Category: Studio Lights Education

Spatial Performance

The photographic picture is not just for the purpose of reproducing the real space. In order to express certain subjective emotions and create inner visual images, the creators also deliberately use various photography techniques to change people’s impression of real space, transform the space, compress the combination of multiple spaces, and achieve the expression of space. Sexual purpose.

Space deformation has a great expressive and emotional meaning. For example, in the film “Yellow Land”, Cui Qiao walked toward the screen with a bucket on the riverside on many occasions. Through the compression of the space by the telephoto lens, people feel that Cui Qiao is always full of the water of the Yellow River behind him, and feel the Yellow River. The warmth and softness of and her love and dominance of Cui Qiao make the characters deeply embedded in the Yellow River.

In the film “Reaper and the Girl”, a scene in the delivery room, the photographer uses a small depth of field to shoot rows of newly born little lives. By adjusting the focus, the clear point of the picture is turned from the first baby to the farthest one one by one, creating a sense of floating, as if a bud burst out of the ground.

The means of expression of photographic modeling space can also constitute image forms of imagery and abstraction. Using this form of imagery, the main purpose is not to express the object, but to describe the mind and the relationship between “god” and “shape”, it is to give up “shape”. Asking for “God” means “giving up images and asking for meaning” to focus on expressing strong subjective affection, while also permeating the creator’s subjective emotional judgment.

For example, the famous American film “Apocalypse Now” used a set of imagery expression techniques at the beginning of the film. In the Vietnamese jungle before dawn, there was a ray of light in the sky. The quiet, sad male solo and accompaniment piano sound floated from a distance, and then from a distance came the sound of a relaxed and tired helicopter motor, and then two straight. The skid of the lifter skimmed across the screen slowly. The emotional stimulation of this “shape-space” vocabulary is extremely strong. We feel that the jungle has been destroyed or will be destroyed, or the jungle contains human nightmares.

The story has not yet begun. There is no plot, no action, and it is not the specific location where the story will unfold. Instead, the metaphor of photography reflects the creator’s worries and sadness for the fate of mankind, as well as the compassion for nature.

The picture was followed by a helicopter overprinting the captain’s head, with the top of his head facing the bottom of the screen, as if the entire human world was turned upside down. The captain’s eyes opened and closed looking at the human world outside the painting. Whose eyes did this represent? ? Is it the captain of the play, the creator, or the audience? It seems to be both and none of them.

In short, this is a pair of eyes looking at all human beings, coupled with the sound of airplane motors, to form a group of extremely abstract shapes—spatial images. Once this image appears, it previews the macro perspective of the film. The deformation of space has actually changed the space ratio between objects and people, achieving a certain visual emphasis and suggestion.

The combination of different spaces in the same picture is a way of expressing the space of modern film and television photography, and it is also a way of constructing montage inside the picture. This combination of artistic charm brings people a composite vision, which enables the picture information to experience the three-dimensional and diversified display of changes in different spaces at the same time of appreciation. For example: processing the performance of a singer on the TV screen, the same screen frame, a panoramic view and a distant view appear, and the actor’s posture, demeanor and expression of the painting department are displayed to the audience at the same time. Another example is the combination of the real space of the characters and the fantasy space in the TV. One frame contains multiple pictures and several different spaces, which will bring a new era to the film and television space.

Film and television photography has two forms in dealing with spatial objects: either faithfully reproduce the original appearance of the space, or artistically fictional the space, making the space exaggerated and deformed. The former is to maintain the “spatial reality” by moving the bionic eyes of photography to give us an immersive feeling, while the latter is to create a new comprehensive overall space through the division of the lens and combination. This space may be unified in the eyes of the audience, but in fact it is the combination of irrelevant shots from different places and times. Kurišov’s “Creative Geographical Experiment” is a typical example.

Engels wrote in “Anti-Duhring Theory”: “The basic form of any existence is space and time. Existence outside of time and existence outside of space are equally absurd.” Therefore, the coexistence of space and time in film and television is like a weight in a scale, and the weight of the two should be equal. Only in this way can we exert a powerful shock in future artistic creation.

Narrative Requirements

Film and television art also has high requirements for narrative. Film and television narration should pay attention to the story and plot. A story mainly means that the occurrence of an event or the resulting behavior is told as a result. The plot refers to the connection, contradiction, sympathy, dislike and general mutual relationship between characters. Only by clarifying the two can the narrative be grasped well.

In news narratives, we must also pay attention to details. The so-called details refer to certain “close-ups” in the film and television works that can reflect the essential characteristics of things and reveal the connotation of the work. It is the deliberate depiction and prominent expression of specific information elements in the film and television works.

In addition to details, there are conflicts. Conflict not only generally emphasizes the causal connection of events, and emphasizes that the development of events must be promoted by certain reasons, but also emphasizes that the generation, development and final outcome of time are all brought about by contradictions and conflicts between characters. In addition, when narrating, one should also pay attention to time and space, characters and themes, pay attention to narrative mode, adopt rhetoric and suspense, and make the narrative text more popular.

The production process of film and television art, from the preliminary preparation to the later planning and marketing, the author has done a comprehensive analysis. It expounds the current situation of film and television art production, the existing problems, and puts forward effective solutions to the problems.

The driving force behind the development of film lies in the strong desire of mankind to try to transcend the limitations of time and space since ancient times. The advancement of science and technology has finally given mankind the material means to conquer the limitations of time and space. At the same time, the invention of film not only gave birth to a new art form, but also profoundly affected people’s traditional way of thinking.

A movie is a process in which moving images are recorded on a film or other carrier through a camera or other audiovisual information recording means, and then these moving images are mapped onto the screen or other viewing carrier through a projector or other projection equipment. When the movie was born, when people played with this toy, they found that it could not only record a simple action, but also record meaningful facts, important historical events, and narrate through records. As a result, movies have been included in the category of language symbols for human communication of thoughts and feelings.

(To Be Continued)

Introduction to Film and Television Art

Film and television art is a complex of time art and space art. It not only displays images in the continuation of time like time art, and constitutes a complete screen image, but also like space art, it expands the image on the screen space and enables the work to obtain multiple methods. , Multi-modal expressiveness. Film and television art includes film, television, and the artistic effects expressed by both. Film is the origin of film and television art, and television is one of the derivatives of film and television art.

In the space-time complex (or space-time continuity) as the scaffold of the movie world, only time is the fundamental and decisive component of the movie story, and space is always a secondary and subsidiary reference range. Under the guidance of this view, for a long time, most feature films have been structured by narrating the development of the storyline. It is a linear way of thinking, considering the space in the context of the development of the storyline.

However, film and television stories are different from ordinary stories. They must be presented in the form of modeling-space. The composition, tones and tones of light and shadow, colors and lines are used to narrate the story and express emotions. Explain the philosophy.

Therefore, to be more precise, film and television art should be a comprehensive art of time and space. Film and television art is the result of the full integration of traditional art resources and modern art technology. It is an organic synthesis of multiple times and arts. In the history of human art, film and television art is the youngest mature and stable art style.

Space creation

The Soviet Union’s Vasfeld said: “The time in a work of film art—whether it is astronomical time or visual or montage time—is always realized in space, in a certain documentary or hypothetical environment. The structure of is a space-time category.”

The space construction of a film and television work should grasp the atmosphere and atmosphere of the environment as a whole, and choose typical visual elements to construct a spatial structure with a sense of integrity.

  For example, the exterior environment modeling of the film “Golden Pond”, a villa located on the lakeside, the wind is sunny, the green forest is quiet, the scenery is charming, the lake is drenched with golden sunlight, giving people a harmonious beauty and full of regional characteristics. The choice of this environment reveals how the elderly in modern life should face the problems of the new life, whether to surrender to life, or to fight against life, to cheer up and face the challenges of death.

The environmental modeling of the American film “Birdman” is also of typical significance. “Birdman” was treated in a psychiatric hospital as a struggle against society by reluctant to talk to others. The environment arranges “Birdman” in a ward with iron windows, with a broad blue sky outside the window. The white dove flying freely, and the reality he is in and the world of freedom he yearns for are in sharp contrast from the environmental modeling, which has a symbolic meaning.

