editing film, filming, all on the fittings

montage cinéma, tournage, tout sur les raccords

editing film or video, the shooting…

all on the fittings part2

 

Hello all, I have not explained in the first part but the fittings its essential for mounting film or video. so here is the second part of the article on the fittings. If a point you seem to blur leave me a message ;o) if you missed the first part click here.

editing film / shooting : Fitting look

This notion of the fitting of the look should be familiar to you if you follow the Blog regularly, as we have seen in the article on the field / counter field. Remember that to have a good dialogue it is necessary that the eyes meet. The one looking left, the other looks to the right.

If they are treated in separate plans without a primer, their eyes must always be in the opposite direction in respect to their positions in the image.

But be careful, in the case of figure or characters look in the same direction an object or another character, their eyes will have to be in the same direction. If they are treated in separate plans, their eyes must always be in the same direction.

This will allow you to be consistent in the narrative but especially the spectators will always have this feeling of controlling the space and the action.

editing film / shooting : Fitting of movement

It is the correlation between a movement or a gesture is started in a plan and finished in another. This way the viewer has a feeling of continuity and fluidity.

Put our friend James to contribution. It is still sitting in his office, we film in wide shot (we see him, the office and a piece of the piece), the phone rings, James déccroche. Cut.

In the following shot we are getting closer to the camera or change focal length to have James in a plan chest. In this plan, James will bring the handset to the ear and begin the conversation.

We have two plans with a fitting movement.

I’ll give you a little tip to succeed in this type of fitting. You must not, in the first plan, stop turning at the time or James déccroche his phone and turn on the second plan only when James puts his combine to the ear !

It is necessary to ” initiate “ the movement, it means that you have to shoot the gesture in full in the first plan and the second plan. In this way, the mounting, you will be able to connect or you want to in the movement.

editing film / shooting : Fitting ” mask “

Once again I have spoken to you about this technique in the article on the sequence plan. This is a trick used by Hitchcock to suggest to the spectators that it was all filmed in only 1 plan.

Remember, this fitting is to pass in front of the camera, a character or an object that obstructs completely the goal a fraction of a second. This can be a tower or a contained.

And then in the following plan, based on the same contained in or on the same tower (rebuilt in the deco, for example) and make ironing a second time, in the same way, at the same speed, in the following plan. In assembly, the image obstructed in the plan 1 will be pasted to the image occluded by the plane 2. The place of the plan 1 will be different from those of plan 2 but the two places will be the fittings.

This technique is used in the sequence : “coup de foudre ” in Nothing Hill “, where Hugh Grant goes from one season to another in the same plane. But with digital there is no need to spend extras in front of the lens, it’s also called a pass.

editing film / shooting : Fitting ” PANO “

I’m personally not a fan of this technique…but that does not mean that it is not good or that you should not use it. I find very often with this type of fitting is a little messed up or too heavy…but I don’t have word of the gospel ;o)

This fitting is sometimes used to support a rapid pace in an action movie. It is to complete a plan for a PANO very fast in one direction (right-to-left or left-right) and begin the plan after through the same process and at the same speed ! giving fluidity to the editing.

editing film / shooting : Fitting ” the blur “

This fitting is to complete the plan by a blur and start of the next plan by a blur.

editing film / shooting : Fitting value of plan (and fitting in that axis)

This is an important rule in just to feel a jump in the image at the change of plan. To make a connection of value of plan or fitting in the axis you need to have at least two different values between the plan 1 and plan 2.

That is to say, if your plan 1 is an American plan, your second plan should be at a minimum, a plan chest. If you turn your plan 2 in plan size, the installation you will have this feeling of jumping of the image. Your editor will refuse to mount it !

If the editor is you, you will need to find another mounting solution to replace this plan.

editing film / shooting : The rule of 30 °

It is a bit the same principle as the fitting in the axis, you must pay attention to the rule of 30°. If you have a character in your plan 1 and you want to have it in another value but mostly under another angle, in the plane both of you need to move your camera in the month of 30° on the left or the right so that the plans 1 and 2 are mountable. If you do not follow this rule you will have again the impression of jumping out of image.

The angle of view between the plan 1 and plan 2 should be included for example between 30° and 60°.

editing film / shooting : The connector its

To finish off our round-up of the fittings at the cinema or in video, this is a connection that a lot of young videographers and film-makers forget about it ! or have not mastered. Yet there is nothing more annoying or confusing than to have two planes fitted together without fitting her.

Then what is it ? It’s that simple ! imagine James in his office, he works. The first plan is in the wide shot and the next shot is a tight close-up. And mounting if there is no connection, there will be like a cutting sound between the two plans.

This feeling of cut will be all the stronger if you do not use a micro pro , but the microphone of the camera. This cutting sound is going to destabilize the spectator and the will to get out of the story. It must therefore be a continuity of sound that provides the film’s making what we call sounds and atmospheres.

A sound of atmosphere (or an atmosphere) it is just to take the sound in each location, where will the action (or turn) without any other noise than that which exists naturally (in the room, the street, a sas, a car, a factory, etc…) in this way the assembly you can stick between each shot, the atmosphere of the place and this way erase, what am I saying ! to delete this cut the sound between each shot. You will have a uniformity of sound from end-to-end.

To finish I put a video of lessons of cinema that speaks of the connections. it will help you to go to the practice ;o)

That’s it for this article on the fittings for mounting film or video, as well as for the shoot ! . Next article on Wednesday ;o) until then enjoy the rest of your week.

You can also read other articles by returning to the site map by clicking on this link.

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Soon,

Tom

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