What are the editing styles?

I don't know if the editing style you are asking is a movie or a program, but there is still a difference at present:

As follows: 1. Establish the editing style of the program.

The so-called editing style of the program, in short, is the editor's overall thinking on the later editing of the program. It reflects the editor's understanding of the director's creative intention and his grasp of the content and structure of the program. The editing outline produced by the editor is its concrete expression.

Due to the types and forms of TV programs and the different styles of directors, different types of programs should adopt different editing methods. Before editing a film, the editor should first be familiar with the program, grasp the director's creative intention and artistic pursuit, consider the editing means adopted according to the content, form and style of the program, and establish the editing style of the film. Once the editing style is determined, it should be consistent throughout the editing process.

It should be noted that for editors, although it is important to establish editing style, performance serves the content, so it must obey the creative intention and artistic requirements of the director and be organically unified with the theme, content, form and structure of the program.

Secondly, select a picture clipping point.

In post-editing, the selection of editing points must follow objective laws, conform to the logic of things development and conform to people's thinking habits, whether it is editing action, mood or rhythm. In the following interview, several processing methods of selecting editing points are listed for reference.

1. Editing of different types of programs

Most variety shows are mainly songs and dances, and the editing points need to be selected according to the song content and the melody, rhythm, phrases and paragraphs of music. When the music beat is strong, it is smoother to switch shots.

Most TV programs choose editing points according to the development of the plot and the changes of the characters' emotions.

Interview programs usually switch shots according to the interviewer's dialogue and the atmosphere of the scene. Documentary and documentary feature film editing should strive to be authentic, especially when shooting long shots, editing should try to ensure the integrity of the lens and avoid cutting it too thin and broken.

Competitive sports programs, because of their strong sense of movement, should choose the place with strong sense of movement as the switching point.

2. Selection of lens length

Generally speaking, the choice of lens length will be influenced by the scene, the amount of picture information and the complexity of picture composition.

As far as the scene is concerned, the panoramic lens stays longer; The close-up is shorter, and the close-up is shorter;

As far as the amount of picture information is concerned, when the amount of information is large, the picture stay time will be slightly longer, and when the amount of information is small, it will be shorter;

As far as the complexity of picture composition is concerned, the picture composition is complicated and the stay time is slightly longer, and vice versa.

For narrative or descriptive shots, the length of the shot should be selected according to the time required for the audience to fully understand the content of the shot.

For the lens depicting the inner psychology of the characters and reflecting the emotional changes, the lens length should be selected according to the needs of the emotional length rather than the narrative length, and the lens length should be appropriately extended to maintain the continuity and integrity of emotions and leave the audience with room for perception and association.

3. Combination of lenses

The basic principles of lens assembly are "moving" after "moving" and "static" after "static". The so-called "moving" and "static" refer to whether the main body of the picture or the camera is in a moving state or a static state at the editing point. Following this principle can keep the vision smooth and harmonious.

When two fixed shots are connected together, the main body of the picture is static, and the choice of editing points depends on the content of the picture (static connection and static connection).

When assembling two fixed lenses, one lens body moves and the other lens body does not move. One way to assemble is to find the pause of the main body to switch. Another method is to switch when the moving subject is blocked or in an inconspicuous position. If both fixed lens objects are moving, you can select an edit point during the movement of the objects.

Generally speaking, when cutting the action, the lens combination is based on the action factors of the main action, leaving less action in the small scene and more action in the big scene. (moving around)

When both shots are moving shots and the moving direction is the same, the left picture of the previous shot and the framing of the next shot should be removed for assembly (moving).

If the operation directions of the two moving lenses are inconsistent, it is necessary to switch after the lenses are stabilized, that is, to keep the left picture of the previous lens and the beginning of the next lens for combination (static connection).

A special usage of "verb" followed by "verb" is the so-called "half-piece" lens combination. That is to say, in the process of sports, different subjects or shots are switched, so that a series of "half-shot" lens groups are connected, giving people a stronger sense of movement and a clearer rhythm, which is widely used in the editing of sports highlights. It should be noted that the directionality and dynamic consistency of moving objects or moving lenses should be considered when assembling lenses.

Besides "dynamic" followed by "dynamic" and "static" followed by "static", there are also "dynamic" followed by "static" and "static" followed by "dynamic". When combining the last two pictures, we should make full use of the causal relationship, corresponding relationship, echo relationship and the change of subject's movement rhythm in the pictures to achieve the natural transformation from dynamic to static and from static to dynamic.

4. Handling of the phenomenon of "shaft jumping"

In the early shooting, because the cameraman didn't fully realize that the axis was interesting, or even if the axis principle was established and observed in the early shooting, the original lens order needs to be disrupted and reassembled in the later editing, and the phenomenon of "jumping axis" may appear. If this problem is not solved, it will cause confusion in the understanding of the audience.

When encountering the problem of "stepping on the axis", the editor can take some remedial measures to eliminate or weaken the phenomenon of "jumping the axis".

(1) Use the dynamic situation to change the axis direction. Between the two axis-skipping lenses, a lens in which a person rotates or moves an object to change the axis direction is inserted.

(2) Insert a neutral lens. Inserting a neutral lens with no obvious directionality between two lenses moving in opposite directions can weaken the influence of "axis jump".

(3) with the help of human vision. Insert a lens with changing line of sight in the middle of the jump-axis lens, and change the direction of the axis with the help of the change of line of sight of the character to eliminate the phenomenon of "jump-axis".

(4) Insert close-ups. Inserting local close-ups or reflection close-ups in the middle of jump shots can weaken the phenomenon of "jump shots". It should be noted that the inserted close-up should be related to the front and back shots, otherwise it will appear stiff.

(5) Insert the panoramic lens. Because the position, movement direction or action of the subject in the panoramic lens is not obvious, even if the axis direction changes after insertion, the visual jump of the audience is not big, which can weaken the phenomenon of "axis jump".

Third, control the clip rhythm.

The rhythm of a TV movie is composed of many factors, such as the movement of the main body of the picture or the camera lens, the length of the lens, the change of the scene, the switching speed when assembling and connecting, and so on. It is the speed and intensity of emotional changes of events, plots or characters in the film, and it is an important factor affecting the quality of the film.

In the early shooting, the cameraman should control the movement speed of the lens according to the director's intention and the form and style of the program (for example, the movement speed of the lens can be slightly faster for relaxed and cheerful programs; A solemn and lyrical program can be slower), thus forming the rhythm tone of the program.

In the later editing, the editor should generally follow this rhythm tone, and then combine the content and structural arrangement of the program to form a ups and downs and relaxed editing rhythm according to the "priorities" of events and plot development. Special attention should be paid when editing: first, the rhythm of paragraph editing should match the overall rhythm of the film; Second, the rhythm changes between paragraphs should be appropriate, and changing too fast or too slowly will give the audience a feeling of psychological discomfort.

In addition, when editing later, using a fixed editing rhythm in a paragraph will make the audience feel tired and bored. If the editing rhythm is properly changed and the splicing acceleration method is adopted, the assembled shots will be shorter and shorter, and the paragraphs can form a climax by using the cumulative effect of the shots. However, when doing this rhythm processing, we must pay attention to the combination of relaxation and moderation, and leave a buffer space after each climax to give the audience room for aftertaste and association.

The movie card is here, very complete/blog/static/1128962200751012723378/