The creation of environmental space should give people the possibility of materializing emotions. The space environment can be consistent with people’s emotions and moods, and the emotions of the characters will naturally and appropriately find the emotional external objects, and the inner emotions can be extended in the environment. Come. The film “Taxi Driver” started with a pair of clear and bright eyes of Charles, shining with youth and innocence but not joyful. The protagonist Charles sitting in the carriage and the endless stream of colorful cars, and the colorful lights flashing by the side of the road The night street scenes of New York constitute a group of highly contrasting and dazzling pictures, through the creation of these beautiful and moving picture spaces, the audience is brought into the inner world of the protagonist. A world that is simple, lonely, courageous, persistent, and firm, perfectly expresses the confusion and pursuit of contemporary people’s “combined character”.

Space reproduction

The main feature of film and television photography that distinguishes it from other art is that it is first of all modeling, and it runs through it with artistic modeling (picture) from beginning to end.

So how to create a three-dimensional space on a two-dimensional plane in modeling? In this regard, the pioneers of film and television photography have accumulated a lot of experience and theories, such as: how to use the characteristics of human visual physiological images to strengthen line perspective and tonal perspective, and use oblique lines and obliquely arranged objects to go far Stretching and converging everywhere to show the space, using the backlighting of multi-level scenery to form a rich tonal level to show the space and so on. And through the unique means of film and television-sports photography to change the structure and position of the space, create a real and moving sense of the scene, and broaden the horizon of the space.

For example, in a scene in the movie “Little Soldier Zhang Hu”, Luo Jinbao, who is disguised as a traitor, walks into the courtyard with his son (the shot is in the middle of the shot), they get under the vine (the shot is moved), and then turn around In the Xiaozha, Luo Jinbao removed a bundle of grass blocking the door and got in through a door (the camera opened to a panoramic view), they climbed onto the roof, and then climbed from the ladder to another courtyard (the camera followed Down)… This series of sports shots not only reveals a sense of mystery and legend of the anti-Japanese guerrillas that appeared in the past, but also reproduces a sense of realism in space.

In terms of expanding space, the ancient Chinese painting theory summarized three words. One is “separation”, which means using the foreground and arranging more scene levels. When selecting scenes, it is necessary to use doors, windows, fences, and parts of buildings as much as possible. Foreground, and make the scene have a progressive relationship. Smoke is diffused among the multi-layered sceneries to enhance the perspective of space. The second is “borrowing”, that is, the choice of background. When shooting indoor scenes, there should be doors and windows in the background that let in light or see distant scenery through it. Outdoors, in the background, distant mountains, towers, buildings, etc. are embedded in the background as dots. The third is “leading”, that is, using lines to stretch and guide the depths of the picture. Such as roads, rivers, canals, rows of trees, telephone poles, etc. stretching far away. They are arranged obliquely visually, and visually have the function of simulating the third space. If they stretch to the diagonal of the picture and the vanishing point is within the picture, it will be more effective to form the illusion of a deep three-dimensional space. The real reproduction of the space on the screen provides a credible basis for expressing the activities and psychological states of the characters in the content of the plot.

For example, in the film “Citizen Kane”, many in-depth shots are used to reproduce space. As the film director Wells said: “What you see in life is the panoramic view at the same time, why can’t it be like this in the movie?” In the film, when Susan tried to commit suicide after another failed performance, the space of the picture was shaped It is arranged like this, the foreground is a glass and a bottle of poison, the middle scene is Susan’s face on the pillow, and the back scene is a ray of light coming through the door and under the door. We heard Susan’s breathing and Kane knocking desperately outside the door. The creation of this space gave us a nervous and worried psychological feeling. It can be seen that the creation of the picture space will produce an unusual and peculiar effect.

Many beginners of photography always have questions of this or that kind. Today I will summarize the 10 photography knowledge that beginners of photography most often ask. These 10 photography knowledges are: what is focal length, what is aperture, what is depth of field, how to control the shutter, how to compose a picture, how to use light, how to focus, the prime time of shooting, the elimination of shadows, and the improvement of aesthetics.

1. Focal length

You don’t have to look at the official terms when you understand the focal length. Few people can understand and understand that. You only need to understand the focal length as: how far or wide a lens can shoot. The smaller the number, the shorter the focal length, and the wider the viewing angle; the larger the number, the longer the focal length, and the narrower the viewing angle.

For example: a 300mm focal length lens, its viewing angle is only 8°; while an 8mm ultra-wide-angle lens, its viewing angle is 180°. Generally, a lens with a focal length of 24mm or less is suitable for shooting landscape subjects; and a lens with a focal length of 50mm and 85mm is suitable for shooting portraits.

2. Aperture

The aperture is a light hole formed by overlapping small blades inside the lens. The aperture can adjust the amount of light received by the image sensor according to the degree of opening and closing. For example, if the aperture is opened, a lot of light can pass through; if the aperture is reduced, the amount of light can be limited. Aperture is generally represented by “F”, and the number behind F represents the size of the aperture. The larger the number behind, the smaller the aperture; the smaller the number, the larger the aperture.

In addition, the aperture also affects the depth of field of the photo. The larger the aperture, the shallower the depth of field is, the more blurred the background of the photo. The smaller the aperture, the deeper the depth of field is, the clearer the background of the photo.

3. Depth of Field

The explanation of the professional term of depth of field is: the front and back distance range of the subject measured when the front of the camera lens can obtain a clear image is actually the degree of clarity between the subject and the background.

In addition, there are three factors that determine the depth of field, namely: the size of the aperture, the distance of the shooting distance, and the length of the lens focal length. Next, let’s talk about how these three factors affect the depth of field.

①Aperture size

The larger the aperture, the shallower the depth of field, and the smaller the aperture, the deeper the depth of field.

②The shooting distance

The closer the subject is to the lens, the shallower the depth of field; the further away the subject is from the lens, the deeper the depth of field.

③The length of the focal length

The longer the focal length, the shallower the depth of field, and the shorter the focal length, the deeper the depth of field.

4. Shutter speed

In simple terms, the shutter speed indicates the length of time the light illuminates the image sensor. Generally speaking, the size of the aperture determines how much light can enter the camera at the same time; the shutter speed determines how long the sensor is exposed. Shutter speed: the smaller the denominator, the slower the shutter, and the larger the denominator, the faster the shutter. For example, if the shutter speed is 1/3 second, it means the exposure time is 1/3 second, and the exposure time is very long. The shutter speed is 1/200 second, which means the exposure is two hundredths of a second, and this exposure time is very short.

Shooting the same subject with different shutter speeds will produce different effects. For example, the waterfall photo below. The photos taken with a high-speed shutter are full of vitality, while the photos taken with a low-speed shutter fully show the flow of water, creating a tranquil atmosphere.

5. Focus

Focusing is the process of changing the distance and distance of the object through the camera focusing system, so that the image of the subject is clear. In order to help you master the focus, the following will explain the focus knowledge one by one.

①Single auto focus: This focus mode is suitable for shooting stationary objects. When the lens is aimed at the subject and half-press the shutter, the camera will focus once.

Single-servo mode is suitable for shooting stationary subjects

②Continuous AF: After pressing the shutter halfway to focus, the camera will lock the target or the focus area. Once the focus distance between the target and the camera changes, the camera will automatically focus again. Continuous autofocus is best for shooting targets in motion, such as sports photography, wildlife photography, and car commercials.

Continuous autofocus is suitable for shooting moving subjects

③Intelligent auto focus: This mode combines single focus and continuous focus. After half-pressing the shutter, the subject at the focus can be locked for a single focus, and the subject can also be switched to continuous auto focus for tracking shooting when the subject is moving, suitable for shooting sports Objects in a more random manner.

