تويت
التصوير الفوتوغرافي الحديث
التصوير الفوتوغرافي الأساسي للصور المتحركة
تحرير أفلامك ..
قص وتقطيع الفيلم
CUTTING AND SPLICING THE FILM
Load the reel of film into your editor and run the first scene through , referring to your scene cards as you do . Your notes will tell you that this scene has one foot too much at the beginning , so cut off a little less than one foot and throw it away . Again referring to your notes , you see that you have an extra two feet of film at the end of the scene , so cut it about 19 inches from the end . The extra 5 inches is a safety factor . It also gives you something to hold on to when putting it through the viewer . When you come to splicing this scene to the next , you will cut both scenes at exactly the point which will give smoothest transition and best continuity .
From the card , determine the sequence number ( red number ) of this scene , and hang it in its place on the appropriately numbered brad of the editing rack . Continue in this way until all of the scenes are cut up and hanging on their respective brads .
If your movie is to be quite long with many scenes , the editing rack procedure may not be practical . In that case , you simply roll up each scene instead of hanging it on the rack . Identify each scene by clipping to it a small piece of paper bearing the correct red sequence number .
The next step is the assembly of the individual scenes into the finished movie . Take a short length of leader film and wind it up on the take - up reel of your editor . Leader film can be bought from your camera dealer , but you usually have plenty left over from films you have spliced into larger reels . Load the first scene of your movie into the editor . Generally speaking , the first scene will be the titles . Then splice the scene onto the leader film and run it through the editor , watching it carefully to make sure there are no scratched or damaged frames . If there are , they should be cut out and the two ends rejoined by splicing .
After the title has been reeled up , take the first action scene and insert it in the film editor . Watch the action and select the frame at which the film is to begin . Some editors have a built - in film marking or punching device which enables you to mark this frame by pushing a button . When the first frame is located , cut the film one frame longer to allow for final trimming with the splicer .
Splice the first scene onto the title , and run it through the editor and onto the take - up reel . Watch particularly the action at the end of this scene , because you must match it carefully to the beginning of the next scene . Now insert the next scene in the editor and cut it to match the preceding scene .
If the action of one scene runs directly into the following one , you may have to run both through the editor several times before you can determine the exact frame at which the two scenes are to be joined . This is often the case when shifting from a medium close - up to a close - up . For example , in the garden film discussed earlier in this Assignment , we have Dad stopping to look at the insect - ravaged rose bush in Scene 2. This was followed by a close - up in Scene 3 . Scene 2 must be cut as Dad's hand approaches the leaves of the rose bush , and Scene 3 must pick up the action at that identical point . If Dad's hand actually grasped the leaf in Scene 2 , his hand must be grasping the leaf when Scene 3 opens . It would never do to end Scene 2 with Dad's hand holding the leaf , open Scene 3 with the bare leaf and then have the close - up hand reaching in and grasping the leaf a second time . Such fine points in film editing must be watched carefully .
Continue cutting and splicing as described above until all the scenes are in correct sequence . Then add a length of blank film as a trailer , and your preliminary editing is done . The next step is to run the entire film through the projector at normal speed . Watch it carefully for flaws or errors in editing .
DEFECTS AND POOR SPLICES . During this projection , watch for any frames which have been scratched or which show any other defects . See if you can detect . the splices as they pass through the film gate . A good splice should pass through without being noticeable in the screened picture . Study the continuity to see if it can be improved . Read the titles slowly and carefully to make sure they are not too long . Since there are so many things to watch for , it is often a good idea to run the film through several times , concentrating on only one thing at each projection . The first time you may watch for bad splices and minor film defects , the second for proper placement of titles and correct title length , the third for continuity , etc.
MINOR CHANGES
Even if the overall continuity is good , you may be able to improve the film with minor changes in close - ups , inserts and titles . We have already spoken of the importance of correct transition between medium close - ups and close - ups . Often , close - ups are photographed as bits of action which duplicate the main action taking place in the medium shot or medium close - up and are then substituted for part of the main action in the editing . It is usually easier to photograph the longer shot without a break and then repeat some of the action in close - up . The close - up can then be inserted in place of part of the longer shot .
