Coverage, in filmmaking and video production, is the amount of footage shot and different camera angles used to capture a scene. When in the post-production process, the more camera coverage means that there is more footage for the film editor to work with in assembling the final cut.The initial recording of a scene is usually done with a master shot, a shot wide enough to capture the action in its entirety. But screening the whole scene from a single wide shot would be boring, not to mention all the detail that would be missed.

Ergo crafting a film involves recording a scene from different camera angles using different shot sizes to emphasize important elements of the film, such as a gun in someone’s hand or a tear in someone’s eye. This use of subsequent camera setups is known as coverage. Coverage is important not only to keep things dynamic and exciting within the scene, but also to ease the editing process of the movie.

Observe the example of coverage below from The Thomas Crown Affair (1968). All the shots combined together make the scene very interesting, especially as it contains very elaborate compositions and as it focuses on character’s facial expressions.

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er:0px;font:inherit;vertical-align:baseline;margin-bottom:1.5em;">

-align: baseline;">Among the several types of shots, we find in the example above long shots, medium shots, close-ups, ECUs, high-angles, inserts, and reactions. In the movie, the scene is practically silent. Yet the amazing coverage is able to convey emotions and tensions.

r: 0px; margin: 0px; padding: 0px; vertical-align: baseline; color: rgb(31, 9, 9); font-family: "PT Serif"; line-height: 1.5em; text-decoration: underline;">shot list, and thus define how the coverage will be. Before principal photography starts, the director should know where the camera will be and what or who it will shoot. A movie with poor coverage always feels awkward, for it t-family: "PT Serif"; line-height: 1.5em; text-decoration: underline;">invisible editing.

Measure

Measure

cinefex
https://cinefex.com/

MetaDigger - https://www.sound-ideas.com/Page/meta...
Mutant - http://sonicwire.com/mutant?lang=en
SearchEverything - https://www.voidtools.com/

付费音效搜索软件Pro (Paid) Sound Effect Search Programs:

SoundMiner (Recommended) - http://store.soundminer.com/
BaseHead - http://www.baseheadinc.com/
Soundly - http://www.getsoundly.com/

iZotope RX

去噪音去回声
所属公司：iZotope
官网：https://www.izotope.com/
兼容系统：
Mac: OS X 10.8.5 Mountain Lion–macOS 10.15 Catalina
PC: Win 7–Win 10
兼容宿主：
Premiere Pro CC 2018, Pro Tools 10–12

Speakerphone

扬声器模拟插件：提供各种设备的声音
所属公司：Audio Ease
官网：https://www.audioease.com/

Reverb类

Space Impulse Response Library

所属公司：Avid

indoor

环境模拟插件：提供各种环境的声音
所属公司：Audio Ease
官网：https://www.audioease.com/

https://accusonus.com/products/audio-repair/era-bundle-pro#era-d-anchor

ERA 4

脚步声插件Tovusound Edward Foleyart Instrument

Avid Channel Strip
Avid De-Esser
Avid AIR Frequency Shifter
Avid AIR Ensemble
Avid Pro Series Multiband Dynamics
Avid Pro Series Pro Harmonic
Avid Channel Strip 2

Soundtoys Little Alterboy
Soundtoys Effects Rack
https://www.soundtoys.com/

官网：https://www.skysound.com/

Ben burtt
星球大战

Randy Thom

个人网站：https://randythomblog.wordpress.com/

sometimes think of the work as being about 33% art, 33% craft, and 33% human relations. I’m always disappointed when I see 95% of the energy in discussions about sound design being devoted to the craft part. It’s the easiest aspect to talk about, and the easiest to accomplish.

Will Files
参与制作第一部杜比全景声电影

Walter Murch
教父

Last night About2Flip commented on the Intro to Compression video:

Again Great Video!!! But what does KNEE do? I have been searching for almost a year now.

The knee function on a compressor is not as important as the ratio, attack or release functions. However, it can still be a useful tool, and it deserves a little attention. Thanks for asking, About2Flip.

Take a look at this screenshot of a compressor plugin:

The orange vertical line is the threshold. The diagonal line to the left of the threshold represents the signal before compression is applied. The line to the right of the threshold represents the signal after it crosses the threshold. The higher the ratio, the more compression occurs, and the “flatter” this line becomes.

In case you haven’t guessed yet, the knee of this diagram is where the white line meets the orange threshold line. The white line begins to bend at this point, and it kind of looks like a bent knee.

The knee allows you to determine how curved this transition is. In the picture above, you see that the knee is set to zero, this means there is an immediate transition from no compression to 13.7:1 compression.

But what if you wanted the compression to slowly kick in? What if you wanted it to only compress the signal a little bit when it first crosses the threshold and compress it progressively more as it gets louder? That’s where the knee comes in.

Notice in this picture I’ve cranked up the knee control. As you can see, the “bend” in the line is much more curved, indicating a slow, smoothe transition into “full compression” mode.

This is the kind of thing you’ll need to play around with, but basically, if you want the compressed sound to “sneak up” on you a little more, try increasing the knee. That way there won’t be an obvious transition from the uncompressed to the compressed sound.

I like a softer knee on things like vocals and piano. However, on more percussive, choppier tracks, like drums or strummed guitar, a low knee tends to work better.

Does that help? Do you use a “hard” or “soft” knee when compressing? Leave a comment.

原文链接：https://www.homestudiocorner.com/what-is-knee-on-a-compressor/

On Star Trek Into Darkness I had the opportunity to break out of my usual Assistant Editor responsibilities and tackle a new experiment in temp sound editing. Will Files, Matt Evans, Robby Stambler and I formed a new mini-department within Editorial that was tasked with temping out the Editors’ sequences and mixing them in 5.1. There’s a lot to the process that is new and interesting, and I hope to get another post up soon that more fully flushes it all out, but for the moment all I want to talk about is a method for basic, global dialogue cleanup that is probably old hat to some (and par for the course for professional sound mixers), but was new and amazing to me.

This tip comes courtesy of Will Files, who as a loan-out from Skywalker Sound was the guy who guided this whole process on Trek and helped teach me, Matt, and Robby the ropes of the sound world.

RTAS Is Your Friend

Before this show, I didn’t really know what RTAS was useful for, much less how awesome it really is. It allows you to use many of the AudioSuite plugins that you would normally apply to a clip, and apply them to an entire track instead, without rendering (thus the RT in Real-Time Audio Suite). Up to five RTAS plugins can be chained together per track. When applied to dialogue tracks, you can chain together 3 RTAS plugins that will make your dialogue much more understandable and leave more room in other frequencies for your sound effects and music.

So, to get started, you have to show the expanded audio controls in your timeline, and make your track size big enough that you see the little RTAS boxes:

You can see that I have an EQ, a Compressor, and a De-Esser, in that order, on my dialogue tracks. Let’s go through them:

1) EQ

The EQ you add here is basically a band pass with a little customization. Everything below 60Hz is gradually stripped away, as well as everything above 12kHz. This is because your typical dialogue won’t produce any audio in those frequencies that you want to keep, but by throwing it away you can start to address issues of boominess, high frequency hiss, and other technical problems with your production audio that get in the way of understanding the dialogue.

Aside from the band pass, this EQ also lowers frequencies around 120Hz by 2db, and raises frequencies around 4kHz by 2db. Again, this helps with boosting the frequencies of your dialogue that are most useful for comprehension, and removing frequencies that tend to get in the way, but without being as blunt as the band pass since these are frequencies you do want to hear.

2) Compressor

Now that you’ve removed unwanted frequencies, it’s time to normalize the volume. For that you use a Compressor, which will actively limit how loud your dialogue can get. If it gets too loud and crosses our set threshold, the Compressor will bring it back in line. The more the volume goes past the threshold, the more it will be reined in. This helps make sure there are no loud surprises in your dialogue, and will save you some of the hassle of mixing loud clips down to a more comfortable listening level.

In this case, we’ve modified three of the settings from their default states:

1. Knee = 6.0 db. This adds a little curve right at the threshold point, so that the ratio of a loud input level to its compressed output level is approached more smoothly. Without it, the compression would switch on at full force when the volume crosses the threshold. For a better explanation of this, read this article.
2. Threshold = -20db. By moving this up 4db from the default -24db, we’ve allowed our audio to be a bit louder before it activates the compressor.
3. Gain = 4db. This knob controls the output level of all audio passing through the Compressor, even audio that is below the threshold line. Since compression only reduces volume and can leave your dialogue levels feeling too low, adding a bit of make-up gain can help keep it at a good baseline.

3) De-Esser

This one does exactly what its name implies, and helps with any S sounds in your dialogue that can be particularly piercing to listen to. It’s basically another type of compressor that handles high frequencies instead of high decibel levels. On this we’ve set:

1. Frequency = 5.4 kHz. This means the De-Esser will be triggered for frequencies above 5.4kHz.
2. Range = -3.0db. When the De-Esser is triggered, it will reduce the gain of the signal by up to 3 db, which should help reduce the effects of any piercing audio.

As Quick as A-B-C

For those short on time, I’ve attached an Avid bin called Dialogue RTAS Effects.avb to this article which contains these three presets. They are labeled A, B, and C and should be applied to your RTAS chain in that order.

Tip: To quickly copy RTAS effects from one track to another, hold down Option and drag the effects you want to copy from one track’s RTAS chain to another.

Attachments:

• ​ dialogue-rtas-effects.avb (8 KB)

原文链接https://www.evanschiff.com/bd/articles/quick-and-easy-dialogue-cleanup
​

This is the 1st tutorial of the series to learn how to sound design and mix for films. In this video, we talk about organizing and setting up your session to being the sound editorial process.
You can watch the released film here: https://vimeo.com/129326298. Please note that there is mature content (swearing) in the film.

Tutorial 2: Track Creation and Organization - Post-Production Audio Workflow Series

This is the 2nd tutorial of the series to learn how to sound design and mix for films. In this video, we talk about creating your editorial tracks and then adding a 2 POP.

Tutorial 3: Importing Picturelock and AAF/OMF - Post-Production Audio Workflow Series

This is the 3rd tutorial of the series to learn how to sound design and mix for films. In this video, we talk about importing your picturelock video file and your AAF/OMF file and then ensuring that everything is in sync.

Tutorial 4: Dialogue Editing - Post-Production Audio Workflow Series

This is the 4th tutorial of the series to learn how to sound design and mix for films. In this video, we talk about selecting the cleanest takes on a shot by shot basis, finding fill, and cleaning up your takes.

Tutorial 5: Editing Backgrounds - Post-Production Audio Workflow Series

This is the 5th tutorial of the series to learn how to sound design and mix for films. In this video, we talk about finding mono and stereo files to create your backgrounds.

Tutorial 6: Sound Effects Editing - Post-Production Audio Workflow Series

This is the 6th tutorial of the series to learn how to sound design and mix for films. In this video, we talk about finding mono and stereo files to cut your sound effects.

Tutorial 7: Foley Cueing and Editing - Post-Production Audio Workflow Series

In this video, we talk about the four-step process of cueing, recording, editing, and re-integrating your foley into your main session. This is the 7th tutorial of the series to learn how to sound design and mix for films.

Tutorial 8: Editing ADR and Group Dialogue - Post-Production Audio Workflow Series

In this video, we talk about editing ADR (Automated Dialogue Replacement) and Group/Walla dialogue. This is the 8th tutorial of the series to learn how to sound design and mix for films.

Tutorial 9: Music Stems Editing - Post-Production Audio Workflow Series

In this video, we talk about editing music stems and score. This is the 9th tutorial of the series to learn how to sound design and mix for films.

Tutorial 10: Arranging Music for Changed Picturelock - Post-Production Audio Workflow Series

In this video, we talk about editing a score to fit a new picturelock. This is the 10th tutorial of the series to learn how to sound design and mix for films.

Tutorial 11: Track Groups and Stereo Panning Automation - Post-Production Audio Workflow Series

In this video, we talk about creating track groups and creating panning automation for stereo environments . This is the 11th tutorial of the series to learn how to sound design and mix for films.

Tutorial 12: VCA Tracks and Submaster AUX Track Busses - Post-Production Audio Workflow Series

In this video, we talk about creating VCA (Voltage Controlled Amplifier) tracks and using busses for our submaster aux tracks. This is the 12th tutorial of the series to learn how to sound design and mix for films.

Tutorial 13: Pre-Mixing Volume Levels (Pre-Dubbing) - Post-Production Audio Workflow Series

This is the 13th tutorial of the series to learn how to sound design and mix for films. In this video, we talk about pre-mixing the volumes of the various audio families before adding various mixing plugins. We also talk about basic mixing techniques, types of audio metering plugins, Pro Tools volume automation, and various Pro Tools tips.