Intelligent auto focus is a combination of single focus and continuous focus

④Manual focus: Manual focus is a way to adjust the camera lens by manually turning the focus ring to make the captured photos clear. The letters AF (Auto Focus) stand for auto focus, and MF (Manual Focus) stand for manual focus. The manual focus function is particularly effective when shooting macro photography, special effects shooting, or shooting in dim environments.

Set the focus mode switch on the AF lens to “MF”

6. Composition

Although many people now say “how to look good and how to shoot, you don’t have to worry about the composition”, but you still can’t ignore the role of composition. Especially those basic composition techniques, which are the foundation of composition, no matter how you want to shoot in the future, you need these basic composition techniques to support. Here are some of the most basic composition methods to help you consolidate the foundation.

①Fun Center composition

When composing the picture, the horizontal and vertical of the picture are divided into three equally, and the intersection of each line is called “Fun Center”. When we appreciate or look at a photo, the first place our eyes notice is the “Fun Center”, so when taking pictures, try to arrange the subject of our own photography in the Fun Center.

②Diagonal composition

Diagonal composition is very flexible, whether it is landscape photography or portrait photography, diagonal composition is more used. The diagonal composition can attract the audience’s attention, draw the audience to see the whole picture, and also make the picture flexible.

③Middle composition

The center composition is very simple, that is, place the subject in the middle of the frame. Although this composition is very dull, nothing new. But this kind of composition is very useful when shooting buildings or small objects. For many novices who can’t compose, the center composition is the most secure composition method.

④Frame composition

Framed composition can create a sense of occlusion and effectively focus the audience’s attention, which is very popular. In addition, the audience can also feel the photographer’s point of view, which helps the viewer and the photographer have a common experience of the scene being shot. And frame composition is not only the use of windows, there are many objects that can be used in life.

7. The use of light technology

It is said that photography is an art of using light. Using light is not only a basic skill, but also an important content that reflects the level of photographers. Next, I will talk about the skills of using light.

•  Forward light

Forward light means that the irradiating direction of the light is the same or basically the same as the shooting direction of the camera, and there is no obvious light-dark relationship in the composition of the picture. Forward light makes the brightness of the subject even and soft. However, the photos taken by Shunguang are very ordinary, which leads to the lack of three-dimensional and shaping sense of the picture. Forward light can show the shape and color of the subject to be shot very well. If you are not very accurate with the light, then it is recommended that you try to shoot with forward light.

② Side light

Any light from 45 degrees to 90 degrees from the left and right sides of the subject can be generally called side light. The side light is ever-changing. As long as you slightly change the angle of the light source when shooting, you can create a completely different effect for the entire photo and add drama.

③ Backlight

From the light ratio, the subject and the background are in a dark place or 2/3 of the area is in a dark place, so the light ratio between light and dark is large, and the contrast is strong. From the perspective of light effects, backlighting produces contour light for opaque objects; transmission light for transparent or semi-transparent objects; flashing light for liquids or water surfaces. It can make the picture produce an artistic effect completely different from the actual light that our naked eyes see in the scene.

④ Top light

The light shining down from the top of the subject, in the outdoors, the most common time to encounter the top light is about 11 am to 3 pm. When shooting under top light, shadows are likely to be formed in the middle of the nose and the neck of the person, which is not very attractive.

8. Prime time

People often ask which time is the best time to take pictures. In fact, there is no such thing as “best time to take pictures,” because you can take photos with different styles at any time of the day. But there is the term “golden photo time”, which refers to one hour before sunrise and sunset. At this time the sun has just risen or is about to set, the light at this time is very soft, very suitable for taking pictures.

9. Eliminate shadows

If the shadows are used well to enhance the three-dimensional sense of the photo, if they are not used well, the picture will become very uncoordinated. Especially when taking portraits, if there are too many shadows, a “yin and yang face” will appear. So when you take portraits, you can use flash or reflectors to fill up the dark parts of the characters.

10. Improve aesthetics

Photography skills can be taught by others, but aesthetics cannot be taught by others. This requires continuous improvement in life. And aesthetics is also the most difficult thing for you. Many people have studied photography for a few years and the photos taken by them are still not good. The problem lies in the aesthetics. It is recommended that while learning photography, everyone should appreciate excellent photographic works and learn their creativity, beauty and so on.

Elements of film editing

Process treatment

Before the final editing of the film is finalized, the cut pictures and various soundtracks must be stored properly and organized so that they can be glued when they need to be extended.

Process and function

From shots to scenes, to paragraphs, and to complete the assembling of the film, it often goes through the steps of initial cutting, re-cutting, fine-cutting and even comprehensive cutting. The first cut is generally based on the sub-scene script, the physical actions of the characters, the dialogue, the reaction, etc. to connect the shots. The double cut is to make corrections on the basis of the initial cut. The fine cut is more detailed and accurate, with repeated scrutiny of the picture. Comprehensive cut is an adjustment, addition and reduction made on the basis of overall consideration of the structure and rhythm of the entire film after the shots of all scenes in the whole film are complete, and each scene has been basically cut.

Some clips can be viewed in isolation, but when viewed in conjunction with the front and back scenes, they will feel too tight or too slack, which needs to be adjusted through editing. This is related to the adjustment of the overall structure and rhythm of the film, and is usually determined by the director and editor together.

Editing must not only ensure the natural, coherent and smooth appearance of the action situation composed of the lens and the lens, but also highlight the expressive effect that the juxtaposition of the lens gives the inner meaning of the action situation. The dialectical unity of the dual functions of narration and performance is the general rule for the application of clip art techniques to film creation. In order to achieve the above-mentioned dual functions, it is necessary to master traditional editing techniques and creative editing techniques.

Traditional editing techniques

Coherence and fluency are traditional editing techniques, and can also be called the basic skills of editing. There are two main functions of this technique: one is to ensure the smoothness of the lens transition in the assembly and trimming of the lens, so that the audience feels that all the images are carried out in one go. The second is that in the paragraph transition of the film, there is a certain degree of continuity between the upper and lower paragraphs, and the boundaries of the paragraphs can be clearly divided, so that the audience will not mistake the content at different times and locations as the same scene.

For coherent and smooth editing techniques, in terms of camera transitions, the following points must be noted:

 ① Prevent confusion. The connection between the camera actions must be accurate, neither disjointed nor overlapping. The direction of the characters’ actions and the spatial relationship between them will not cause confusion in the visual impression due to the change of shots. If the character in the picture moves in his study room, in the previous shot he walked from the bookcase to the writing desk, and walked out of the screen from the right side of the screen, then he walked to the writing desk in the next shot, he must enter from the left side of the screen. painting. The direction of right out and left in is the same, so it is smooth. If the upper camera is drawing from the right and the lower camera is drawing from the right, the direction of action of the same person in the two shots is bound to be opposite, which is likely to cause visual confusion. Especially when editing scenes such as fighting and chasing with the enemy, the direction must be clear, otherwise it will make it difficult for the audience to distinguish between the enemy and the enemy.

②Lens conversion coordination. Editing often uses parts with similar shapes and rhythms in different shots as the editing joints to achieve a harmonious transition. The common techniques are “movement followed by action” and “static connection by static”. “Motion” refers to the effect of switching the lens during the movement of the lens and the movement of the human figure. As the above lens is panning, it is switched to another panning lens when it is not panned, and the direction and speed of the panning are close to the effect of the connection. Quite smoothly, the audience will transition from one environment or scene to another environment or scene very naturally as the camera shakes.

In the movement of pushing, pulling, shifting, and following the camera, the principle of “moving and moving” is the same. “Motion-to-action” is more about switching shots in the body movements of the characters. For example, when a person is angry, the action of shooting a table is often the cutting point of the upper and lower shots in the movie, that is, the upper camera raises the hand and the lower camera moves downward.

“Still connection to stillness” refers to switching shots after an action is over (or in a still scene), and the cut into the other shot is from stillness to movement. “Quiet and static” is mostly used in transitions, that is, the previous scene ends on a still picture, and the next scene starts from the still picture. Static connection is the need for cohesion and harmony. It also leaves room for the audience to think.