As an example , Scenes 5 , 6 and 7 of Dad in the garden can very well be photographed as one continuous scene in medium close - up . Then Scene 6 can be photographed again , this time in close - up . In editing , the corresponding action in the medium close - up can be cut out and Scene 6 substituted for it . In substituting , it is important to watch the action carefully so there is no duplication of action at either end , or the transition will be bad .
TEMPO EDITING
Tempo editing is the editing or cutting of each individual scene to provide a tempo in keeping with the action . If the film is to show a big fire or an exciting race , it needs fast tempo . If it is to record the story of an enjoyable romantic vacation , it needs slow tempo . It is possible by proper cutting technique to help along the natural tempo of the action .
If fast tempo is desired , the scenes should be cut short ; if slow tempo is in order , the scenes should be much longer . One of the most effective means of building up to a tremendously rapid tempo is to start action with a leisurely scene , then increase the pace and shorten the time for each scene until the climax is reached in a series of very violent , very short scenes .
AFTERTHOUGHTS IN EDITING
Seldom , indeed , is a planned motion picture thought out to such a fine degree of perfection that the first editing results in a perfect picture . Too often , interesting bits of action are left out because they were overlooked or could not be photographed at the time . The film editor must , therefore , edit with a view to possible improvement of the film through subsequent changes and additions .
A recently made travelog by a student photographer was very successful because he was not content to limit himself to the pictures he could take on the vacation trip . The vacation followed the trail of our early American pioneers over the Continental Divide and included some truly breathtaking scenery . The photographer worked up a running commentary to go with the film and so omitted all titles to give it a good pace .
In the first editing , the failure to provide a good starting point was quite evident , so he worked in some animation by outlining the trail on a large map of the United States . This animation not only enabled him to start the travelog smoothly , but it gave him time to give the historical background while the map animation was on the screen . To give greater validity to this part of his narration , he obtained permission from a local library and museum to photograph several paintings of prominent historical figures and inserted them in his film . To end on a high note , he worked in an unusually effective color shot of a sunset which had been taken in the general territory he covered , but on an entirely different trip .
التصوير الفوتوغرافي الأساسي للصور المتحركة
تحرير أفلامك ..
قص وتقطيع الفيلم
CUTTING AND SPLICING THE FILM
Load the reel of film into your editor and run the first scene through , referring to your scene cards as you do . Your notes will tell you that this scene has one foot too much at the beginning , so cut off a little less than one foot and throw it away . Again referring to your notes , you see that you have an extra two feet of film at the end of the scene , so cut it about 19 inches from the end . The extra 5 inches is a safety factor . It also gives you something to hold on to when putting it through the viewer . When you come to splicing this scene to the next , you will cut both scenes at exactly the point which will give smoothest transition and best continuity .
From the card , determine the sequence number ( red number ) of this scene , and hang it in its place on the appropriately numbered brad of the editing rack . Continue in this way until all of the scenes are cut up and hanging on their respective brads .
If your movie is to be quite long with many scenes , the editing rack procedure may not be practical . In that case , you simply roll up each scene instead of hanging it on the rack . Identify each scene by clipping to it a small piece of paper bearing the correct red sequence number .
The next step is the assembly of the individual scenes into the finished movie . Take a short length of leader film and wind it up on the take - up reel of your editor . Leader film can be bought from your camera dealer , but you usually have plenty left over from films you have spliced into larger reels . Load the first scene of your movie into the editor . Generally speaking , the first scene will be the titles . Then splice the scene onto the leader film and run it through the editor , watching it carefully to make sure there are no scratched or damaged frames . If there are , they should be cut out and the two ends rejoined by splicing .
After the title has been reeled up , take the first action scene and insert it in the film editor . Watch the action and select the frame at which the film is to begin . Some editors have a built - in film marking or punching device which enables you to mark this frame by pushing a button . When the first frame is located , cut the film one frame longer to allow for final trimming with the splicer .
Splice the first scene onto the title , and run it through the editor and onto the take - up reel . Watch particularly the action at the end of this scene , because you must match it carefully to the beginning of the next scene . Now insert the next scene in the editor and cut it to match the preceding scene .