Here's my website for helpful links, templates, and sample projects: https://soundtuts.com/

Tutorial 14: EQ-ing using Inserts and AudioSuite Plugins - Post-Production Audio Workflow Series

This is the 14th tutorial of the series to learn how to sound design and mix for films. In this video, we talk about EQ-ing the various audio families using the default Pro Tools EQ plugin. We also talk about Pro Tools automation, EQ-ing ADR (Automated Dialogue Replacement), AudioSuite plugins, and various Pro Tools tips.

Recommended Paid EQs:

• FabFilter Pro-Q 3
• DMGAudio EQuality
• Waves Q10 Equalizer

特别感谢系列教程作者：Michael Cullen

作者推荐的免费音效库Recommended Free Libraries:

http://99sounds.org/
http://www.sonniss.com/gameaudiogdc2017/
http://www.sonniss.com/gameaudiogdc2016/
http://www.sonniss.com/sound-effects/...
http://www.asoundeffect.com/1000-free...
http://www.gameaudioimplementation.co...
https://www.redlibraries.com/#panel29...
http://www.thesoundkeeper.com/shop/
https://www.reddit.com/r/SFXLibraries/

马丁
http://www.film-foundation.org/

DPA
https://www.dpamicrophones.com/

录音设备

SoundDevices
https://www.sounddevices.com/

APM音乐
https://www.apmmusic.com/
环球制作音乐
https://www.universalproductionmusic.com/
日音
https://www.nslibrary.nichion.co.jp/
夜莺音乐
https://nightingalemusic.com/
ALIST音乐
https://www.alistmusic.com/
APL
https://aplpublishing.com/
松巴音乐
http://www.songba.org
日音

Boom library
https://www.boomlibrary.com/

ProSound Effects
http://www.prosoundeffects.com/

Sonicsalute
https://sonicsalute.com/

在线音效库

soundsnap
https://www.soundsnap.com/
freesound
https://freesound.org
耳聆网
https://www.ear0.com/
淘声网
https://www.tosound.com/

http://www.hollywoodedge.com/
https://www.sound-ideas.com/
http://hissandaroar.com/
http://www.sonniss.com/sound-effects/
http://www.soundstorm.com/
http://www.sounddogs.com/
https://www.redlibraries.com/

版权申明
频道所有视频资源来自网络，仅供学术研究使用，如有任何版权问题请及时联系zhaofilms@gmail.com

Fair use.
Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use. No copyright infringement intended.

北京师范大学文学博士，广州中山大学中文系教授，2008年底退休；纪录片工作者。代表作有：《天堂花园》、《太石村》、《中原纪事》、《关爱之家》、《开往家乡的列车》、《我们的娃娃》、《公民调查》、《花儿为什么这样红》等。工作邮件：xiaomai05@gmail.com，推号：xiaocao07Read more

纪录片

• 《天堂花园》（2005年）
• 《为革命画画：户县农民画》（2005年）
• 《人民代表姚立法》（2006年）
• 《中原纪事》（2006年）
• 《关爱之家》（2007年）
• 《红色美术》（2007年，胡杰、艾晓明合导）
• 《我们的娃娃》（2009年）
• 《开往家乡的列车》（2009年）
• 《忘川》（2009年）
• 《公民调查》（2009年）
• 《花儿为什么这样红》（2010年）
• 《让阳光洒在地上》（2011年）
• 《明信片》（2011年）
• 《乌坎三日》（2012年）
• 《新公民案审判》（2014年）
• 《夹边沟祭事》（2017年）

更多精彩内容请到 👉电影蓝皮书网 https://www.moviebluebook.com

版权申明
频道所有视频资源来自网络，仅供学术研究使用，如有任何版权问题请及时联系zhaofilms@gmail.com

Fair use.
Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use. No copyright infringement intended.

在长达50分dia style="--en-viewerProps:{};" type="image/jpeg" hash="442876f6d04aac3af8c183f6ca4e7e49" />

这不仅仅是一个典型的犯罪题材电视剧，令人兴奋的主角往往都解决谜题。获奖导演阿尔贝托·罗德里格斯(Alberto Rodriguez)和帕科·r·巴诺斯

观众与屏幕上的角色建立了联系，并同情他们的处境。你会沉浸在16世纪世界上最重要的城市的道德和思想中。一个极度贫困的城市与新富阶层的奢华形成了鲜明的对比。腐败的统治者通过军事镇压和宗教迫害竭力维持既定秩序的城市。

iv>

随着故事的发展，我们意识到《黑死病》实际上比我们想象的更接近我们的现代世界。曾经被称为“塞维利亚梦”的东西与我们现在所知的“美国梦”非常相似。此外，该剧导演兼联合编剧拉斐尔•科波斯(Rafael Cobos)表示，“瘟疫”也是我们今天面临的道德、社会和经济危机的隐喻。

但是今天这座城市的旧址已所剩无几。因此，大部分场景必须在片场或后期制作中完全重现，拍摄分散在不少于130个不同的地点。这是一个令人印象深刻的挑战，即使对于经验丰富的导演和该剧的联合编剧阿尔贝托罗德里格斯(Alberto Rodriguez)来说也是如此。

罗德里格斯:“毫无疑问，这是我参与过的最复杂的拍摄。这是一个复杂的电视剧，因为它需要我们高效地安排自己在很多不同场景要所有相关部门付出惊人的努力。”

本文不可能把所有与《黑死病》的制作有关的东西都写下来。幸运的是，一些重要的制作人员和后期制作人员在马德里的FCP X巡回演讲上谈论了他们在该系列剧中的工作。我们9f82ed0c557790362e48b869b6f21" />

在一场20分钟的小组讨论中，250名媒体专业人士对该剧的制作、拍摄、剪辑、调色和特效工作流程进行了讨论。该小组由Jesus Perez-Miranda主持。该视频包括许多BTS素材和一些非常棒的VFX分析。享受它吧! （视频暂缺）

让我们更详细地看看工作流程。正如演讲中提到的，所有的摄影都是用Arri Alexa相机完成的。除了特效镜头和用ArriRaw格式拍摄的一些特殊场景外，所有的镜头都是用ProRes-media style="--en-viewerProps:{};" type="image/jpeg" hash="9c0bf03a7e3ff62a719af125e4901bef" />

用ProRes 4444或ProRes 4444 XQ代替raw在高端电影和电视剧作品中并不少见。电影《威士忌、探戈、狐步舞》的拍摄完全使用了ProRes 4444 XQ的灰度色彩范围，以便用于后续的颜色校正。当我们讨论调色的时候，我们会谈到这一点。

在现场拍摄之前，调色指导兼视效指导胡安·文图拉(Juan Ventura)和他的团队进行了深入的测试，以便根据摄影指导的规范，建立该系列剧的整体色调。一旦拍摄开始，DIT根据每一个镜头调整以纠正或增强特定的色调。

使用DaVinci Resolve将这些色彩调整转换为LUTs格式，这样剪辑团队就可以将它们应用到原始log素材中，并以正确的色彩预览它。每一天，DIT都会把ProRes 4444原素材和声音报表="image/jpeg" hash="8687cde37abae74db7c5f52efe5a531f" />

剪辑团队由助理剪辑1人，剪辑师3人，剪辑指导1人组成。他们用iMacs和MacPros的Sierra系统在一个协作的环境中运行Final Cut Pro 10.3。所有的工作站都通过10G以太网连接到LumaForge阵列。

sh阵列，放到当天的文件夹里。

在阵列上，我们为每一集创建了一个文件夹。在那个文件夹中，我们有一个包含我们接收到的每一个媒体片段的Ingest文件夹，一个用于FCP X素材库的Libraries文件夹，以及一个用于我们交付给其他部门的所有内容的导出文件夹。每个文件夹都包含用于其他功能的各种子文件夹。 一旦素材被复制到LumaForge阵列上，我就会打开FCP X素材库，使用“保持文件在原始位置”将所有视频素材导入到FCP X的事件中。然后，我从该事件导出一个fcp xml，并在Shot Notes X中打开它，从而用fcp xml生成一个镜头报表。

曼努埃尔·特塞诺(剪辑师):“素材一准备好，我们就开始剪辑第一个镜头。这让我们能够在拍摄过程中发现任何问题或需求，并在必要时向导演反馈。 这些最初的剪辑只是从不同季剧集中单独分出来的粗剪场次。因为这部剧不>

这很有挑战性，因为一开始我们并不总是能看到不同场次之间的关系。但我们从导演那里得到了不断的反馈。每天我们都让他们在电话里告诉我们这一天拍摄了什么，以及他们如何处理当天拍摄的所有镜头。 我们的剪辑指导也是该系列剧的后期总监。所以他经常去片场和导演们就他看过的剪辑交换意见。

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第二个挑战是这部剧有很多特效镜头，而且很多都非常复杂。所以，在剪辑过程的早期，我们必须在后期制作总监的监督下，最终决定选择什么镜头。 然后我们会把特效镜头发送到特效工作室Twin Pines，并和特效部门讨论双方同意的素材前后预留帧数。这样，当我们在后期使用合成镜头时，仍然有空间可以调整。与VFX的项目交换是通过我们用 X to CC 软件生成的创XML完成的。”

在最初的剪辑阶段，你是如何处理音频的?

<罗萨(Julio de la Rosa)合作，几周后他就发给我们的临时的音乐。这真的帮助我们感受了整个系列的基调，这是一个非常棒的工作模式，在创造性的剪辑过程中。后来，我们用最终的音乐替换了这些临时音乐。 当然，我们为所有音频素材分配了角色和子角色，所以我们的角色分配非常直观:

——对白（Dialogue）

我们通常只会剪辑包含多个声轨的声音文件，但当我们需要一个特定的麦克风时，在软件左下角的对白角色上点击按钮，这时惊人的事情发生了，每一个分轨都显示在时间线中

随着每天代理文件的不断增加，一系列的剪辑场次序列慢慢积累，剧集开始成形。当一季的所有场景都完成后，剪辑指导从剪辑师手中接过这一集，并与导演在房间里继续工作了几个星期，最后对结构和时间进行了调整。卡洛斯:“当一季剧集准备发送到声音进行混音时，我们使用X2Pro导出了一个用于ProTools的AAF。基于角色的声音管理为ProTools工程师提供了干净的包含所有信息的文件。

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对于导出到调色和发布成片，我们没有使用xml或EDLs。相反，我导出了一个干净的Quicktime ProRes 4444母版文件不带任何lut，效果或转场，并保持原来的4:3纵横比。再输出一个QT参考文件。通过这样做，每一集1小时的内容就可以放入一个小于200G的文件中。这让我们省去了费时的套底过程，收集数百个使用过的剪辑点，每集最多占用2tb的空间来进行调色。“

该剧的调色和母版文件是由胡安·文图拉(Juan Ventura)在高端的SGO Mistika系统上完成的，他曾在40多部电影和电视剧中担任调色师和视觉特效总监。胡安也是《黑死病》的视效指导。 胡安:“Mistika在这个系列中扮演了一个非常关键的角色，不仅在色彩校正en-media style="--en-viewerProps:{};" type="image/jpeg" hash="87bb3804000e45498e352d3bbf674938" />

有效的全局工作窗口,可以在多个素材上进行多个颜色矫正、通道设置和遮罩绘制,这一切都是实时的,还不妨碍了的音频和视频层,这样就有了一个非常快速和强大的分调色和母版制作工作流程。这对我们来说是基本的工作，因为通过使用正确的调色预览某些VFX镜头，我们可以给VFX工作室更精确的反馈，并防止他们做不必要的工作。还有一些特效镜头，我们可以在Mistika中调整，甚至不需要将其发送回特效工作室。所有这些都极大地加快了完成过程。

…我们想让观众感受到那个世纪的人们是如何生活的，我们想要保留那个黑暗，那个笼罩着整个系列剧的肮脏的氛围。我认为我们已经成功了。”

结语

西班牙奥斯卡获奖剪辑何塞·莫亚诺（Jose M. G. Moyano）是《黑死病》后期制作过程中的关键人物之一。他集剪辑指导与后期总监的职责于iv>

莫亚诺:“一方面，和导演们一起拍戏是件好事，因为你可以看到他们每次拍摄后的反应。所以你回到剪辑室，知道问题可能在哪里。另一方面,你知道了素材背后更多的事情,特别是如果你知道这是拍摄的特定场景或镜头摄,这让你你不太客观的做出选择……但如果你设法解决这个问题,你愿意杀死你的宠儿,我认为被剪辑去现场一个非常积极的体验,可以创意过程中受益。”

07" />

您曾使用FCP X编辑获奖电影《千面人》（El Hombre de las Mil Caras），现在又在《黑死病》中使用。是什么让FCP X成为你最喜欢的剪辑软件?