③Omit the actual process. It is the so-called compact editing, that is, the content of the same action can be changed through the lens to omit unnecessary processes in between, while still maintaining the coherence and smoothness of the action. Some express the intention of the characters and indirectly imply the omission of the action process, and some omit the actual process of compression.

Coherent and smooth traditional editing techniques

The conversion of shots is accustomed to “switching” (the split shots are directly glued together), but the conversion of scene paragraphs generally uses “fading, fading” to express the end of the previous scene paragraph and the beginning of the next scene paragraph. “Transformation” is used to express an omitted time course, dividing two incomplete passages. Use “drawing” to represent the change of places, occasions, and events, and divide more than two paragraphs of incomplete scenes. The above is the “optical technique” made on film by printing or photography.

In addition, there are many ways to divide paragraphs. For example, the switching method is still used, but the most representative person or scene shot is used as the beginning of the next paragraph when the previous paragraph is changed.

Traditional editing techniques follow the logic of life, but they do not reproduce all the processes in life naturally.

The compact editing and omission of editing also illustrate that pure and natural coherence between shots is not always necessary. Compressing (or extending) the real time, allowing all meaningful action events to be expressed, and reducing natural movements to a minimum is an important supplementary principle of coherent and smooth editing techniques.

Creative editing

Clip art skills, in the long-term production practice, has a wealth of experience. In European and American theoretical writings, they are sometimes collectively referred to as creative editing; especially after the pioneering exploration and theoretical summary of masters such as Eisenstein Pudovkin, they have become some of the fundamental principles and rules of montage, and have been As a unique structural expression method of film art, it penetrates into the whole process of film creation. Common creative editing techniques are:

Narrative, dramatic effect editing

Although the drama is conceived and shot separately, the vivid and dramatic effect of the film’s narrative ultimately depends on whether the editing can control the timing of key shots. The main point of the narrative technique is to use the adjustment focus, the timing and sequence of the key shots, and select the appropriate editing points in the continuity of the camera action, so that each new development of the camera action can be expressed at the most suitable moment in the drama. . Feature films often hint or deliberately postpone “crisis” or “incident” in advance to create suspense of nervous anticipation and unexpected panic.

Analog and expressive effects editing

The alignment between shots with different contents or forms is a widely used expression technique for creative editing. It is generally noticeable that through the arrangement and interspersed editing, some artistic effects are compared with the content of direct storytelling or the emotional atmosphere is rendered. The main point of expressive editing is to use continuity to express thoughts and emotions beyond the direct narrative while ensuring the continuity of the narrative. This kind of editing not only does not make the audience feel jumping and uncomfortable, but it meets the needs of mood and rhythm. It boldly simplifies natural movements and selectively uses unified emotions to focus on rendering the atmosphere and emotions.

Speed, rhythmic effect editing

When the combination of shots in different scenes became a unique means of expression in the specific shape of the space in the early days, it has been found that the length of the shots lasts and has a psychological impact on emotions.

The lens is short and the picture changes quickly, causing a sense of urgency and excitement. The lens is long and the screen transition is slow, resulting in sluggishness and even depression. Alternating long and short shots can cause ups and downs of psychological tension. Therefore, editing controls the length of the picture, can strengthen or weaken the speed of the action situation in the shot switching, and adjust the emotional rhythm corresponding to the style of the narrative content.

This kind of skill effect of the speed rhythm formed by the contrast of the length of the lens is generally called the editing tone, usually called the fast editing or the slow editing. The length of the lens basically depends on the simplicity of the content of the lens, and the switching of the speed of the image cannot exceed the full expression of the meaning of the lens and the minimum time limit for the audience to understand.

Editing tones are also expressed in scenes or passages of plot. Fast editing paragraphs are often aligned with slow editing to emphasize each other. The editing tone of a scene (paragraph) is calculated by the number of shots occupying a certain length and showing time, which is called the editing rate.

A small number means that the long shots in the scene dominate, which is called slow editing or slow editing. The large number of shots means that short shots are dominant in the scene, which is called fast editing or fast-tuning editing. A classic example of accurate use of speed and rhythm techniques is Eisenstein’s “Battleship Peter Jin”. The whole film consists of 3 large sections of movement, and each section contains countless smaller scenes with different tones of movement.

In the first segment of the narration of the warship uprising, the tone of the sailor and the officer’s conflict became stronger and stronger. In the end, the sailor’s uprising captured the warship and reached a climax, using gradually stronger picture fragments and corresponding increasingly urgent editing tones. After the climax, we gradually enter a set of calm scenes. A sailor’s funeral uses extremely long revolving shots, all of which use a calm, slow editing rate. This shows a strong contrast between the editing tones of different scenes.

Concept introduction of movie editing

  Movie editing is the decomposition and combination of movie images and sound materials. That is to say, a large number of materials shot in the film production will be selected, selected, decomposed and assembled, and finally a coherent, smooth, clear meaning, clear theme and artistically appealing work will be completed.

  It is a re-creation of shooting. Editing is different from editing, which refers to the specific processing of film.

  Early movies just projected the natural sceneries and stage performances on the screen intact. Beginning with the American director D.W. Griffith, he adopted the method of shooting with different shots, and then connected these lens groups, which resulted in clip art.

  For a long time, editing was the job of the director. However, with the advent of sound movies, the editing of sound and music materials has also entered the film production process. The editing process has become more and more complex, and the editing equipment has become more and more advanced, so specialized film editors have appeared.

  The editor is an important collaborator of the director and participates in all creative activities related to the director, such as drafting, rehearsing, filming, and recording of sub-scene scripts. The degree of dependence on editing varies with the director’s work habits.

  However, in addition to fully embodying the director’s creative intentions, the editor can also propose new editing concepts. It is recommended that the director add and delete certain shots, adjust and supplement the original sub-shot design, change the original rhythm, highlight certain content or make certain aspects of the film. The meaning of one paragraph is more profound and clear.

Steps of movie editing

From the film material to a complete film work, the editing often has to go through several steps such as primary cut, re-cut, fine cut and even comprehensive cut.

The first cut is based on the sub-scene script, which combines the actions of the characters, the dialogues, and the scenes of mutual exchanges.

The double cut is a further modification on the basis of the initial cut.

Fine editing is a more detailed editing combined with montage structure after repeated scrutiny of the picture.

Comprehensive editing is the adjustment of the overall structure and rhythm after all the scenes of the film have been shot, and each segment has been fine-cut.

In the entire editing process, it is necessary to ensure the naturalness, smoothness and coherence of the narrative between the shots and the shots, but also to highlight the inherent performance of the shots, that is, to achieve the unity of the dual functions of narration and performance.

Classification of movie clips

Traditional editing

It can also be called the basic skills of editing. It has two main functions. One is to ensure the smooth transition of the shots, so that the audience feels that the whole film is done in one go, and the other is to make the paragraphs and context of the film clear, so that the audience will not mistake the content of different times and places as the same scene.

Therefore, this kind of editing must do: ① Prevent confusion. The lens connection must be accurate, not disconnected and not overlapping, and the direction and spatial relationship of the characters’ movements must be consistent.

② Coordination of lens conversion. Editing often takes action form and rhythm as the editing point, that is, “moving and moving” and “stilling and static”. “Motion and movement” refers to switching shots during the movement of the camera or the character, such as one panning shot followed by another panning shot, or one running away and one chasing shot, etc. “Quiet and static” refers to the end of an action (or a still scene) before the beginning of an action (or a still scene).

③ The actual process is omitted. That is to omit unnecessary and self-evident processes by the audience, while still maintaining the coherence of the action or plot. For example, an airplane take-off lens followed by an airplane landing lens can omit the travel process, and a peach blossom lens followed by a fallen leaf lens can omit the change of time and so on.

Traditional editing is basically carried out according to the normal life logic, but it is not a naturalistic record of all the processes in life.

