What is Connecting Lenses and Interspersed Lenses 5

American director Don Livingston divides the shots in video editing into two categories: connecting shots and interspersed shots.

1. Connect the lens:

In a narrative unit, the latter shot includes a portion of the previous shot. A film is made up of many relatively independent narrative units. A narrative unit, in turn, is made up of many shots shot in different scenes.

Then, in this group of shots in a narrative unit, in order to maintain the coherence of action and narrative and make the audience feel "not jumping", this group of shots should mainly consist of connecting shots.

2. Interspersed lenses:

In a narrative unit, this one shot does not include a portion of its previous shot.

The role of interspersed shots in film:

Lengthening or shortening the performance time of an action (lengthening or shortening space-time). "Odessa Steps".

The expression of the image is rich and varied.

as a "cover shot". When assembling shots, if there is a disconnection of scenes, characters and various inconsistencies, some interspersed shots can be inserted to act as "cover shots", so that the audience is not easy to find out that the shots are not connected.

A: Each film has hundreds of shots in different scenes, and there are several main ways to connect these shots:

1) Fade out, fade in: also known as fading out. Fade out is the gradual fading of the picture from clarity to complete black, which is equivalent to the "curtain fall" on the stage; Fade in is the beginning of a shot that gradually emerges from the total darkness of the film, and its function is to separate time and space and express dramatic passages, which is equivalent to "curtain opening".

2) Dissolve and dissolve: that is, while the previous shot fades out, the next shot overlaps again until the previous shot disappears. This method is often used for subtitle introductions at the beginning of the film, or to indicate the memories, imaginations, and omissions of time from the people in the play.

For example, the transition from a snowy scene to a peach blossom bloom is best for slower or softer rhythms.

3) Drawing and in: It is a straight line or a circumferential line to move from one side or part of the lens to the other side or another part. The second frame follows this straight or circumferential line until the two shots alternate.

This method is like the action of flipping through a picture book, and is often used in science and education films, and can also be used to express subtitles or people, scenery and other objects in feature films. In addition, there are also techniques such as curtains being rolled up or lowered, curtains entering the form of curtains, and circles and circles that show the picture by shrinking or enlarging the circles.

4) Cut out, cut in: It is from the picture of the previous scene to the picture of the next scene immediately, without any skills in the middle, and the lens is directly converted, the connection is compact, often used in the environment depiction, character dialogue, action connection, in the artistic appearance has the characteristics of clean and rapid progress, in the artistic expression has the characteristics of clean and neat, rapid progress.

5) Reversal and inversion** is a picture that is transformed into another picture by 180 degrees of backward and backward translation. This type of inverted image is particularly useful for shots that show contrasting content.

In terms of film structure, it can also be used to connect two different "scenes". Inverting the screen is to rotate an inverted screen up and down 180 degrees to become an upright moving screen, which can change the time and place of the plot.

In the post-production process of corporate feature films, the switching of shots is the main work involved in the post-production. First of all, the lens connection should conform to the logic of real life, that is, conform to the law of the development and change of the thing itself, and clearly reflect the development process of the action or event on the screen through the assembly of the lens. Secondly, the connection of the shots should be in line with the thinking logic of the audience.

Shot connection can be divided into two basic forms: continuous composition and queue composition, namely narrative montage and performance montage. Camera cuts take into account the relationship between the images and the technical angles of the link. Lens attachment can be divided into two forms: skillful attachment and skillless attachment.

There are many ways to connect with tricks (also known as stunt connection), such as: fade in and out, stack painting, freeze frame, scribble, flip page, multi-screen split, virtual and real swap, throw in and out, computer stunts, etc. It uses the intrinsic relationship between the upper and lower lenses in terms of content and shape to transform time and space and connect scenes, which can make the lens connection and paragraph transition natural and smooth, without any traces of additional skills.

Answer]:1It conforms to people's logical thinking and overall requirements.

Everything we do is inseparable from logic, and the connection of the Zhaoshan shots is also inseparable from logic, if we leave a certain logic, the audience will not be able to understand what the lens expresses. To express the content and the theme idea, to use the logic of thinking to decide which shots to use in the production, and how to put them together, all need to be logically arranged, and it is a logical arrangement that needs to be thought about and rectified.

2.The opening connection requirements are unified with the ** tone of the film.

Shadow tone is the base color of the picture, if the shadow tone is a black picture, then the scenery on the picture is composed of many different shades of different sizes of black and white levels and performance, if the picture is a color picture, in addition to the problem of tone, there is also the problem of color, no matter what kind of tone, the color of the picture should be consistent, maintain coherence and usualness.

3.There are certain rules to be followed in the lens connection.

In the connection of the lens, it is necessary to follow a certain axis law of the family pin cavity, which refers to whether the position and direction of the photographed object are on a line. It is also necessary to follow the law of dynamic and static and static. In the picture, we should pay attention to the smoothness of the action, so that the movement is from the movement, and the transition between the pictures should be made, rather than flickering and quiet, giving people the feeling of chaos in the picture.

And the connection of the picture should pay attention to the time requirements, in the distribution of time and circles, for still shots and moving shots, as well as key shots and secondary shots, we must do a good job of grasping the time, so that the picture will be smooth, the time is logical, and clear.

I'll just say that.

Let's talk to each other. In a dialogue between two people, the actor can generally have two orientations: right angle (two people are next to each other, forming a 90° angle) and a flat angle (i.e., 180°, facing each other). To cut out a complete dialogue.

Scenes, generally 3 shots: the first is the subjective angle, and the panorama is filmed one; Secondly, talk over A's shoulder and pat B's speech.

Lenses, generally used.

Close-up, this is the second one; Shooting A in reverse is the third one. Need.

Close-up places can also be close-up, such as if there is emotion to be expressed in the actor's dialogue, you need to shoot another one. When editing, panoramas, close-ups, and close-ups can be selected according to the priority of the dialogue.

Farewell. When our teacher told us this, he said that when filming the dialogue scene, you can think of that story: once upon a time there was a mountain (panorama), there was a temple on the mountain (temple panorama)), there were two monks in the temple (you can use a closer view), and the old monk was telling a story to the young monk.

What's the point: once upon a time, I was doing mountains (turning on the camera) ......PS: Also, be careful.

Off-axis shooting. If there is a large difference in height between the two sides of the conversation, such as one person sitting and one person standing, you should pay attention.

eye level. As a rule, that is, when you shoot the shorter side talking, you always shoot from the point of view of the higher side, and vice versa.