何塞·莫亚诺:“没有一个剪辑软件是完美的。他们都有你希望改变或改进的地方。但Final Cut Pro X让我改变的欲望更小。这绝对是我用起来最舒服的剪辑软件。

我认为整体的剪辑体验是FCP X脱颖而出的原因。其有机的感觉和直观的界面，使其理想的创意和叙事剪辑。但我特别喜欢以下三个特点:同。在FCP X中浏览和标记剪辑是一种独特的体验。你甚至可以标记片段的一部分，让每一个重要的时刻都完美地组织起来。能够立即找到您需要的镜头或部分，这是我在其他剪辑软件中从未经历过的。

试演

我非常喜欢试验，因为它们让我可以把一个特定角色的所有好镜头都集中在时间轴上。当你选择一个不同的素材时，时间轴会自动适应你的选择。这比一个接一个地堆起来，每次尝试不同的选项时都必须手动重新安排时间轴要好得多。

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磁性时间线

这是我最喜欢的功能之一，因为它允许非常精确和快速地剪辑。我喜欢使用父子关联功能连接视频和音频来建立有意义的关系，以及如何很容易地保持这些关系，无论你如何重新安排你的序列或镜头。一旦你习惯了这样的工作，你就再也不想用别的了。

非常感谢《黑死病》团队提供所有这些信息，并回答了我们所有的问题。

据Movistar+统计，《黑死病》吸引的观众比《权力的游戏》第七季首播的观众多40%，《权力的游戏》第七季目前在该频道保持着收视纪录。该剧也凸显了收视行为的转变，90%的观众按需观看该剧，超过20%的观众在前四天内观看了整季。

随着《黑死病》的迅速成功，ovistar宣布第二季的发布已经确定在2019年。

© 2018 Ronny Courtens/FCP.CO <-with-fcp-x-the-prestigious-period-mystery-thriller-la-peste-surpasses-game-of-thrones-to-become-the-most-watched-television-series-in-spain

最新的软件版本可以让Mac方便快捷的读取阿莱等摄影机的数据
下载地址
https://codex.online/software-downloads
下载前需要注册帐号
注意：下载完成后，安装完程序，要在系统权限设置中勾选drserver

Download Center 下载中心
http://esd.avid.com/ProductList.aspx

无限试用的方法

第一次安装MC软件时允许试用30天而且是全功能，可以挂硬件，试用期结束后，无论PC还是MAC只要删除一个文件就可以继续试用。

PC版删除C:\ProgrameData\Avid\Licenses下面的文件，

MAC版删除Library/Application Support/Avid/SWL和Library/Application Support/Avid/Licenses下面所有文件。

重开软件又可以试用30天了。

重新试用的软件是无法打开之前的工程的，如果有项目在30天试用结束之前未完成那么想继续只有花钱了。

建议一个试用周期完成所有工作，下个试用周期再展开新的工作。

下载地址

http://bbs.ivideostar.com/forum-45-1.html

频道所有视频资源来自网络，仅供学术研究使用，如有任何版权问题请及时联系zhaofilms@gmail.com

• Cut Away (CA) 切出镜头
• Not Shot（NS ）
• PLATE 特效元素
• Background plate 背景特效
• Foreground plate 前景特效
• fps特殊帧率

Fountain 编剧：从入门到继续入门https://sspai.com/post/35135

注意:Wave代理不支持32位的浮动文件。
有关在macOS Catalina上安装Wave代理的说明，请阅读技术报告.