Creative editing

It is customary to say that the editing method that can improve the artistic effect of the film is creative editing, and there are mainly the following:

① Dramatic effect editing. Use to adjust the focus, timing and sequence of key shots. Choose the best editing point so that every shot appears at the most appropriate time when the plot unfolds.

② Expressive effect editing. It is to boldly simplify or jump while ensuring the narrative is coherent and smooth, and selectively focus on analogy shots to highlight certain emotions or ideas. Juxtapose some contrasts and similar shots to achieve the effect of revealing the inner meaning and rendering the atmosphere.

③ Rhythmic effect editing. Generally speaking, short shots and fast screen transitions can cause urgency and tension. Long shots and slow screen transitions can cause sluggishness or depression. Therefore, the long and short shots alternate, and the combination of the speed of the screen transition can cause the ups and downs of the audience’s psychological mood. Using this point, by controlling the time of the picture and mastering the transition rhythm on the editing, the emotions of the audience can be controlled and the desired artistic effect can be achieved. This editing rhythm is also called editing tone.

However, the length of the shot and the speed of conversion cannot exceed the limit of the audience’s understanding of the meaning of the content, otherwise it will cause confusion. The editing tone often also expresses the plot or emotional passages of the film, which makes the film ups and downs.

The editing tone of a paragraph in a movie is calculated by the number of shots, which is called the editing rate. The number of shots is large, which means that the editing rate is high or fast-tuning editing. The number of shots is small, which means that the editing rate is low or the editing is slow.

Film editing technology

No matter how good the movie is, the editing part of the movie is indispensable. In general film production post-editing, we must pay attention to editing film fragments. Generally, the base plate obtained from film shooting is processed, and a set of working samples is produced, and the samples are used for editing. The editor selects the required lens and film from a large number of samples, cuts the film with scissors, and then uses adhesive strips or glue. Glue them together, and then watch the effect of the editing on the editing stage (this process needs to be repeated and produced continuously).

  Entering the movie editing part truly enters the non-linear part of the movie. Sometimes a highly skilled editor will not follow the steps when editing a movie, that is to say, they will not edit one by one in an order.

Many editors cut from the middle, insert a shot, or cut out some frames, which will not affect the entire film. But this method is powerless for the production of many techniques. The editor cannot make an overlay between the two shots, nor can he adjust the color of the picture. All these techniques can only be done during the printing process. At the same time, the manual operation efficiency of scissors and paste is also very low.

  The movie editing is in compliance with the former movie space, it has a main shot. Montage is to use the shots as the material, and then form a time and space of the movie that is not in reality on the editing stage. The concept of Hollywood has many strange myths in China. This show is all made up of the concepts of Hollywood editors and directors.

Elements of film editing

Overview

The whole work of decomposing and reorganizing movie audiovisual materials. Cut-ting refers to the specific process of film processing. Montage refers not only to the artistic skills of lens assembly, but also to the artistic effects obtained by editing. In some countries, it is synonymous with “cutting”.

Editing, a large number of materials shot in a film, through selection, selection and assembly, and finally compiled into a coherent, smooth, clear meaning, and artistically appealing work. It is the main component of film art creation and is indispensable for film production. An important process, a re-creation of a film from shooting to completion.

In the early stage of the film, the stage play was shot on film intact, and it was actually the activity photography of the stage play. At the beginning of the 20th century, starting from the American film director DW Griffith, he adopted a method of shooting by splitting the content into different shots. For example, close-up and close-up shots were used to highlight details, and panoramic and distant shots were used. To introduce the environment, use a series of short shots to quickly change to create the atmosphere and rhythm, so that the film can get rid of the frame of the stage play activities and become an independent modern art, and the art of editing has also been produced.

The degree of dependence on editing varies with the working habits of different directors. However, in addition to fully embodying the director’s creative intentions, the editor can also propose new editing concepts based on the director’s screenplay. It is recommended that the director add certain shots or Cut some shots, re-adjust and supplement the original sub-lens design to make the context of a certain paragraph and a plot of the film clearer, clearer, and more distinct.

Process treatment

Editing is a heavy and detailed task. A feature film often has as few as a few hundred, or as many as a thousand shots. There are interior scenes, exterior scenes, real scenes and built-in scenes in the picture. The content in the same scene is usually shot together, and the editing should be rearranged in accordance with the order of the content.

Important shots in the film are often shot several times for performance or technical reasons, and you must choose when you need to edit them. Most of the shots are taken longer, and the most ideal splicing point must be found.

Some scenes where long and short shots intersect are shot continuously on several pieces of film, and need to be cut into many shots during editing, and then arranged in the most effective order of shots. The sound part has three recording methods: pre-, simultaneous, and post-recording. The vocal cords recorded by these three recording methods must be processed in different techniques and methods.

Pre-recordings are mostly complete chants and music sections, and must strictly follow the melody of the music and the combination of lyrics and pictures. Most of the vocal cords recorded in the same period are “contrast” dialogue and sound effects, and they are usually edited at the same time as the corresponding pictures. The content of the post-recording includes “in-view” dialogue, inner monologue and narration, background music, “picture” and “out-of-picture” sound effects, etc., which are usually recorded on the basis of the screen cut, which requires When editing, a series of artistic effects that can be formed by the combination of sound and picture and sound are considered in advance.

(To Be Continued)

In the production of film and television, especially in the early stage of shooting, we need to be very familiar with the performance skills of the lens. We must be familiar with what kind of lens technique expresses what theme content.

Push and Pull Techniques of the Lens　　

The push-pull technique of the lens is a set of technically opposite techniques. In nonlinear editing, one can often be used to realize the other technique. Pushing the lens is equivalent to walking in and watching the object directly along the straight line of the object, while pulling the lens means the camera keeps moving away from the shooting object.

Of course, both of these techniques can be achieved through zoom lenses. The focus of the role of the push lens in shooting is to highlight the important Russian figures or objects that appear in the subsequent movies. This is the most common role of the push lens. It can make the viewer’s line of sight gradually approach the subject, and gradually lead the viewer’s observation from the whole to the part.

In the process of pushing the floor, the content contained in the picture gradually decreases, that is to say, the movement of the lens discards the superfluous things in the picture, highlights the key points, and draws the audience’s attention to a certain part.　　

This effect can also be achieved with a zoom lens, which is to gradually push from a short focal length to a long focal length, so that the audience can see the subtle part of the object, which can highlight the key to the content. Pushing the lens can also show a huge space.　　

Pulling the lens is the opposite of pushing the lens. This is when the camera keeps moving away from the subject, or it can be shot with a zoom lens (gradually adjusted from a long focal length to a short focal length). The role is in two aspects, 1. It is to express the position of the main character or scene in the environment. The camera moves backward to gradually expand the field of view, which can reflect the relationship between the part and the whole in the same lens. 2. It is also for the connection between shots. For example, the first one is a close-up shot in one scene, and the second one is a shot in another scene, so that the two shots are more natural to be connected by this method.　　

The push-pull effect of the lens is different from the push-pull effect of the zoom. For example, in the technique of pushing the lens, the method of using a zoom lens is equivalent to magnifying a part of the original subject. The effect on the screen is that the relative position of the scene remains unchanged, the scene does not change, but the original picture is enlarged.

When the subject of the shooting scene does not change and it is required to approach the subject at any speed without shaking continuously, it is more suitable to use a zoom lens to achieve this lens effect. And moving the lens to push the lens is equivalent to approaching the subject to observe. The effect in the screen is what shown in the scene.

The object moves backward, and the scene size changes. This is very effective when shooting narrow corridors or indoor scenes. There is a clear difference between moving the camera and using a zoom lens to achieve the lens push-pull effect. Therefore, we need a clear awareness in the shooting concept, and we cannot simply replace the two with each other.

Techniques for Panning the Camera　　

This lens technique is a shooting technique created by the French photographer Dixon in 1896, and it is also based on people’s visual habits.

When using the pan technique, the position of the camera does not move, but the lens changes the shooting direction, which is very similar to the way we stand still and turn our heads to see things.