If the action of one scene runs directly into the following one , you may have to run both through the editor several times before you can determine the exact frame at which the two scenes are to be joined . This is often the case when shifting from a medium close - up to a close - up . For example , in the garden film discussed earlier in this Assignment , we have Dad stopping to look at the insect - ravaged rose bush in Scene 2. This was followed by a close - up in Scene 3 . Scene 2 must be cut as Dad's hand approaches the leaves of the rose bush , and Scene 3 must pick up the action at that identical point . If Dad's hand actually grasped the leaf in Scene 2 , his hand must be grasping the leaf when Scene 3 opens . It would never do to end Scene 2 with Dad's hand holding the leaf , open Scene 3 with the bare leaf and then have the close - up hand reaching in and grasping the leaf a second time . Such fine points in film editing must be watched carefully .
Continue cutting and splicing as described above until all the scenes are in correct sequence . Then add a length of blank film as a trailer , and your preliminary editing is done . The next step is to run the entire film through the projector at normal speed . Watch it carefully for flaws or errors in editing .
DEFECTS AND POOR SPLICES . During this projection , watch for any frames which have been scratched or which show any other defects . See if you can detect . the splices as they pass through the film gate . A good splice should pass through without being noticeable in the screened picture . Study the continuity to see if it can be improved . Read the titles slowly and carefully to make sure they are not too long . Since there are so many things to watch for , it is often a good idea to run the film through several times , concentrating on only one thing at each projection . The first time you may watch for bad splices and minor film defects , the second for proper placement of titles and correct title length , the third for continuity , etc.
MINOR CHANGES
Even if the overall continuity is good , you may be able to improve the film with minor changes in close - ups , inserts and titles . We have already spoken of the importance of correct transition between medium close - ups and close - ups . Often , close - ups are photographed as bits of action which duplicate the main action taking place in the medium shot or medium close - up and are then substituted for part of the main action in the editing . It is usually easier to photograph the longer shot without a break and then repeat some of the action in close - up . The close - up can then be inserted in place of part of the longer shot .
As an example , Scenes 5 , 6 and 7 of Dad in the garden can very well be photographed as one continuous scene in medium close - up . Then Scene 6 can be photographed again , this time in close - up . In editing , the corresponding action in the medium close - up can be cut out and Scene 6 substituted for it . In substituting , it is important to watch the action carefully so there is no duplication of action at either end , or the transition will be bad .
TEMPO EDITING
Tempo editing is the editing or cutting of each individual scene to provide a tempo in keeping with the action . If the film is to show a big fire or an exciting race , it needs fast tempo . If it is to record the story of an enjoyable romantic vacation , it needs slow tempo . It is possible by proper cutting technique to help along the natural tempo of the action .
If fast tempo is desired , the scenes should be cut short ; if slow tempo is in order , the scenes should be much longer . One of the most effective means of building up to a tremendously rapid tempo is to start action with a leisurely scene , then increase the pace and shorten the time for each scene until the climax is reached in a series of very violent , very short scenes .
AFTERTHOUGHTS IN EDITING
Seldom , indeed , is a planned motion picture thought out to such a fine degree of perfection that the first editing results in a perfect picture . Too often , interesting bits of action are left out because they were overlooked or could not be photographed at the time . The film editor must , therefore , edit with a view to possible improvement of the film through subsequent changes and additions .
A recently made travelog by a student photographer was very successful because he was not content to limit himself to the pictures he could take on the vacation trip . The vacation followed the trail of our early American pioneers over the Continental Divide and included some truly breathtaking scenery . The photographer worked up a running commentary to go with the film and so omitted all titles to give it a good pace .
In the first editing , the failure to provide a good starting point was quite evident , so he worked in some animation by outlining the trail on a large map of the United States . This animation not only enabled him to start the travelog smoothly , but it gave him time to give the historical background while the map animation was on the screen . To give greater validity to this part of his narration , he obtained permission from a local library and museum to photograph several paintings of prominent historical figures and inserted them in his film . To end on a high note , he worked in an unusually effective color shot of a sunset which had been taken in the general territory he covered , but on an entirely different trip .
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