原文章链接

```

将单声道隔开并对立体声音频进行分组：分析音频通道并将其按双单声道或立体声进行分组，具体取决于分析结果。自动校正的音频通道将标记为“自动选定”。有关音频通道的更多信息，请参阅在 Final Cut Pro 中配置音频通道。

移除静音通道：将分析音频通道，并移除静音通道。已移除通道的片段将标记为“自动选定”。有关音频通道的更多信息，请参阅在 Final Cut Pro 中配置音频通道。

错误案例：

一个电视剧的补拍镜头，通过声音同步之后，再通过xml导入到fcpx，然后声音默认为立体声，但是实际上只录制了一柜声音，所以将素材导入时间线的时候就只能播放左声道的声音

如何解决：

及时改正现场录音的设置

快速显示文件

CMD+SHIFT+R

• 1.25:1：电脑常用的分辨率 1280x1024 即此种比例，这是许多 LCD 显示器的原生分辨率。它也是 4x5 胶片冲洗照片的比例。英国早期的水平 405 线规格使用这种比例，从 1930 至 1950 年代直到被更通用的 4:3 取代为止。
• 1.33:1：即所谓4:3，35毫米无音效轨胶片的原始比例，在电视和视频上都同样常见。也是IMAX和MPEG-2影像压缩的标准比例。
• 1.37:1：35毫米全屏的有音轨胶片，在 1932 年到 1953 年间几乎是通用的。作为“学院比例”它在 1932 年被美国电影艺术学院立为标准，至今仍然偶尔使用。亦是标准 16毫米胶片的比例。
• 1.43:1：IMAX 70毫米胶片的水平格式。
• 1.5:1：35毫米胶片用于静物拍摄的比例。亦用于较宽的电脑显示（3:2），曾用于苹果电脑的 PowerBook G4 15.2 吋的屏幕，分辨率为 1440x960。这个比例也用于苹果电脑的 iPhone 产品。(微软Surface Pro亦用此长宽比触屏携带式平板电脑)
• 1.56:1：即宽屏幕的 14:9 比例。是为 4:3 和 16:9 之间的折衷比例，常用于拍摄广告或者在两种屏幕上都会放映的影像，两者之间的转换都只会产生微量的剪裁。
• 1.6:1：即所谓16:10（8:5），是电脑宽屏幕常见的比例，用于 WSXGAPlus、WUXGA 和其他种分辨率。因为它能同时显示两个完整页面（左右各一页），所以十分受欢迎。[1]
• 1.66:1：35毫米欧洲宽屏幕标准；亦为 Super 16毫米胶片的比例（5:3，有时精确的标志为 1.67）。
• 1.75:1：早期35毫米胶片的宽屏幕比例，最主要是米高梅影业在使用，但已经被抛弃。
• 1.77:1：即所谓16:9（= 42:32），标准宽屏幕。使用于高清晰度（HD）电视和MPEG-2的影像压缩上，也是现在电脑屏幕、电视、手机最常用的比例。
• 1.85:1：35毫米胶片，美国和英国用于拍摄在戏院放映的电影的比例，即是37:20。在四齿格的框面中画面大约占了三格高，也可直接使用三格高拍摄，以节省胶片成本。
• 2:1：主要在 1950 和 60 年代早期为环球影业所使用，还有派拉蒙影业的一些VistaVision影片；也是 SuperScope 诸多比例中的一种。现代启示录的 DVD 版本、侏罗纪世界的 Blu-ray 版本亦使用这种比例；2017/2/26 LG 推出首款 QHD+ 分辨率 2:1（宣传为18：9）屏幕的智能手机 LG G6[4]。
• 2.2:1：70毫米胶片标准。在 1950 年代为了 Todd-AO 这部片而开发的。另有 2.21:1 在 MPEG-2 规格中写明但未使用。
• 2.35:1 ：1970 年以前用35毫米胶片拍摄的横向影像，由 CinemaScope 和早期的 Panavision 所使用，比例大约是47:20。横向拍摄的标准慢慢地改变，现代的横向制作实际上已经是 2.39:1[1]，但因传统而仍常被称为 2.35:1。（注意所谓的“anamorphic”指的是胶片上，限于四个齿格内的“学院区域”的影像，比起其他高度较高的影像的压缩程度。）
• 2.370:1：即所谓21:9，实际值是64:27（= 43:33）。在2009年至2012年间，有部分电视曾用这种长宽比制成，并以“21:9电影级屏幕”作招徕。然而这种长宽比仍可在高端显示器上看到，有时也被称为UltraWide显示器。2019/2/26 SONY在香港举行发布会，推出两款 21:9 全新比例的智能手机 Xperia 10 和 Xperia 10 Plus。
• 2.39:1：1970 年以后的35毫米横向影像，比例大约是43:18。电影称使用 Panavision 或 Cinemascope 系统拍摄即表示此种比例。
• 2.4:1：蓝光光盘加整电影为2.40:1，即是12:5[1]；
• 2.55:1：CinemaScope 系统在未加音效轨之前的原始比例，这也是 CinemaScope 55 的比例。
• 2.59:1：Cinerama 系统完全高度的比例（三道以特别方式拍摄的35毫米影片投影成一个宽屏幕画面）。
• 2.76:1：MGM Camera 65（65毫米胶片加上 1.25x 倍的横向压缩），只使用于1956年到1964年间的一些影片，例如1959年的 《宾汉》（Ben-Hur）。
• 4:1：Polyvision，使用三道35毫米胶片并排同时放映。只使用于一部影片，Abel Gance的Napoléon（1927年）。

Wild track非同步录音

通常录音师单独录制的镜头需要的对白或者其他后期需要的声音文件

post-production 后期制作

EDL edit decision list剪辑决定表

宣发

Electronic press kit:EPKs花絮

field-recording现场录音

Clapperboard场记板

DIT 现场数据管理

Tentacle Sync章鱼同步器

media magagement媒体管理

data wrangling 数据备份

Shot Types 构图类型

production still 剧照

Behind the scenes 幕后

free-lance自由职业

zoom in 和zoom out是摄像技术用语。zoom in 指（照相机等）用变焦距镜头使景物放大，即将景物推近；zoom out刚好相反，表示用变焦距镜头使景物缩小，即将景物拉远。

cinephile 影迷，电影爱好者

films, film theory, and film criticism.

n title="Page 132"> <70" />

Operation of the Camera 133

Use: Record run timecode is often used on single camera productions that are either MOS or use a dumb slate to sync picture and sound. Record run timecode guarantees continuous timecode on all recorded data. Record runtime code also works with over- and under-cranking.

Setup: The timecode source must be set to Int TC, the mode to Rec Run and the generator to Regen. Timecode counts up only during recording, by one frame for each image generated by the sensor. The timecode counts at the project frame rate set on the camera. Normally, the timecode hour value advances by one hour for each new reel, using only hours 01-20 for reel 1-20, and then restarting at hour 01 for reel 21.

Variations: Record run timecode might be used for off-speed work on productions that use external timecode sources for all sync sound.

Restrictions: None.

Spotting is an undertaking of writing down a list of all Foley sounds that a director can select for a recording.

A team of editors will watch a scene and note every action that may or may not need a sound effect. Imagine a dinner scene.

Will you need the sound of cutlery?

A sound of pouring wine into a glass?

Or maybe someone is moving a chair around the table?

Every little thing like that you will need to note down. It is always better to have more options of recorded sounds than less. Spotting is a tedious task, but it can be an eye-opener for someone who is just starting out in the industry.

Spotting是写下导演可以为录音选择的所有Foley声音列表的承诺。

编辑团队将观看场景并记录可能需要或可能不需要声音效果的每个动作。想象一下晚餐现场。

你需要餐具的声音吗？

将酒倒入玻璃杯的声音？

或者也许有人在桌子周围移动椅子？

这样的小事你需要记下来。拥有更多录制声音的选项总是比较少。 Spotting是一项繁琐的工作，但它对于刚开始从事这个行业的人来说是一个大开眼界。

FOLEY RECORDING

Before Foley recording sessions begin a creative team decides on a priority of sounds to record. A standard movie production can have thousands of Foley sounds listed, but you don’t need all them. A good vision of the final product is important.

在Foley录制会议开始之前，创意团队决定录制的声音优先级。标准电影制作可以列出数千种Foley声音，但您不需要它们。对最终产品的良好愿景非常重要。

When the list for the recording is ready, the session starts.

当录制列表准备就绪时，会话开始。

Recordings take place on Foley stage, a big, treated room with a large screen and many different props. On the screen, you can see scenes from the movie. And then in real time, a Foley artist acts the sounds, and Foley engineer captures them.

录音在Foley舞台上进行，Foley舞台是一间经过处理的大房间，配有大屏幕和许多不同的道具。在屏幕上，您可以看到电影中的场景。然后实时，一个Foley艺术家发出声音，Foley工程师捕捉它们。

Foley artist is the most important part of the Foley team and the most creative. Foley artists must use their imagination with props and then in real time mimic what is happening on screen. When the scenes play, there is no sound or dialogue. It is just a picture.

Foley艺术家是Foley团队中最重要的部分，也是最有创意的。 Foley艺术家必须利用他们的想象力和道具，然后实时模仿屏幕上发生的事情。当场景播放时，没有声音或对话。这只是一张照片。

Remember our dinner scene?

还记得我们的晚餐现场

The Foley artist can use a bit of metal to create the sound of cutlery. Maybe he will use a piece of wood or an old case to create the sound of a chair. He or she will use a different kind of shoes for on-screen characters. And create a different kind of movement styles.

Foley艺术家可以使用一点金属来制作餐具的声音。也许他会用一块木头或一个旧箱子来制作椅子的声音。他或她将使用不同类型的鞋子用于屏幕上的角色。并创造出不同的运动风格。

A great Foley artist can turn a normal dinner scene into a lively and exciting event. But we can’t undermine the job of a Foley sound engineer. A choice of a correct microphone type, microphones setup and correct levels are crucial. The difference can leave you with either beautiful Foley sound or a mediocre and noisy one.

一个伟大的Foley艺术家可以将正常的晚餐场景变成一个生动而令人兴奋的活动。但我们不能破坏Foley音响工程师的工作。选择正确的麦克风类型，麦克风设置和正确的电平是至关重要的。这种差异可能会给你留下美丽的Foley声音或平庸而嘈杂的声音。

A good sound engineer will instruct and work with Foley artist on the best ways of creating the sounds. You can be the best Foley artist in the world but when your work doesn’t sound good, you won’t get the attention you want.

一位优秀的音响工程师将指导Foley艺术家并与他们合作制作声音的最佳方式。你可以成为世界上最好的Foley艺术家，但是当你的作品听起来不太好时，你就不会得到你想要的关注。

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• 
• 
• 
• 

FOLEY EDITING AND FITTING

After the recordings, you will need to edit and fit the sounds. Editing is a process of cleaning up the audio. You will need to reduce the noise and remove clicks and random pops. Your job is to organise the sounds so you can fit them into the movie later on.

录制完成后，您需要编辑并调整声音。编辑是清理音频的过程。您需要降低噪音并删除点击和随机弹出窗口。你的工作是组织声音，以便以后可以将它们融入电影中。

We describe fitting as matching the sounds to the picture. Even though we record Foley in real time, there will always be a small delay.

我们将拟合描述为将声音与图片匹配。即使我们实时录制Foley，总会有一个小延迟。

Fitting requires moving these sounds into place and organising the session for the Foley mixer. Fitting Foley can be a creative process. The editor will often decide which footsteps work the best with the scene and what sounds are best to leave out of the picture.

安装需要将这些声音移动到位并组织Foley调音台的会话。适合Foley可以是一个创造性的过程。编辑器通常会决定哪些足迹在场景中效果最好，哪些声音最好留在画面之外。

A trainee Foley editor will usually start with fitting footsteps and cloth. These are sounds of clothes when characters are moving around on a screen. Only after you pay your dues, you will move to more exciting things. When sounds are edited and fitted, the session is sent to a Foley mixer.

实习Foley编辑通常会从贴合脚步和布料开始。当角色在屏幕上移动时，这些是衣服的声音。只有在你支付了会费之后，你才会转向更令人兴奋的事情。编辑和安装声音后，会话将发送到Foley调音台。

FOLEY MIXING

Mixing Foley is a tough task, as it needs to work in balance with dialogue, sound effects and music.

Foley mixer will be part of a team of three people who will work together during mixing sessions. Under the supervision of a director and creative team, mixers will create the world of background sounds.

混合Foley是一项艰巨的任务，因为它需要与对话，音效和音乐保持平衡。

Foley调音台将成为三人团队的一员，他们将在混音会议期间一起工作。在导演和创意团队的监督下，混音师将创造出背景音乐的世界。

Maybe a broken glass will become an important element in the story?

The sound will be exposed and in the centre of attention. Other time, it will be just a background sound of broken glass.

We describe Foley as an invisible art. The sounds are in the background, they play to the story, and they help to describe it to the audience. We say that the audience will only notice Foley when there is something wrong with it. Next time, when you are watching a movie, try to pay a bit more attention to the sounds of the background.

Close your eyes for a bit and remember how much work went into creating the world of hidden sound.

也许破碎的玻璃将成为故事中的重要元素？

声音将被暴露并处于关注的中心。其他时候，它只是一个碎玻璃的背景声音。

我们将弗利描述为一种无形的艺术。声音在背景中，它们与故事相关，并且它们有助于向观众描述它。我们说当观众出现问题时，观众才会注意到Foley。下次，当您正在观看电影时，请尝试更多地关注背景声音。

闭上眼睛，记住创造隐藏声音世界的工作量。

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2，到这个网页里，把你的EDL转换成SubCap文件（会编程拯救世界）：https://www.shift-e.net/tools/#!/edl-to-subcap 你会得到一个文件如下所示，里面清晰的标示出了镜头号，镜头长度以及起止时间。

3，回到Avid，在空轨添加SubCap，并导入刚才生成的文件。完事儿。所有之前添加的Marker都被转换成了字幕，并且长度和素材的长度一致。（感谢伟大的EDL！）

这样，在出参考视频时就可以带上VFX的信息了。

如果素材在导入时被转换成了Video Range（Legal Range)，记得在导出参考视频时，把图像重新映射回Full Range（Data Range）。因为绝大部分特效制作环境是sRGB的显示器，Video Range显示在sRGB显示器上图像看起来会略微发灰（16-235的输入错误映射在0-255的输出）。而这，会让他们抓狂的。关于颜色，又可以写一篇啦，看大家的反应吧。

在这儿强调一下，这只是一个参考视频，千万不要纠结于为什么我的画面在Nuke里看起来和QT不一样。首先你并不能确定，出视频的剪辑师就一定专业；其次，拿个QuickTime播放器去比对颜色，这辈子你也找不到答案了。曾经，就有这么一个项目，算了不说了。。。基础知识的缺乏其实不单单在国内从业者身上能看到，在有的老外那儿也一样。

EDL

输出EDL时一定不要多轨输出，要做到一个EDL对应一轨。然后，和特效公司确认Handle是多少帧，输出时按照要求设置。因为这个EDL的作用不是套底剪辑时间线，所以需要在EDL本身把Handles加上，否则Pull出来的就是不带Handle的。输出完EDL务必仔细检查，看看有没有错误的Metadata。必要的话可以先自己测试一下能否正确完整的还原，再交给其他部门。

Avid Bin

Avid的特点之一就是你可以把你工程里的某一个Bin发个别人，对方只要有Avid就可以打开，而且兼容性极高。这个Bin通常会是一条时间线（就是你做EDL的那条）。EDL能携带的信息毕竟有限，所以有时候把Avid Bin给到特效公司的VFX Editor将会是一个巨大的帮助。虽然所有素材都是离线状态，但是素材的Metadata被完整的保留了下来。

Shot List

Hiero是Foundry家的VFX镜头管理软件，也被集成到了Nuke Studio里。Nuke Studio可以下载Non-Commercial版本，有一些限制，但对镜头管理来说并无大碍。在这里，你可以导出所有镜头的基本信息到一个CSV表格里，另外还可以将每个镜头的缩略图（Thumbnails）一键导出。当然这些命令需要额外的Python脚本支持，需要的同学可以找我索取。

现在，在从Hiero导出的CSV和缩略图基础之上，你就可以做一张完整的Shot list了。表格里一般会包括，VFX ID（镜头号），缩略图，起止TC，帧数，原始素材名，剪辑名，Optical信息（位移，缩放，变速等），以及VFX制作描述。 如下图示意：

Line-up Sheet

什么是Line-up Sheet呢，举个最简单的例子。有一个特效镜头，内容是篱笆前面一只狗在追着一个女人跑。三个元素，篱笆女人和狗，都是分别拍摄的。那么特效公司怎么知道该用这三个镜头的那一段来合成一个完整的和谐画面呢？Line-up sheet就是做这个用的。这也是我之前为什么说，所有素材都要留在时间线上，这样你就可以快而准的知道，在预合的时候是怎么安排这三个元素的。

Showrunner是一款收费软件，样式有些老，但是还算好用。它可以支持ALE，Avid Bin，CSV表的导入，并把数据映射到软件里（需要手动指定）。个人测试后还是觉得CSV发挥比较稳定。所以可以直接拿之前Hiero里生成的CSV用。具体使用不再赘述，本文还是以Turnover为主，有兴趣的可以一起私下探讨，男的就免了啊。

做完Turnover，你的任务就结束了？你想多了，可能还会有第二轮Turnover，第三轮Turnover。。。。。。此外，视效剪辑师还需要对所有的特效镜头和相关数据进行持续的追踪（Tracking），以确保剪辑上的任何改动，特效公司都会在第一时间知道，否则就是大家就会陷入无尽的深渊。It's all about data.

在实际制作中，诸多问题无法在本文一一列举了，欢迎大家随时探讨。

今天只聊了Production VFX Editor的工作，特效公司In-House VFX Editor的事儿，我们放在下一篇里聊，看看该如何扮演好这个角色以更好地服务于后期项目以及公司内部的流程。

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inhouse VFX剪辑

准备阶段

DI公司会把包含需要制作的镜头的参考QT、VFX Pull的EDL、镜头表，LUT，CDL，DPX序列或者EXR序列（偶尔也会碰到Raw或MOV的）等等发到视效公司。剪辑部门需要做的，是根据这些信息和图像文件，把一条时间线完整的还原出来。如下图：

截图里面最下面的一轨是参考轨（Reference Track），用于放置QT参考。注意这条QT不是用于VFX Pull的那条参考，而是声画俱有的整场戏（一个Sequence）。往上一轨是EDL，虽然内容离线，但是镜头的长度，Handle有多少，变速信息都得以保留（说到这儿，再次提醒剪辑同行们，务必把时间线的EDL整理好，这对VFX和DI都是非常宝贵的财富！）。再往上一轨V1，放置的是VFX Plates，也就是特效镜头的“底板”，可以作为分发素材的基础。这时，剪辑师需要把plate和参考QT进行比对，查看：是否有Optical效果（变速，缩放，位移，翻转，等等），DI是否有提供LUT，帧数范围是否正确。当然，还要确认素材的颜色编码方式，才能正确的还原出线性图像（你得知道图像是怎么变弯的，才能知道怎么把它变直）。在理想的世界里，这条时间线应该是一个项目的基础，最主要的制作信息和metadata，全都能在这条timeline里找到源头。

素材全部对齐之后，就可以命名规则对镜头进行重新命名然后输出啦。输出前，一定要确认好项目的IE(Intermediate Extraction)。IE的原则，以后再讲（又给自己挖一坑）。相比传统的以单个镜头为单位做输出，这样做的好处就是可以精确地判断镜头的出入点是否正确，因为客户发来的QT始终会放在参考轨，用来随时比对视效镜头（raw或序列帧）

此外，特效公司经常使用的Shotgun、ftrack等资产管理软件，已经和Hiero实现了比较完善的接驳。也就是说，只要你的时间线正确被还原，就可以一键生成所有你需要的物料，并自动把镜头的相关信息比如缩略图，参考视频，TC，帧数，同步至Shotgun或者ftrack，以供所有制作人员参考。恕我孤陋寡闻，这个流程在国内的视效公司我还没有见过。

iv style="margin-top: 1em; margin-bottom: 1em;-en-paragraph:true;-evernote-webclip:true;">制作阶段

视效公司剪辑组的另一个重要工作职责，就是管理并回插视效镜头。通常的流程，是剪辑组拿到其他视效部门生成的QT小样，然后再把它们替换到现有的时间线上，生成新的QT，以便视效总监和片方的负责人观看。

这样做有一些弊端。虽然视效制作时是以单个镜头为单位，但是归根结底你是在做电影，脱离了整个故事，甚至脱离了前后镜，你正在制作的镜头都会失去意义。而制作人员平时工作负载已经很满，不可能有时间把自己做好的镜头再砍掉Handles放进时间线去查看最终效果。指望着每次渲染完再交给剪辑，太耗时耗力。VFX公司会定期看dailies，但基本也都是一个镜头一个镜头翻来覆去的看。那么又回到刚才的问题，大家到底是在做电影，还是在做镜头？所以个人认为，每一个制作人员都应该能随时查看自己的镜头，在前后镜头里、整场里、加上对白声效和音乐并且调过色之后是什么状态，这样才会有一个对情节本身更加整体的认知。与其把做好了的镜头小样发给片方的剪辑让片方看，不如公司内部先整体审视一遍。这一点对于更侧重前后镜连贯性的动画制作来说，更是重中之重。

那么，为什么不用那条之前就做好的时间线，让它一有新版本提交，就自动替换到时间线上呢？Hiero可以将这条时间线共享到每一台电脑上，无论是Win，Mac还是Linux，大家看到的都是一条最新的时间线，这样一来，无论是VFX总监，还是动画师合成石特效师，都可以在不离开自己座位的情况下，随时查看自己刚做好的镜头放在Sequence里是怎样的效果。

还是看刚才那张截图。V2，V3轨分别放置了来自动画部门和合成部门生成的Quicktime，当然你也可以为更多部门去添加更多轨。这样，每一个部门做了那些镜头、做到什么程度，全部一目了然。粉色和灰色的条带，是一些光学效果比如翻转、位移之类的，还有颜色信息也就是LUT。所有颜色，都是以数据的形式（其实就是nuke里的一个节点）应用在镜头之上。