There are several types of panning, which can be panning left and right, up and down, tilting or mixing with panning. The function of panning allows the audience to show the scenes to be represented one by one. Slow panning techniques can also create a long time, space effect and give people a feeling of impression.　　

Panning shows the content with the beginning and the end in one go. Therefore, the purpose of the beginning and the end of the shot is required to be very clear. From a certain target to be shot, the end to a certain target is to be shot, and a series of processes between the two shots should also be It is the content to be expressed. Remote shooting with a long focal length lens away from the subject can also cause the effect of lateral movement or lifting.　　

The movement speed of the panning lens must be uniform. The start should stop for a moment, then gradually accelerate, be uniform, decelerate, and then stagnate.

Camera Shift Technique　　

This kind of lens technique was inspired by French photographer Plomeo on his yacht in Venice in 1896. He envisioned using a “moving movie camera to shoot and make immovable objects move”, so he pioneered it in the movie “Transverse lens” refers to the lens that puts the camera on the moving car and shoots to one side of the track.

The purpose of this kind of lens is to show the spatial relationship between people and things, between people and things in the scene, or to show some things in a coherent way. There are similarities between panning and panning, both of which are to express the relationship between the subject and the companion in the scene, but the visual effects on the screen are completely different.

Panning means that the position of the camera does not move, and the shooting angle and the angle of the object being shot are changing, which is suitable for shooting distant objects. While shifting the lens is different, the shooting angle remains the same, the position of the camera itself moves, and the angle with the object being shot does not change. It is suitable for shooting objects and subjects that are closer.

Mobile shooting is mostly dynamic composition. When the photographed object presents a static effect, the camera moves, causing the scene to be swiped through the screen in turn, resulting in a visual effect of patrol or display. When the subject is dynamic, the camera moves along with it, forming a visual effect of following. You can also create specific moods and atmospheres.

In addition to moving the camera on the track, you can also use other moving tools, such as airplanes in high-altitude photography, trains and cars in the wilderness. Its movement can be roughly divided into lateral movement and depth movement according to the direction of movement. When the camera is not moving, you can also get the effect of shifting the lens by changing the focal length or moving the subject in the background.

Follow the Camera Skills　　

Refers to the camera following the movement of the object to be photographed, in the form of push, pull, pan, lift, and rotate. The follow shot keeps the subject in motion unchanged in the frame, while the front and back scenes may be constantly changing. This shooting technique can not only highlight the subject in motion, but also explain the movement direction, speed, posture, and relationship of the object to the environment, so that the movement of the object can be kept coherent, which is conducive to showing the spirit of the character in the dynamic.

Lifting Lens

This lens technique refers to the image taken by the camera moving up and down. It is a method of expressing the scene from multiple viewpoints. The technique of change includes vertical direction, oblique lifting and irregular lifting.

Constantly changing the height and tilt angle of the camera during the shooting process will give the audience a rich visual experience. If used cleverly, it can enhance the illusion of spatial depth and produce a sense of height. If the lifting camera moves properly in terms of speed and rhythm, it can creatively express the sentiment of a plot. It is often used to show the development law of events or the subjective emotions of subjects moving up and down in the scene.

If it can be used in combination with other techniques of lens performance in actual shooting, it can show a variety of visual effects.

Lens Flip Technique　　

This technique requires a high level of cameraman’s requirements. It means that without stopping the camera after the end of a picture, the lens rapidly “spins” to the other direction, thereby changing the picture of the lens to another content, and in the middle of the shaking process The captured content becomes blurred and unclear.

This is also very similar to people’s visual habits, which is very similar to when we are observing things suddenly turning our heads to another thing, which can emphasize the transformation of space and the parallel scenes that occur in different scenes at the same time. 　　

Another method of flipping the lens is to specifically shoot a moving image lens that is thrown in the desired direction, and then edit it between the front and rear lenses. The effect of flipping the lens is an extremely fast rhythm, which can cause sudden transitions. When editing, the direction, speed and speed of the flip, and the length of the process should be adapted to the movement of the front and rear camera and its direction and speed.

Rotate the Lens　　

The subject or the background is a picture with a rotating effect. Commonly used shooting methods are as follows: 　　

1. Rotate and shoot along the elevation angle of the optical axis of the lens, 　　

2. The camera pans around 360 degrees quickly, 　　

3. The subject and the shooting are almost on one axis for 360-degree rotation shooting,

4. The camera rotates the image or photo on the film or tape under the condition of not moving, inverted or turned to any angle of a 360-degree circle for shooting, and it can move clockwise or counterclockwise.

   In addition, you can also use a rotating vehicle to shoot, and you can also get the effect of rotation. This kind of lens technique is often used to express the subjective gaze or dizziness of the character in the rotation, or to enhance the mood and enhance the atmosphere.

Techniques for Shaking the Camera

This kind of lens is not used much in actual shooting, but the use of this technique under the right circumstances can often produce strong shock and subjective emotions.

The camera shake technique refers to the camera body swinging up and down, left and right, back and forth during shooting, and is often used as a subjective lens. For example, in the performance of drunkenness, trance, dizziness, or causing the boat or car to shake and bump, etc., to create a specific artistic effect.

If we have watched Zhang Yimou’s film “Something to Say Well”, we must have a deep understanding of it. How much swing amplitude and frequency this technique requires in actual shooting depends on the specific situation. It is better to hold the camera or carry it on your shoulder when shooting.

The lens techniques we described above are not isolated in actual shooting, they are often ever-changing, and can be combined with each other to form a colorful and comprehensive sports lens effect.　　

But when we want to use lens performance skills, we need to determine it according to actual needs. When shooting, the lens movement should be kept at a constant speed, steady, stable and decisive. Don’t abuse lens skills aimlessly, pause for no reason, or shake up and down, left and right, which will not only affect the expression of the content, but also make the audience dazzled and confused. The direction and speed of the camera movement should also be considered as the consistency of the rhythm and speed of the front and rear cameras.

Shoot with hard light

The so-called hard light refers to the formation of shadow light that can produce contrast between light and dark on the surface of the scene. This is a light that is rarely used in portrait shooting, especially when shooting portraits of subjects.

The biggest feature of hard light is that it can produce clear shadows. The difficulty is to control the contrast of light and dark and the light ratio of the picture. Female shooting generally controls the light ratio at about 1:2, but it is almost impossible to control the light ratio in this range when shooting with hard light. The easiest way is to use a reflector to fill the light. This kind of reflected light reduces the contrast of light and dark on the face of a person.　　

You can ignore the control law of light ratio, enhance the contrast in the picture, use light to “tell a story”, and use light to express emotions. This is the difference between hard light and other lights. It expresses the emotions of the picture more intensely and profoundly.

For the use of hard light, we must also pay attention to how to enhance the modeling effect through the environment. It is to know what kind of environment should use the large light ratio caused by hard light, and what kind of environment should control the light ratio.

When shooting with hard light, it is very important to control the exposure control. You can overexpose by half a level or more during exposure to increase the contrast of the picture. Or the underexposure is half a level or more, although the contrast is reduced, but the entire tone can be lowered to express a certain emotion.

Shoot with soft light　　

Soft light is the opposite of hard light, which refers to the forms of light that do not produce obvious contrast between light and dark on the surface of the character. It is often used when shooting women, because it can highlight the texture of the character’s skin and make it whiter.

The way to get soft light is very simple. A white sheet can turn direct light into soft light. Curtains, white parasols, etc. can all be used as light softening devices.

The light ratio control of soft light should be controlled at about 1:2. And soft light is more suitable for shooting mid-range shots, and those with smaller composition than mid-range, so that it can better highlight the texture of the character’s skin.

In addition, the exposure of the soft light shooting can be more than half a level to a level, which can make the skin of the person more white and transparent.

shooting with forward light　　

Forward light is the form of light projected by the light to the front of the character. This kind of light allows most of the figure to get enough light, and the intensity is relatively average, so it will not form a contrast between light and dark on the face of the character, and it is easier to control exposure.

