations, subconscious and so on. When editing this kind of real space and unreal space, editors should pay attention to: before shooting, they need to conceive the content, and the story content needs to be related to the space.

About the four tricks to teach you how to edit a director's thinking, Ivy Bian Xiao from Global is here to share with you. If you have a strong interest in the later stage of film and television, I hope this article can help you If you want to know more about camera skills, post-editing methods and materials, you can click on other articles on this site to learn.