每当一个镜头的新版本被提交，这条时间线就会自动同步更新的最新版，原来的全部版本都会被保留。并且，各个版本之间可以直接互相切换，比较。其实只要公司足够重视看片流程，投入一点点开发人员在上面，一个高度自动化的流程并不难实现。为什么小投入高回报的事情人们不愿意做呢？

中间不可避免的，会出现剪辑更改的情况。这时In-house的剪辑就需要根据参考QT和EDL，以上一版剪辑为基础，分辨出所有更改，并对已有信息进行更新，让制作人员第一时间获得更改后的内容，避免造成无谓的工作。还是那句话，只要最开始的时间线信息足够完整，以后的工作将会容易很多。

交付阶段

这个交付阶段不一定是最终交付。制作过程中也充满了交付。啊！交付！

虽然整个后期阶段，对于任何颜色的应用都应是具有可逆行的。但是在制作过程中，还是需要将CDL和LUT等颜色信息应用（bake）在画面上并输出给剪辑，以保证色彩的连贯性。一定要弄清楚，每一个LUT和CDL的先后顺序，以及，画面的宽高比遮幅水印Burn-in等等等等。最简单的高效的工作方式，是在一切还没开始前，通过技术文档和Checklist等形式，明确每次Delivery的具体规格。

一般来讲，外包特效公司需要为上游（？）特效公司提供Photo jpeg编码的Quicktime。同时还需要提供给剪辑用的DNxHD（HR）编码的Quicktime给到剪辑，但要确认对方使用的剪辑软件。Final Cut Pro平台，则需要ProRes编码的Quicktime。具体的原则，参照第一篇推送。

至此，VFX的Turnover系列就结束了。其实我觉得说的还是不够，但也着实不能再说了。再说下去，这号就成特效专题号啦！

在StudioBinder中，你可以通过镜头规格栏轻松地选择镜头。下面就来看看它是如何运作的:View the various focal lengths you can pick

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1.2广角镜头(23mm-35mm)

广角镜头是指焦距显著地小于像场直径(底片对角线长度)的镜头。对于全画幅的摄影机，广角镜头的焦距应该小于35mm。

视频二

广角镜头的解释，用广角镜头测试

通常，只要焦距在23mm到35mm之间的镜头都可以归为广角镜头。低于23毫米的镜头仍然被认为是广角镜头，但会算入鱼眼镜头的范畴。

什么是鱼眼镜头？

鱼眼镜头是一种超广角镜头，它可以捕捉到非常宽的影像，一般在180度左右。

鱼眼镜头会产生扭曲、弯曲的影像。顾名思义，鱼眼镜头就是形容鱼在水下的视觉感官。

只要焦距在1mm到23mm之间的广角镜头都可以称为鱼眼镜头。它们经常被用来拍摄建筑物、大房间和开阔的空间，以及鸟瞰图，因为它们带有曲线的动态效果。鱼眼镜头很受欢迎，用于创造有趣的、扭曲的图像，比如脸部特写镜头。

1.3标准镜头(35mm-55mm)

标准镜头的焦距大致相同于像场直径(底片对角线长度)的镜头。对于全画幅的摄影机，焦距应该在42毫米左右。

通常，焦距在35mm到55mm之间的镜头可以归为“标准”焦距。

视频三

标准焦距镜头测试

标准镜头的视场与人眼视场相似，但有其他观点认为人眼的真实视场更接近于17mm至25mm的镜头，并具有f/3.2的光圈，所以这一点一直存在争议。

不过35mm到55mm的镜头与人眼相似的真正原因是我们的视觉注意锥，它使人眼的视野变窄。

1.4长焦镜头 (55mm-500mm)

长焦镜头是其焦距明显大于于像场直径(底片对角线长度)的镜头。对于全画幅的摄影机，焦距应该在55mm以上。

视频四

长焦镜头测试

通常，只要焦距在55mm到500mm之间的镜头都可以归为长焦镜头。你可能会听到电影摄影师或掌机把它们简称为“长镜头”。

有些长焦镜头也是摄远镜头。

什么是远射镜头？

远摄镜头是一种特殊的长焦镜头。它的内部设计提供的焦距比镜头本身的长度长得多。与其他镜头一样，远射镜头也有固定焦距和变焦镜头。

远射镜头的焦距一般超过70毫米，并且有不同的尺寸。任何长焦距为300mm或更高的远射镜头都被认为是超级远射镜头。

远射镜头常用于拍摄野生动物或运动。它们能使远处的物体显得更近。此外，在特写人像拍摄中，远射镜头往往会保持被摄对象视觉的均衡，几乎不变形的特点。

1.5什么是视场？

视场是你在影像平面上看到的空间大小。它决定了影像中有多少范围会被捕捉。

如果你要拍摄故事中英雄角色的镜头:

一个更广的镜头可以显示出英雄威武的身躯，提供了一个更广的视场。

焦距长的镜头可能只捕捉到英雄的脸，提供了一个较小的视场。

为了阐明我们在上文第一节中所讨论的，一个焦距较短镜头（毫米数小）提供更广阔的视场。焦距较长的镜头（毫米数多)给你一个更窄的视场。

下图说明了该原理:

要考虑的事情很多，要记住的事情也很多，但是计划是至关重要的。幸运的是，准备镜头表使您的工作更容易。

视频五

使用镜头表来记录镜头细节和每个镜头的焦距

有些电影完全是用广角镜头或长镜头拍摄的，因为它们所创造的影像风格不同，在其他情况下，导演会选择通过焦距的逐渐变化来展示故事的逐渐变化。

点击下面的视频，看看专业摄影师是如何管理他的镜头的。

视频六

计划镜头来讲述故事

焦距可能看起来纯粹是技术上的事情，其中确实也包含了很多机械方面的知识。但焦距和镜头选择等技术细节最终是为你的故事服务的。

对焦距、视场和镜头的了解能让你更好地协调你的镜头，传达你想要表达的情感。这是我们将在下一章进一步探讨的内容。

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2
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焦距的创意使用

电影技巧之镜头的使用

2.1压缩空间

较长的焦距压缩影像，使背景看起来更接近主体。这种压缩还会导致彼此背后的对象看起来比实际距离更近。

在本质上，你可以创建用一个较长焦距的镜头拍摄出浅景深背景和主体扁平的视觉效果。这是一种变形的方式，称为镜头压缩。

可以利用压缩空间来实现以下目的。

制造悬念

来自《锅匠，裁缝，士兵，间谍》的片段是一个夸张的例子，因为他们使用了非常长的2000mm焦距的镜头拍摄。而大多数常用长焦距镜头顶多在300毫米左右。

这个片段突出体现了长焦距镜头可以用于有趣的创意拍摄，比如在这个场景中制造的一种危机感。

然而，这其实是通过操纵视角让着陆飞机比它们看起来更远来保证演员的安全性。

视频七

长焦距和浅景深在《锅匠，裁缝，士兵，间谍》中的应用

建立亲密关系

镜头压缩可以让两个人物感觉更近，更亲密，就像来自《办公室》的这一场戏。

如果你看一下场景中这个画面的不同之处，更长焦的镜头画面会让霍莉和迈克尔感觉更亲近，这在其故事语境中是合适的。

利用焦距压缩空间在《办公室》中的应用

焦距和浅景深在《办公室》中的应用

电影继续使用长焦镜头拍摄，这使得霍22c9f0924ae3c4ad4094b96e49379f8" type="image/jpeg" width="1280" />

在《办公室》中焦距用来加强亲密感

影像看起来霍莉和迈克尔是肩并肩的。这个亲密的时刻，当她抓住并吃掉草莓时，观众会被迈克尔看着她的眼神所打动。

直观地传达给观众。

制造偷窥感

焦距越长，拍摄对象与背景的距离就越远。这种视角与我们通常看世界的方式非常不同。

由于这些因素，较长的镜头可以创造出人物被监视的感觉(尤其是当与其他技术相结合时)。

这可以让观众有一种他们正在观看私人活动的感觉。

长焦镜头在短片《Sacramentum》中的使用

在短片《Sacramentum》的这一帧画面中，各种技巧的结合给人一种神秘的感觉。

具体来说，剧情中一个邪教分子把了这种感觉。

2.2扩展空间

较广的焦距会夸大物体之间的距离。换句话说，物体越靠近就越大，越远离就越小。

通常使用短焦距来完成以下工作。

丰富场景

这是广角镜头扩展空间的一个例子。看看下面这个很受欢迎的预告片，数一数有多少广角镜头(甚至鱼眼镜头)。

视频八

看看鱼眼镜头是如何在预告片中扩大空间的

远的物体看起来更小，近的物体看起来更大，比人类肉眼通常看到的还要大。

这包括与正常焦距和长焦距相比，使背景显得更远。这种镜头通常用于景观和建筑，因为它增强了现有的形状和图像的比例，以增强视觉趣味。

分离角色

因为更广的焦距会夸大靠近画面物体的大小，这能给观众一种就在角色旁边的感觉，接近私人的感觉。

视频九

在科幻短片中，广角镜头传达出孤立感

对观众来说，这是一个更客观的视角，因为这种视角就像坐在朋友旁边。

如果使用长镜头，他的面部特征就会变得扁平，给观众一种他们在远处看着他的印象，而不是和他一起经历一些事情。

这是一个相当微妙的差别，但所有的微小视觉选择累积起来时候。事实上，你可以达到相反的效果——让你的角色看起来孤独——用广角镜头夸大他们所处的空间，让他们看起来很小。

2.3捕捉动作

较长的焦距会夸增强运动感。

为什么会这样？

第一个原因是由于长焦距的空间压缩，画面中的物体在背景中移动得更快。

没有什么比给你看《速度与激情》中的这一幕更好的例子了。电影制作者在整部电影中都使用了这种动作技巧。

视频十

在《速度与激情》中焦距的使用

另一个原因是由于长镜头的放大，即使是摄影机操作者最轻微的动作也会被极大地夸大。结合视觉压缩，这可能是一个理想的效果，创造了紧迫感和能量。

然而，它很容易被过度使用，如果被过度使用，可能会让观众迷失方向头晕目眩，所以请记住避免这一点。

2.4夸大运动

广角镜头和较短的焦距增加了被摄主体在接近或远离摄影机时速度的极大变化。

这是由于广角镜头夸大了物体之间的距离而产生的一种作用。由于距离较近的物体看起来更大，当你的镜头越广，当物体靠近时，它在画面中的速度就越快。

视频十一

镜头增强了《少数派报告》的追逐力度

这增加了物体远离或向摄影机移动时的速度的变化。为了创造更强烈的向摄影机移动或远离摄影机的效果，你需要使用广角镜头。

广角镜头的另一个作用是，它能将相机抖动的感觉降到最低，从而使你的镜头更加平滑。

具体来说广角镜头可以用来夸大以下内容。

角色的速度

追逐再次是一个很好的例子，如何使用广角镜头的优势。如果你想让坏人在走廊里追赶你的英雄，你可以用这个技巧让他们的动作看起来比实际更快。

视频十二

《谍海军魂》中广角镜头的应用

*
*

这不仅使场景更令人兴奋，而且会增加你的英雄的风险，因为你几乎觉得他无法逃脱。

移动主体

当然，增强一个人速度方法并不是唯一功能。它几乎适用于任何东西，包括汽车。

视频十三

在《美国风情画》中广角镜头的应用

让一辆车以高速接近观众，会给你的场景增添紧张感。

面部特征

由于长焦镜头和广角镜头会压缩或夸大物体距离，这也会影响人脸在画面中的形象。

例如，较长焦的镜头会使面部扁平。另一方面，较广的镜头往往会夸大面部特征，或者至少夸大离镜片最近的部分。

当然，如果你的拍摄对象离相机很远，这种效果不会很明显，但如果拍摄对象离你很近，就会对你的镜头产生很大的影响。

2.5移动摄影机

拍摄的镜头如果增加摄影机移动，事情会变得更加复杂，因为在物理上改变主体和背景的的距离。

或许在你的下一个项目中，可能会很兴奋地拍摄一个斯坦尼康镜头，这意味着你会随着你的拍摄对象移动摄影机。

想想你想让观众有什么样的感觉，然后让焦距、斯坦尼康、运动速度和美术设计合力产生你想要的感觉。考虑得越多，结果就越好。

视频十四

移动摄影机，使用不同的镜头来讲述你的故事

根据你使用的镜头，你的影像会根据焦距产生的效果而改变。

这就是为什么学习焦距对你的影像的不同影响是如此重要，最终是为了你的观众。

当你知道如何使用可用的工具时，你就可以根据你的目的来使用它们，比如为了达到喜剧效果。

利用焦距和相机运动的力量，一种独特的技术是著名的“眩晕”效果，由希区柯克和后来的皮尔伯格等电影制作人推广开来。

视频十五

轨道推进和变焦可以制造出“眩晕”效果

产生这种效果的原因是，它利用了镜头压缩图像的方式与摄影机的物理运动之间的关系，从而使视觉视角发生扭曲。

另一个用途是标志性的“Bayhem”镜头，它给镜头增添了戏剧性。

通过让被摄对象的移动方向与摄影机的移动方向相反，而且使用长焦镜头，这夸大了运动。

由于影像的压缩，背景似乎从主体身边掠过。

视频十六

迈克尔·贝使用焦距带来“Bayhem”效果

原文链接https://www.studiobinder.com/blog/focal-length-camera-lenses-explained/

Foley is an art of creating a soundscape in the movie, game or TV production. We can describe Foley as hidden sounds. The sounds that you are not paying attention to but without them, the story wouldn’t be believable to the audience. As you may already think, I am not talking about explosions, space ship sounds or car chases. We call this sounds design.

Foley is footsteps and cutlery in a busy restaurant scene. The sound of a hand touching a table or a simple door creak. Foley is usually hyper-real, that means the sounds are exaggerated. They are louder and more prominent than reality. All these are techniques to tell a better story.

Creating a believable soundscape, one that is not noticed by an audience, is a complex but exciting task. Every production is different, but there are a few standard procedures in executing a great Foley recording.

** SPOTTING**

Spotting is an undertaking of writing down a list of all Foley sounds that a director can select for a recording.

A team of editors will watch a scene and note every action that may or may not need a sound effect. Imagine a dinner scene.

Will you need the sound of cutlery?

A sound of pouring wine into a glass?

Or maybe someone is moving a chair around the table?

Every little thing like that you will need to note down. It is always better to have more options of recorded sounds than less. Spotting is a tedious task, but it can be an eye-opener for someone who is just starting out in the industry.

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FOLEY RECORDING

Before Foley recording sessions begin a creative team decides on a priority of sounds to record. A standard movie production can have thousands of Foley sounds listed, but you don’t need all them. A good vision of the final product is important.

When the list for the recording is ready, the session starts.

Recordings take place on Foley stage, a big, treated room with a large screen and many **different props. **On the screen, you can see scenes from the movie. And then in real time, a Foley artist acts the sounds, and Foley engineer captures them.

Foley artist is the most important part of the Foley team and the most creative. Foley artists must use their imagination with props and then in real time mimic what is happening on screen. When the scenes play, there is no sound or dialogue. It is just a picture.

Remember our dinner scene?

The Foley artist can use a bit of metal to create the sound of cutlery. Maybe he will use a piece of wood or an old case to create the sound of a chair. He or she will use a different kind of shoes for on-screen characters. And create a different kind of movement styles.

A great Foley artist can turn a normal dinner scene into a lively and exciting event. But we can’t undermine the job of a Foley sound engineer. A choice of a correct microphone type, microphones setup and correct levels are **crucial. **The difference can leave you with either beautiful Foley sound or a mediocre and noisy one.

A good sound engineer will instruct and work with Foley artist on the best ways of creating the sounds. You can be the best Foley artist in the world but when your work doesn’t sound good, you won’t get the attention you want.

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FOLEY EDITING AND FITTING

After the recordings, you will need to edit and fit the sounds. Editing is a process of cleaning up the audio. You will need to reduce the noise and remove clicks and random pops. Your job is to organise the sounds so you can fit them into the movie later on.

We describe fitting as matching the sounds to the picture. Even though we record Foley in real time, there will always be a small delay.

Fitting requires moving these sounds into place and organising the session for the Foley mixer. Fitting Foley can be a creative process. The editor will often decide which footsteps work the best with the scene and what sounds are best to leave out of the picture.

A trainee Foley editor will usually start with fitting footsteps and cloth. These are sounds of clothes when characters are moving around on a screen. Only after you pay your dues, you will move to more exciting things. When sounds are edited and fitted, the session is sent to a Foley mixer.

** FOLEY MIXING**

Mixing Foley is a tough task, as it needs to work in balance with dialogue, sound effects and music.

Foley mixer will be part of a team of three people who will work together during mixing sessions. Under the supervision of a director and creative team, mixers will create the world of background sounds.

Maybe a broken glass will become an important element in the story?

The sound will be exposed and in the centre of attention. Other time, it will be just a background sound of broken glass.

We describe Foley as an invisible art. The sounds are in the background, they play to the story, and they help to describe it to the audience. We say that the audience will only notice Foley when there is something wrong with it. Next time, when you are watching a movie, try to pay a bit more attention to the sounds of the background.

Close your eyes for a bit and remember how much work went into creating the world of hidden sound.

Tick Tock: Of course this shot would ostyle="font-size: 10pt; font-family: Verdana, sans-serif; color: black;">or if you repeat the shot later to illustrate the time that has passed between the two shots.

Why

This question points to the internal decision making of your subject, and when you want to delve into someone's thoughts, the classic shot to use is an extreme close-up (ECU or XCU or sometimes BCU for big close-up).

What's He Thinking?: ECUs like this one get the viewer wondering what the subject is thinrif; color: black;">The decision making going on in there can serve as motivation for the action he takes next.

It's interesting that while a close-up gives the viewer the sense that they are in an intimate relationship with the subject, when you get even closer, it's like moving right inside the subject's head. The audience goes from relating to the subject as other to identifying with the subject his or herself.

Some why questions may require a more complex approach, using a sequence of shots to explain a bit of backstory or perhaps a close-up on an object or detail that carries emotional significance in the context of the story.

Memories Inspire: In this show, the young photographer reminisces about her

This serves as motivation for the action she takes in the following scene.

This is also a case where the magic of juxtaposing two shots can suggest cause and effect. For example, if you constructed a sequence so that a shot of a woman slamming a door preceded a shot of a man signing divorce paperwork, it would imply that the wife's exit prompted the husband to finally go through with the divorce. However, you could tell a very different story by simply rearranging the two shots so the paper is signed before the woman leaves; suggesting that the husband's decision to sign provoked the wife to leave.

How

While the why is usually a very internal aspect of the story requiring suggestive shots and editing techniques, the how is just the opposite. This question is very external and is usually answered using either medium close-ups (MCU) of a subject performing a physical action (opening a door, lifting a manhole cover, packing a suitcase, etc.) or a series of CUs or ECUs of specific actions (pulling a trigger, snapping a latch closed, operating a piece of machinery, etc.)

A Very Particular Procedure: The MCU is a perfect shot to show just how

memily: Verdana, sans-serif; color: rgb(4, 3, 3);">likes his tea prepared. This particular example does double duty; since the teacup in