The downside of shooting with forward light is that the light is too flat to highlight the key points. Therefore, it is rarely used in portraits. But forward light is more suitable for small scenes such as close-up and close-up shots, because it can specifically express every detail and level of the character.

Sometimes the most direct and straightforward descriptions are often much better than those deliberately made. When shooting with forward light, the exposure should not be overexposed. Generally, the ideal effect can be obtained by using average metering.

Shoot with backlight 　　

Backlighting refers to the light form of the light source behind the character. This kind of light prevents the front of the character from being properly exposed, thus losing the level of detail of the character. However, this form of light outlines the outline of the character, which is extremely beneficial to reflect the action and shape.

Of course, the use of backlighting does not necessarily have to shoot the effect of the silhouette, if you control the exposure, you can also get some details of the character. When using backlighting to shoot silhouettes, the location of the metering point is related to the silhouette effect.

To get a pure silhouette effect, the metering point can be selected at the edge of the character’s body, because the light there is the brightest part of the entire picture. For those backlight effects that are not pure silhouettes, the light metering point can be selected on the hair illuminated by the light or the face of the character. This kind of backlighting effect is more common in Chinese portrait portraits.　　

Backlight shooting is only suitable for scenes above the middle scene, such as panoramic or distant scenes. Because such a scene can not only reflect the body of the characters, but also reflect the environment to a certain extent, so as to enrich the content of the picture.

When shooting silhouette effects, the lower the projection angle of the light, the more obvious the silhouette effect will be, and the higher the projection angle of the light, the less obvious the silhouette effect will be.

So the best time is at sunset or early morning, when the silhouette effect is the most obvious. The backlighting effect of light in other environments or other time periods is not a pure silhouette effect.

Shoot with side light　　

Pure side lighting is usually not suitable for photographing women. Because the light source at this time is projected from the side, half of the face of the character is illuminated and half in the shadow, the effect produced is called “light & dark face”.

However, in the shooting of photo portraits, the use of this form of light is not very new, and it can often reflect the character and emotion of the character more strongly.　　

When using side-light shooting, you must pay attention to using less hard light, because the latitude of the digital camera is very low. If you use hard light, the details of the face in the dark part of the person will not be reflected in any way. The use of soft light is different. The contrast of light and dark on the face of the person is within the tolerance range of the digital camera, and the transition between light and dark is more natural.

There are many scenes that can be photographed with side light, and the feelings reflected in the large scenes are more intense; while the small scenes can make the subject thinner. When shooting large scenes, if you make good use of the shadows produced by the light, you can make the image more powerful.　　

The side backlight is transformed from the backlight, and its characteristic is that it can illuminate a certain point on the person’s face, while most of the rest are not exposed to light. It illuminates the character’s hair from the side and rear, so that it presents a certain emotion in the backlight, and this light does not hide the front details of the character.

When shooting with side backlighting, if the metering spot is on the illuminated part of the person’s face, the exposure must be overexposed by about one level to ensure that the details of the person’s face are not covered up.

It is also best to choose a scene below the middle scene, because the panoramic scenes cannot well reflect the light perception of the side backlight, and the close-up or close-up scenes are more full and vivid when the side backlight is used.　　

Front metering is a kind of portrait modeling light evolved from the side light. This kind of light is in most of the characters, and the transition of the light is strong, which is more suitable for the modeling of the characters. Use the front side light to shoot, you can make the person turn to the direction of the light source, so that the three-dimensional sense of the person’s face will be enhanced, and it is best to use soft light to make the transition of light more natural. Attention should be paid to selecting the transition area between light and dark of the face for metering, so that all levels of the face can be obtained.

Shoot with top light　　

Top light is generally not used for portrait shooting, but if we can make reasonable use of this light, the feeling of spilling from above is also good. If the top light shines directly on the face of an upright person from above, highlighting the person’s forehead and cheekbones, the effect will be a little scary. If you move the person behind the light source and turn your head in the direction of the light, the feeling of shooting will be different.

In addition, when facing overhead light, it is much better to let people lie on the ground to shoot than to stand up. If you need to show the feeling of light on the character, you must overexpose, so that the light feeling can be reflected through the enhancement of brightness. If you shoot at noon, use a transparent white shade to soften the light, the effect will be more obvious.

Application of digital technology in film and television production 　　

   Scientific development has led to the advent of the digital age, and digital technology has emerged and is widely used in film and television production. The author has searched and sorted out the application of digital technology in film and television production for everyone. Welcome to refer to and read. I hope it will be helpful to everyone. 　　

   Digital technology provides a new set of production methods and production tools for film and television production. Its powerful fiction and simulation capabilities have led to the possibility of ever-expanding visual effects, greatly simplifying the production process of film and television works, and better expressing the creative intentions of creators, so that film and television works can more fully express the personality of the creators. So as to provide a broader production space for film and television production staff.

The role of digital technology in film and television production　　

1. Digital technology makes the film and television production process more perfect 　　

  Digital technology has entered various fields of film and television production, providing a new and vast space for the creation of film and television art, greatly enriching people’s imagination, and improving the efficiency and flexibility of film and television production. In particular, the use of digital technology with non-linear processing mode makes the pre- and post-processing work of film and television easy and flexible, turning the traditional manual labor-based film and television production into a mouse and keyboard work mode, which perfectly changes the work of film and television production. The level of craftsmanship.　　

2. Digital technology has enriched the expression of images 　　

  The manifestations of film and television art are images and sounds. Image is one of the most important ways of expression in film and television art. The traditional method of acquiring images is through the use of camera photography, plus some model special effects, printing and synthesis and other technical means to obtain. Although there are many beautiful works in traditional film and television works, with the advancement of science and technology and the development of the times, people’s ways of thinking and concepts have also undergone great changes. Traditional film and television expression methods and methods can no longer satisfy people. Requirements for film and television art.

  Film and television production involving digital technology can obtain lifelike images, simulate real environments, and achieve technical expressiveness that is difficult to achieve by traditional methods, which greatly enriches the means of film and television expression.

Application and embodiment of digital technology in film and television production　　

1. The digitization of video footage 　　

  The popular application of non-linear editing system and computer synthesis technology enables scenes in film and television shots to be synthesized by countless image elements that are independently picked up, recorded and processed, which greatly broadens the creative imagination of the production staff.

Many video footages are taken through real shots, and then collected with capture equipment to become digital video footage. These digital video footages are easily copied, edited, synthesized, and processed with special effects; and some video footage is created from beginning to end. The staff is created through different editing software.

These materials can be static materials such as graphics and images, dynamic materials such as animations and videos, or sound materials. These materials can be digitized by shooting, collecting or scanning, and then made into various effects through graphics and image processing software.

Some materials can even be created by oneself, and self-creation can be realized completely according to one’s own imagination, and can make full use of the integrated functions of the graphics and image processing software used.　　

With the development of digital audio technology, digital audio workstations have become specialized computerized hard disk recording systems. The system can realize audio editing and processing functions, support processing long samples (the file size is only limited by the size of the hard disk), and can randomly access and edit.

The audio material is recorded on the hard disk, and the lossless editing will not affect the effect of the original recording file. At the same time, it also supports DSP digital signal processing, which can edit a fragment or the entire audio sample.　　

2. Digitalization of video footage storage 　　

With the development of storage technology, computer technology and network technology, the processing methods of digital video and audio materials such as video and audio are constantly updated. The sound, video and images originally recorded on film and tape will gradually be stored in digital storage such as hard disks. On the equipment, the storage of conventional films and tapes is turned to data hard disk storage, and video tape recorders are gradually replaced by digital video recorders.　　

3. Digital image processing technology 　　

Digital image processing technology refers to the processing and processing of the images actually shot by the camera or the screen created by the computer through computer software to realize the technology of film and television production. This technology includes image color processing, picture texture synthesis, picture shape change and so on. Through the image processing technology, it is also possible to remove the protective measures such as steel wires and soft cushions required for shooting special effects and the extra pictures that accidentally enter the lens.　　