the foreground

is like a built-in Close-up of the action itself.

The MCU has a fundamentally different tone than a CU does. It may seem subtle when just comparing the two shots objectively, but in context, a CU is far more intimate and subjective, while an MCU retains enough distance from the subject to maintain a disengaged perspective.

A Chemical Process: In this darkroom sequfamily: Verdana, sans-serif; color: black; letter-spacing: -0.05pt;">photographs is detailed

With Whom

There's one more question that you must answer to satisfy your audience's unconscious need to make sense of the information you are communicating. Whenever you have a scenario with multiple subjects, their relative proximity, posture, and the power dynamic between them is an essential story element. With two people, this information is, by definition, contained in a 2-shot.

: 2-shopan style="font-size: 10pt; font-family: Verdana, s"font-size: 10pt; font-family: Verdana, sans-serif;elationship dynamics that

are fundamental<olor: rgb(5, 5, 6);">to making sense of the story you are telling.

Naturally, scenes containing more than two subjects will require other, wider shots to illustrate the relative dynamics of all subjects.

Reflected Beauty: This careful blocking allows for all of the important characters to

be visible in the same shot.

In the shot below, this group shot of all seven women serves as a set-up, and from

here on out in the scene,or: rgb(3, 3, 4);">the shots are limited to 2-shots and 3-shots.

Often you can deal with one pair of subjects at a time, or group subjects into "factions" creating a "2-shot" where the two subjects each comprise multiple elements.

Us Against Them: These two matching angles treat the pairs of characters pt; font-family: Verdana, sans-serif; color: rgb(5, 5, 6);">Putting it all Together

Remember it's not just about including all of these different shot types in your sequence, but about anticipating which questions your audience will be wondering and answering them just before they bubble up to the viewer's conscious mind. By the time other guy?" you've already lost them.

Understanding Shot Sizes While nothing terrible will happen if you

make up your own names for things, it can be helpful to use a standardized terminology for basic shot sizing. The following graphic described the most common framings for a single human subject.

The Full Shot (FS or LS) contains the whole human body. It's considered bad framing to cut off someone's feet. The position and stature of someone's feet communicates a lot of information. (Are they standing firm? Teetering on one side? Shuffling?) Simultaneously, this shot identifies where the subject is located.

The Medium Shot (MS) should comfortably include the pelvis, but not the knees. A lotrom the pelvis. Cutting a shot off at the waist is an awkward middle ground between an MS and an MCU; we're further away, so facial expression is harder to see, but withohe MS is typically used to show what someone is doing.

The Medium Close-up (MCU) includes the whole upper carriage like a traditional bust. The way someone holds their shoulders and back conveys a lot of information about their character. An MCU is far enough away to give the subject a respectable amount of space, but close enough to see their face.

The Close-up (CU) should be significantly tighter than the MCU, typically including the collar, but not much of the shoulders. The emphasis here should be on the facial expression, not on body movement. Because the CU is all about the subject's face, it encapsulates their identify, which is why it's the perfect shot to answer .

The Extreme Close-up (ECU or XCU) [not pictured] could be a very tight framing around a character's eyes, mouth, or some other individual detail. As described above, generally the ECU is a way to get "inside the character's head." This is just as true for interviwees as it is for superheros or ingénues.

Expanding Your Vocabulary

As you increase your cinematic vocabulary, you learn to recognize how different shots answer different questions. And there are more than just those six basic questions but that's where it all starts. You can also think about how certain shots can be used for different purposes. For example, certain shots can serve as Establishing shots, Reaction shots, Inserts, Cutaways, POVs, and so on.

Establishing Shots are used to identify a location and have traditionally been used to introduce a scene. While most commonly they are Wide Shots or Long Shots, sometimes a small familiar detail can serve as an establishing shot. For example, if you cut to a new scene, and begin on a CU of a blinking "Code Blue" light, you quickly inform the audience that you're in a hospital.

Feeling Friendly: The scene that follows this shot all takes place inside the hotel. We never need to see this outside shot again unless we return here later in the show.

Reaction shots are usually just close-ups of a specific performance showing a subject's reaction to a particular event. Often a reaction shot can be stolen from a different take, or even a different scene. There are many stories of an editor finding a few seconds of footage of an actor with his guard down after the director called cut, and using that clip as a reaction somewhere else in the scene.

What's fascinating about a reaction shot is that it only takdiv>

generate entirely different emotions in the audience depending on what it is that is being reacted to. Russian filmmaker Lev Kuleshov famously explored this concept in the early 20th century.

Inserts and Cutaways, are invaluable to an editor trying to cut around problems in a scene, or trying to cut some time out of a sequence. Inserts are CUs of objects that have already been seen within a scene, such as a wine bottle or a gun. Cutaways are similar, but the subject of a cutaway is something that has not been seen in any of the other shots. For example, in a scene set in a park, you might cut away to a shot of dogs frolicking, even though we've never seen the dogs before. In another location a cutaway might be a clock on a wall, or other diners in a restaurant.

Have a Cupcake: An insert of the camera-case lunchbox is need to emphasize how

extreme a photography

geek this character is. The action of picking up the cupcake provides the perfect

opportunity to cut to it.

Note also, that the angle on the insert is the POV of the character.

icks up the wine bottle in the wide shot, that's the only timeays can be used almost anywhere you need to escape from the main action. Of course, the more craftily and elegantly you work the cutaway into the scene, the smoother and less distracting it will be. So, for example, if there was a moment where an actor looked off screen, that might be a perfect time to cut to those frolicking dogs; thereby creating the impression that it was a point-of-view shot (POV).

There are many other shot types and uses you will learn as you gain more experience. And just like learning any other language, the more expansive your vocabulary, the more precisely (and more eloquently) you will be able to communicate. Don't forget also that shots are dynamic and change, a single shot can transform from one type to another through a camera move or through blocking.

Using Verbs

If you think of shots as nouns, you can think of edit points as verbs. Every time you move from one shot to another, you have a variety of choices about how to connect the two elements. You can choose a continuity cut, where the time and action remains continuous across the two shots; you can employ a jump cut,, where time or space is deliberately mismatched; you may make a scene cut, where you transition from one location or event to another; you can use a cross dissolve to simulate time passage, or perhaps a transition from one mental state to another, and so on.

Remember that ultimately your goal is to communicate a story by controlling the viewer's point of focus. Every time you must end one shot and begin another, you create an opportunity for your audience to disengage, so great care must be made in maintaining focus across those transitions.

Rules of Grammar

I know you may think I'm taking this "film as language" metaphor a

little too far, but the truth is, it's not a metaphor. It literally is a

language, albeit, not a literal one. It's a visual language (and don't think that all the audio elements that go into constructing a sequence aren't just as important, but that's another article entirely).

Just like increasing your vocabulary helps you communicate more effectively, so does learning the common rules of grammar. Most of these rules are intended to hide the artifice of filmmaking so your audience isn't distracted by every cut, or off wondering about how the film was made instead of just getting immersed in the story being told. Now don't worry, just like all rules, sometimes they only exist to be broken, but a broken rule only has value by standing out while you follow them the rest of the time.

Every Shot Must Provide New Information

Perhaps the most fundamental rule of editing is that you should only cut when you absolutely must. The only reason you should cut at all is when moving the story forward requires information not present in the current shot. For example, if you're watching an MCU of a cop who pulls a gun out of his holster, and you can't see the gun in that MCU, you would need to cut to a shot showing that critical story element. If you were on an MS in the first place instead of the MCU, you might not need to cut at all to see the action. However to know whether the cop is frightened or furious or making a joke, you very well might need to cut to a CU.

If instead, you had a single shot that started out on his face, then tilted down to show the gun, then back up to see his reaction, you very well might not need to cut at all, at least until you wanted to see who or what he's pointing that gun at.

Cut on Action

Because every cut is an opportunity for your audience to stop thinking about your story and start wondering what they're going to have for dinner, or where they parked their car, or whether or not they have to use the bathroom, or a hundred other possible distractions, you need to do everything you can to keep them watching across that edit point.

One of the best ways to do this is by using action within the frame to motivate and to hide the edit itself. The action within the frame can be very subtle; if a person simply moves his eyes and looks a different direction, that might be a perfect frame to make your cut, provided that the other side of the edit reveals what it is he just looked at.

Follow the Eyeline: In this scene, the sound of a car crash prompts the character to suddenly look up,

providing a perfect cut point for his POV of the fender-bender below. Note that this also an example of a

cutaway; the fender-bender is in the environment, but was never seen in any prior shot.

Experienced editors are constantly making tiny mental notes of every such action in the footage they have to work with. Head turns, hand movements, eye glances, these are an editor's saving graces, because they provide a reason for the viewer to keep watching after the cut is made. Be sure to make a note of them!

Passing the Buck: One character passes his driver's license to the other, allowing

us to cut on the

movement of the ID card to the reverse needed to show the next story beat.

Tying Things Up: In this example, the action of tying the scarf provides ample

opportunity to cut back

pt. The idea is to keep the viewer's attention, so if they're watching the movement within the frame and that same movement continues on the other side of the cut, they won't notice the edit-even though the perspective has changed and even though the two shots may have been shot on different days, the continuity of action will make your edit seem perfectly fluid, in fact it will make it invisible.

If the speed of the action is different in the two shots, this makes your job a bit harder, and you may need to experiment with rolling the edit

What is least desirable is to make the cut before or after the entire action takes place; as that undermines the whole point of cutting on the action itself. If the speeds are so different that this is your only choice, you may be better off looking for an entirely different action to cut on.

Split Edits Whenever Possible

Another way you can effectively hide your edit points and keep your audiences' attention rapt is to offset the audio and video edits to create a split edit.

This way, the audio is continuous while the picture is changing and the picture is continuous while the audio is changing, giving the viewers something to follow along with, even while the other component is changing.

What, No K Edit?: There are two types of split edits, video leads audio and audio leads video. Because of the way the tracks look on the timeline, these are commonly called L-cuts and J-cuts.