4. Film and television synthesis and digitalization 　　

This is the more complicated part of film and television production. In the process of film and television production, image synthesis occupies a very important position. It is a process of mixing various original materials through special effects. Various synthesis techniques such as keying, superimposition and color channel synthesis have been applied in film and television production.

Digital video synthesis uses advanced computer imagery principles and methods to digitize a variety of original materials through special collection equipment, and use computers to synthesize these digitized materials into final works, and then output them to storage devices. The picture effect is much better than the traditional optical synthesis method.

Digital technology needs to be improved in film and television production　　

1. Production efficiency can be further improved 　　

At present, although the audiovisual information obtained by the camera has been digitized, it is basically the use of video tape to record the audiovisual signal, while the digital editing system uses the hard disk to store the audiovisual material, so when editing and producing the program, the material must be loaded from the tape to the On the hard disk, download the program to the video tape after editing and production.

Because the current broadcast is basically tape broadcast, which makes digital non-linear editing and production still unable to get rid of the tape recorder. Since magnetic tape is a linear record carrier, this property determines the low efficiency of collecting materials and downloading and outputting programs. Even if high-speed uploading and downloading can be used, it is only “a temporary solution but not a permanent cure”. The uploading and downloading process will still affect the efficiency of digital nonlinear editing.

With the development and progress of digital technology, some video manufacturers have developed and introduced digital hard disk (or CD-ROM) cameras. After shooting, install the hard disk into the non-linear editing system and then edit directly. This fundamentally solves the problem. The problem on downloading.

But compared with magnetic tapes, hard disks still have a certain gap in mechanical structure stability, capacity, price, and ease of carrying. Record carrier technology still needs to be continuously improved to further expand the application of digital disc-based video recorders, and gradually replace tape-based carriers with disc-based carriers to achieve the unification of the front and later stages, and fundamentally improve the efficiency of editing and production.　　

2. System stability and reliability need to be strengthened 　　

Video digital production technology is based on computer software and hardware technology, graphics and image processing technology, and multimedia technology. Its performance is directly affected by the compatibility of computer system software and various board cards and other hardware.

Due to software compatibility issues and the matching issues of various boards, the digital non-linear editing system for film and television on the PC platform still has the phenomenon of crashes and illegal program interruptions, which affects the stability and reliability of the system.　　

In short, digital technology makes film and television production more independent and efficient, greatly expands the expressive power of the film and television industry in production technology and artistic methods, and enriches the ideas and concepts of film and television production. We need to learn more about digital technology, apply digital technology more to film and television production, develop more advanced production methods, and enable the film and television industry to develop more rapidly in the digital age.

During the shooting process, there are many factors that affect color reproduction, indoors, outdoors, early morning, dusk, daylight and frequent changes in lighting, which require the film crew to work carefully.　　

Basic practice: 　　

(1) External adjustment of standard viewfinder monitor and camera The standard monitor is an indispensable reference for ensuring the correct color reproduction. Generally speaking, after a standard monitor has been checked by an oscilloscope that its waveform conforms to the standard, its external adjustment cannot be adjusted in principle, but should be kept consistent throughout the filming process.

When the hue, color saturation and brightness of the camera and other monitors and TV sets are inconsistent with it, they should be adjusted to be basically the same. During the filming process, the white balance should not be consistent. The white balance and color filter of the camera should be adjusted at any time.　　

(2) Measures to ensure color reproduction in the case of mixed light sources. In the case of mixed light sources, standard monitors can quickly help you decide to use color filters and determine the reference light source for white balance adjustment. Cameramen must quickly determine the scope of the subject, whether the main light source of illumination is daylight or light, panoramic view or close-up.

Generally speaking, the daylight filter is used when shooting panoramic views and there are more transparent windows; when shooting close-up and close-up, when the light is the main light source, use the light filter; the lens directly adjusts the white balance of the subject. Of course, if you have filter paper, you can add it in front of the lamp to maintain the consistency of the color temperature in the case of mixed light sources. It has a tone. When setting the tone of the program, we must not violate the need of science, intentionally or unintentionally change the tone of the subject to obey the tone of the whole film. This purely pursuit of the consistency of the tone is not advisable in corporate videos.

Traditional Editing

Traditional film editing is true editing. After the photographic plate is processed, a set of working samples are to be produced, and the samples are used for editing. The editor selects the necessary lenses and films from a large number of samples, cuts the film with scissors, and then uses adhesive strips or glue to cut them. Glue them together, and then watch the effect of the editing on the editing stage.

This process of cutting and sticking must be repeated continuously until the effect of the party constitution is finally obtained. Although this process seems primitive, this splicing is truly non-linear. The editor does not have to work sequentially from beginning to end, because he can cut the dailies in the middle, insert a shot, or cut out some pictures at any time, without affecting the entire film.

But this method is powerless for the production of many techniques. The editor cannot make an overlay between the two shots, nor can he adjust the color of the picture. All these techniques can only be done during the printing process. At the same time, the manual operation efficiency of scissors and paste is also very low.

Digital Editing

Computer-based digital non-linear editing technology has greatly developed editing methods. This technology records material to a computer and uses the computer to edit. It uses the non-linear mode of movie editing, but replaces the manual operation of scissors and paste with simple mouse and keyboard operations. The editing results can be played back immediately, so the efficiency is greatly improved.

At the same time, it can not only provide all the special effects of various editing machines, but also provide complex special effects that the editing machines can’t do through the expansion of software and hardware.

Digital non-linear editing not only combines the advantages of traditional film and TV editing, but also further develops it, which is a major advancement in film and television editing technology.

Since the 1980s, digital non-linear editing has gradually replaced traditional methods in film production and has become the standard method of film editing. In China, the use of digital non-linear editing for film editing is still a matter of recent years, but it has developed rapidly, and most directors have realized its advantages.

Stunt lens

With the rapid development of film and television production technology, post-production has assumed a very important responsibility: the production of special effects shots. A special effect lens is a lens that cannot be obtained by direct shooting.

Early film and television special effects were mostly done through traditional methods such as model making, special effects photography, optical synthesis, etc., mainly in the shooting stage and the printing process.

The use of computers provides more and better methods for special effects, and also enables many special effects that had to be done using models and photography methods in the past to be completed by computers, so more special effects have become post-production work.

Significance of post-production

The film and television post-production has a very important position in the entire film production, and it is a module that integrates the pre-production, and is also the final module, so it will solve the shortcomings encountered in the pre-production and the problems that cannot be solved in the early stage, and it is also the most difficult A link.

The reason why the blue-green screen matting technology is used in post-production is to better synthesize some things in the later stage, and not to remove the unnecessary things in the scene from the mechanical mask, in order to improve efficiency and quality.

Prospects

In 2012, when the financial crisis swept across all economic fields around the world, the film industry ushered in a warm spring. According to the promotion of national policies, the film and television culture industry was thriving. At present, many traditional TV stations, film and television companies, and large-scale websites are moving closer to the digital film and television industry, recruiting a large number of professional film and television talents. In accordance with the ever-increasing market demand, higher and higher technical and artistic requirements, the demand for high-end talents in the later stage of film and television is increasing. However, there are still many newbies who have just entered the industry with inexperience, which makes it difficult for film and television companies to recruit people, and it is also difficult for ordinary film and television staff to find jobs. But on the whole, the vigorous development of the film and television industry will inevitably promote the continuous improvement of the quality of talents in the national film and television industry.

Data surveys show that the average salary of freshmen in the film and television industry is $2500-$4000. After 2 years, the average salary is as high as $8000-$15000. Taking the salary of fresh graduates as an example, the salary of choreographer and planning is generally around $3000-$6000, the salary of videography and lighting engineer is around $3500-5000, and the salary of film and television post-production is around $3000-5000.

In addition, film and television companies often consider their own strength, creative ideas, and willingness to learn when recruiting talents. Diploma has become a secondary thing. As a film and television post-production staff, it is necessary to bear loneliness and be passionate about this industry to continue walking in this industry.