While splitting your edits in either direction does achieve the desired goal of maintaining some level of continuity across the edit point, in practice, I find that J-cuts are used vastly more often. This makes sense if you think of it like this: First the audience hears something new, and just as they wonder what caused that new sound, you provide the answer with the new visual information.

edits are most often thought of as a tool for editing dialogue scenes, I believe there are very few situations where you shouldn't at least explore whether splitting your edits might smooth out otherwise choppy edits.

Matching Angleslor: black; letter-spacing: -0.05pt;">Another general rule that aids in hiding edits is to match shot types, CU to CU, MCU to MCU, and so on. One of the most important asg at one another), but even when cross-cutting between two dissimilar scenes the smoothest edits will be ones where the overall composition of adjacent shots is similar or reciprocal.

A Match Made in Heaven: These two shots are perfect reciprocals of each other. Notice the exact same

amount of "shoulder" in the foreground of each, and perfectly matched eyeline. The camera crew probably

measured to make sure the camera was exactly the same distance from each of them and the same lens was used.

Furthermore you should strive to match similar or complementary lens choices whenever possible. Cutting between two shots where one is shot with a wide-angle lens and the other is shot with a telephoto lens (even if they're both MCUs) will be far more jarring to the viewer than matching shots photographed with the same lens.

Mismatched Shots: While technically both shots are CUs, one is shot with a long; color: rgb(4, 4, 4); letter-spacing: -0.05pt;">lens and looser framing

and the other with a wide-angle lens and very tight framing. One is also dirty

meaning that part of the other

player is visible in the foreground. Cutting from one to the other creates an

unnatural juxtaposition that

threatens to pull the viewer out of the story.

Similarly, if one shot has been filmed at a high angle, the ideal reciprocal shot should be shot from a corresponding low angle. This is most obvious when the lens angle is motivated by the physical blocking of the actors (so the lehe use of low or high angles is done for subtle subjective reaype:section-break" />

Don't Jump!: No jump cut is required here, since you've got two perfectly matching angles, one very low

angle, and one very high angle. The movement of character's arm gives a perfect cut point between them.

In addition to matching similar angles, it's also important to match moving shots to moving shots and static shots to static shots. If you need to cut from a pan to a lock-off, be sure to wait until the pan comes to its natural resting point, then cut to the static shot.

The 180° Rule

This is perhaps the most notorious filmmaking rule, and it's something

that needs to be adhered to while shooting, but as an editor, you are often forced to try to fix or work around mistakes made when your production team failed to observe it.

The basic rule is that if people were looking left-to-right in the real space where the scene was shot, they ought to still be looking left-to-right in all of the shots when you edit them together. This might seem painfully obviies of two-dimensional images, it's pretty easy to get yourself turned around, and suddenly one of your actors is looking the wrong direction. While each individual shot might look fine, when you cut them together, that one shot won't cut properly with the shots around it. Sometimes the error is subtle and sometimes it's egregious.

The reason this is called the 180° rule is because you can move the camera angle away from a subject's eyeline by 10 degrees, 90 degrees, even 170 degrees, but if you move it beyond 180 degrees, suddenly the screen direction in the resulting shot will be reversed. The boundary can be easily assessed by imagining a straight line between the eyelines of the two main subjects.

Don't Cross the Line!: In the diagram above, you can see that the blue man is on

the right side of the screen facing left in camera angles

1, 3 and 4, but in angle 2, he's on the left side of the frame, facing right. If you were

to edit this shot into a sequence using the other three

shots, he would appear to be looking offscreen away from the red woman.

While this might seem simple, it quickly gets far more complicated when you have more than two people in a scene, or the people are moving around, or the camera is moving, or any combination of all these things. And God forbid if one of the shots is being filmed through a mirror! Even the most seasoned production crew can quickly get themselves very confused and accidentally move the camera to the wrong side of the line for part of a scene. And then, of course, it becomes your problem.

There are only a few ways to solve screen directionhich will reverse the perspective.

A Safe Flop: Nothing in this shot gives away that it has been flopped.

However, this won't work so well if there's any text or a clock in the frame. Often just the relative position of the walls of the room can make a flop look worse than the original. Imagine a jail scene where suddenly one shot shows the felon outside of the bars!

Look Both Ways: While at first this might seem like a safe shot to flop, there's a

dead giveaway...unless

the scene was suddenly transported from Los Angeles to London.

Fixing Screen Direction Errors Editorially

If you have a different shot where there is no discernable screen

The only other practical solution to working around such screen direction errors is to find a shot where the lens moves across the line while the camera is rolling. Then, from that point forward you can use the footage shot from the other side. But again, you've got to stay there unless you have another shot where the camera crosses back tana, sans-serif; color: black;">Often you have no choice but to omit the bad shot, or in the worst-case scenario where the shot is absolutely essential and you can't cheat your way around the line, you just have to live with it. Chances are, most audiences won't immediately recognize what's wrong, but I can promise you that's exactly one of those moments where suddenly everyone in the theater is unconsciously shifting in their seats, looking down and realizing their out of popcorn. And you know what that means: they're out of the story too.

Mastering these concepts and rules will help you avoid common mistakes and quickly solve potential problems that frequently occur in the editing room. There are plenty more rules and guidelines that can improve your editing, though like all languages, this one is constantly evolving: Idioms get introduced, overused ideas become clichŽd and fall out of fashion, and smart and innovative storytellers will continue to invent new ways to communicate, and those will get copied and repeated and eventually will work their way into the mainstream.

The one rule that supercedes all the others is that if it works, it's right. And if it doesn't work, you need to go back to the editing room. If your test audiences (i.e. your wife and kids) don't understand what you're trying to communicate, try a different approach. Check that you're providing the answers to the six questions, and not dwelling too long on one or another. Storytelling is an ancient art, and one that when done right can stir our very souls. After all, that's why you got involved with this crazy medium to begin with, isn't it?

Michael Wohl is an award-winning filmmaker, instructor at UCLA, author of eight books on editing and storytelling using Final Cut Studio, and was one of the original designers of Final Cut Pro.

The arrangement of everything that appears in the framing – actors, lighting, décor, props, costume – is called mise-en-scène, a French term that means “placing on stage.” The frame and camerawork are also considered part of the mise-en-scène of a movie. In cinema, placing on the stage really means placing on the screen, and the director is in charge of deciding what goes where, when, and how.David A. Cook, in his book A History of Narrative Film, points out how a mise-en-scène is formed by all the elements that appear “within the shot itself, as opposed to the effects created by cutting.” In other words, if it’s on the screen and if it’s a physical object recorded by the camera, then it’s part of the mise-en-scène.

Academically Speaking

Don’t be confused. Mise-en-scène isn’t a production term. Directors don’t walk around saying “Let’s change the mise-en-scène today.” Not at all.

From the craftsmen who build bookcases to the cinematographer who chooses where the lights will go, the mise-en-scène is the result of the collaboration of many professionals. Thus in the production environment, the director is more specific with his requests and orders. Is he talking to the prop master, the set designer, the actors, the make-up artists? All of them are part of different departments. But all of them, in the end, have influence in the mise-en-scène.

In the academic realm, the term mise-en-scène is often used when the overall look and feel of a movie is under discussion. Students taking Film Analysis courses should be quite familiar with the term.

Even though many professionals are involved in its creation, the director is the one who oversees the entire mise-en-scène and all of its elements. Not just that, but during the early stages of pre-production, the director or his AD sits down with set designers, prop masters, location managers, costume designers, and scenic artists to determine the look and feel intended.

yle="font-size: 16px; font-family: "Helvetica Neue", Helvetica, Arial, sans-serif; color: rgb(0, 0, 0); font-weight: 300; line-height: 1.625;">In some instances, the mise-en- scène is designed to evoke emotions that permeate the whole movie. For example in the German expressionist film The Cabinet of Dr. Caligari (1920), distorted shapes and claustrophobic scenery are implemented to disturb the audience and enhance the horror.

Mike Nichols’The Graduate (1967) has been praised by its amazing, c 16px; font-family: "Helvetica Neue", Helvetica, Arial, sans-serif; color: rgb(0, 0, 0); font-weight: 300; line-height: 1.625; font-style: italic; box-sizing: border-box;">The Graduate but also from other pictures.

Set Design

The set design refers to the decor of the the set, or how it’s dressed, comprising mainly of the furniture, props, and the set itself. Instead of just placing objects here and there, the director must be savvy to fathom how these elements may bear significance in a deeper level, while also emphasizing themes, creating meanings, and provoking thoughts.

To illustrate: an early scene from The Graduate (1967) opens with a close-up of Benjamin Braddock (Dustin Hoffman) alone on his bed. Behind him is a fish tank, which symbolically represents Ben’s entrapment in a life that he doesn’t want. Later in the movie, Ben finds himself at the bottom of a swimming pool, thus further elaborating on that concept.

The Production Designer is the professional responsible for building and dressing the set. She works with the Art Director, the Set Designer, and the Prop Master to create and add these physical elements to the filmic space. The Production Designer reports to the Director, and together they conceptualize the look of the film well before cameras start rolling.

In Rear Window (1954), an enlarged photograph placed in the living room offers exposition on the accident that made L.B. Jeffries (James Stewart) handicap:

Unarguably one of the film elements that has the greatest power to evoke emotions, lighting must be manipulated by the director to accommodate his or her desires for the movie. In broad terms, the two types of lighting approaches are: low-key lighting and high-key lighting.

High-key lighting is often seen in romantic comedies and musicals, encompassing an even lighting pattern and avoiding dark areas in the frame. Everything looks bright with little to no shadow at all. High-key lighting has little dramatic effect itself.

Low-key is often seen in horror movies and thrillers, comprising of a lighting pattern that has both bright and dark areas in the frame. The chiaroscuro (Italian: bright-dark) technique, long used by painters, is characterized by strong contrast, often employed to unnerve the audience.

Note that this terminology is counter-intuitive as low-key lighting is high contrast and high-key lighting is low contrast.

Costume

The obvious purpose of costuming is to dress an actor according to his character. Lawyers wear suits, nurses wear scrubs, and a drifter could wear worn out shoes, ragged shirt, and baggy pants.

But, more than that, costuming can also be used to establish someone’s hierarchic level. Regimentals, for instance, bear the status of the person who wears it. And even the color may distinguish an enemy from a friend. In The Good, the Bad and the Ugly (1966), a comic situation arises when Blondie (Clint Eastwood) heads toward the enemy cavalry that was covered in dust. When the enemy general dusts off his sleeve, his apparently gray uniform turns blue, making it obvious that our beloved protagonist was going into the shark’s mouth.

Costuming may also be used to emphasize a theme. In the first scene at the Taft Hotel in The Graduate, Mrs. Robinson wears a fur coat that makes her look like a predator hunting for her prey. Her coat bears a pattern that resembles the fur of a cheetah. Or could it be a cougar?

Location

In (1985), on the day after rejecting Rachel’s (Kelly McGillis) seduction, John Book (Harrison Ford) explains to her why nothing could have happened between them the night before. Quite conveniently, the confrontation takes place in a barn, while Rachel is collecting eggs. The location emphasizes Rachel’s responsibilities as a woman. If they had made love and Rachel gotten pregnant, she would have to carry the baby and eventually give birth. Also, during the conversation, John stands outside the barn, thus being physically separated from Rachel by the barn’s door. In this case, the door functions as a metaphor of the social and cultural barriers that keeps them a part.

final confrontation in The Graduate takes place in a church. Ben tries to prevent Elaine (Katherine Ross) from getting married, but he arrives too late. Nonetheless, when Elaine sees him, she sprints to him, and they run away. When the couple is cornered by infuriated parents and relatives, Ben starts swinging a cross to avoid them. As they exit, Ben uses the cross to hold the church’s doors shut.

The prop (cross) and location (church) offer a comment on religious institutions, perhaps implying that Elaine’s parents are trapped by traditional believes and practices.

For the Future Directors, With Love

As you know, the director on a set has final word on all the creative elements, which means many of your crew members will stop you and ask for approval on this or that: Is the blond wig okay? Can we shoot on top of the building? Can we place the sofa under the window? Where’s is the restroom?

Some of these questions may or may not be the questions you are willing to answer at the time, but remember: everyone is just doing their job. The important thing is to not get overwhelmed and snap at your crew. They are all there for you, working on your film.

If you are on an well-oiled set, your Assistant Director (AD) will be the last barrier before people get to you. He or she will try to answer as many questions for you as they can. And if your AD doesn’t know the answer, at least he or she will be able to prioritize and let you know what needs immediate attention.

Filed Under: Directing

Tagged With: Amadeus, Directing, German Expressionism, Mise-En-Scene, Production Designer, Rear Window, The Cabinet of Dr. Caligari (1920), The Graduate

Gregory Lewis

When I tell fellow post-production professionals that I edit animation, the most common question I get is, “So, do they just give you handles on everything?” It’s an understandable question for anyone working in the live-action world, but it’s a sign that the role of animation editors isn’t well understood.

Ken Schretzmann, editor of Toy Story 3 and Cars (among many other animated features), once described it this way: “In live-action, you shoot first and edit later. In animation, you edit first and shoot later.” And he’s absolutely right. Compared to live-action editing, animation editing is upside down.

Before the first frame is even drawn, animation editors are already deeply immersed in the process of cutting their stories. Of course, live-action editors often go to work before shooting begins, but the art of animation editing is unique in its own right.

In this article, we’ll explore the three main stages of editing animation, and see why animation workflows are so unique in the film and television industry.

Radio play

Editorial of an animated production generally begins after the voice actors record the script. In some cases, each actor records their lines individually, but there are also “cast records” where all the voice actors are in the studio together.

In my experience, cast records produce the best results. Being in the same room lets lead actors play off of each other’s energy and improvise in ways that aren’t possible when they’re alone in a soundproof room. It is sometimes a challenge to get high-demand talent together in the same room, especially if the production has a fast-paced schedule, but it can produce some of the most memorable performances and relationships in animation.

After all the audio is recorded, I start by editing the radio play, an all-audio version of the script. It consists mostly of the dialogue with a few key sound effects and music. And in order to get an accurate runtime, non-dialogue actions are also slugged in.

Beyond simply relying on instinct and experience to estimate how long an action should take, it’s often necessary for animation editors to act out the scenes of the story. For example, my colleagues and I have choreographed fights, vocalized tire screeching sounds, and generally behaved like kids in the pursuit of accurate timing. It’s a necessary task that adds quite a bit of fun to the process.

But the real work comes with crafting actor performances. This is an essential function for any editor, of course, but in the world of animation an editor’s options are next level. Without the constraints of continuity and jump cuts, anything and everything that’s been recorded is fair game. Seldom do animation editors choose the “best take” in its entirety. We comb through all recorded material in search of the best sentence, word, or grunt, all the way down to a single breath, in order to piece a line together.

The radio play serves as the basis for the storyboard team’s subsequent work, which is why I consider it one of the most important foundational steps to launching an animated production. It’s the point in the process where you’re working with story, performance, and timing in their raw forms and can really evaluate the best deliveries from the actor(s).

It’s also the easiest place to make story or plot changes, in that anything can be rewritten and recorded—before the animation has started. The further an animated show gets into the production process, the more changes ripple down into other departments.

When preparing a radio play for storyboarding, it’s really important for the editor to hone the timing as closely as possible. Removing excess content helps prevent the storyboard artists from wasting time creating drawings or elements that will never make it to the final cut. Cutting an extra second from the radio play can save subsequent teams hours of unnecessary work.

Animatic

Of all the stages of production, animatics come with the largest variety of names. Storyboards, story reels, boardomatics, and leica reels are all synonyms for what I’ll just refer to as an animatic.

The animatic is essentially the rough cut of the story that the animation will be based on. Camera blocking, character action, and design are all explored in these rough drawings. It’s a period of boundless creativity where nearly every visual element of an animated production is experimented with and ultimately decided on by the team.

In general, storyboard artists create the drawings with the director, typically using a program called Storyboard Pro. This program is a favorite in animation circles, as it allows artists to roughly time out action as they draw new storyboard panels.

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Those images are then delivered to editorial as JPEGs with an XML file that lets me start my edit with the storyboard artist’s timing already in place. On average, I expect to receive about 2000 separate JPEGs per ten minutes of content. Below you can see an image of a timeline encompassing one minute of a standard animatic.

;">Timing and pacing are everything when editing an animatic. You’re not just editing in and out points of a shot, but also determining the flow of action in between.

Because animatics are simply a guide for animators to begin their work, aesthetics are less important. The goal is to always create an animatic that, in addition to providing a roadmap for the animators, also enables flexibility in post-production. To ensure this, here are a few rules I always follow:

• Have every line of dialogue delivered on screen. Even if I plan on using L cuts or overlapping edits, I generally save those for post-production, because if you build them into the cut prior to animation and decide to adjust them later, you might find that you don’t have the necessary frames. The same goes for dissolves, wipes, or post effects like camera push-ins.
• Edit at a slower pace than seems natural. Animatics are simple. Your eye quickly absorbs all the content on screen. But as those scenes move through the animation process you’ll notice each extra layer of detail appears to speed up the pace of your edit. To compensate for this, I like to leave just a little extra time on everything, knowing I can cinch things up in post-production. Generally speaking, I try to leave four frames at the head and tail of any shot with dialogue, and never less than two seconds for an establishing shot.
• Rely on SFX and music as much as visuals for story and timing. Sound effects and music can reinforce actions or feelings in a storyboard and even help fill in detail. Animation editor Judith Allen highlighted this unique process in animation by pointing out, “In live-action filming, every action on set is accompanied by the corresponding sound. Often these are replaced or enhanced, but the sound is there and used within the rhythm of the cut whether consciously or unconsciously.”

With a locked animatic and all designs complete, animation begins. There are many interim stages between animatic and final animation, but the editor’s involvement may vary.

Post-production

After each shot is animated and delivered to editorial, post-production kicks off. Many of these steps mirror that of traditional live-action with picture locking, scoring, and even color correction, but there are some animation-specific twists.

Editing Animated Footage

On every project, I’ve edited there is at least five percent more footage that’s fully animated beyond the intended run time. The extra footage provides the flexibility to further refine the content through editing. Just as you’d expect in any editorial process, unnecessary shots and lines of dialogue may be cut. And I can go back to all those edits I may have kept a little looser in the animatic phase to perfect the pacing of every scene. But where animation editing truly departs from live-action is the editing within a shot.

Animated footage is actually more malleable than you might expect. The basic concept of animation you have to understand to unlock this potential is what I’ll refer to as animating on 1s, 2s, and 3s. Those numbers refer to the frame rate at which the action moves. A character that’s animated on 1s means that there is a distinct drawing (or CG animated frame) for every frame of their action. On 2s, there’s one drawing that’s held for two frames; on 3s, each drawing is held for three frames. All end up looking acceptable to viewers, so the editor can shift between them for stylistic effect. For example:

A workflow that video teams love - finally

EXPLORE FRAME.IO

• Larly, you can even pull every other frame of an action animated on 1s to speed up the action.
• Conversely, taking an action animated on 1s and duplicating every frame makes the action slower without the interpolated motion look of a slow-motion filter.
• There’s also a way to create eases and acceleration. Key-framed animation tends to move linearly, meaning a constant rate of motion between the start and end position. This type of movement isn’t always natural, though. Pretend you’re waving goodbye to someone. Your arm doesn’t move linearly throughout the action. It gradually speeds up, moves faster in the middle of the motion, and then eases into rest momentarily before beginning the sequence again.

By applying this concept to animation, an editor can introduce more natural movements to a shot that’s already been animated. An action animated on 2s can be edited to 1s in the middle of an action, to imitate the ramp-up. An action edited on 1s can be slowed down to 2s at the beginning and end to give the illusion of easing from a start or to a stop.

All of these techniques are extremely helpful when creating a consistent rhythm for actions moving across multiple shots. The reality is that animators often work on a single shot at a time. A car chase could be animated by as many people as there are shots in the scene. By using these techniques, the editor can create a flow and rhythm that might not have been in the original animated frames.p: 1em; margin-bottom: 1em;">In retakes, we modify the animation for any number of reasons. Revising character animation, fixing technical errors, and adding new lines of dialogue can all occur at this stage. Despite going through a thorough animatic process, it’s hard to know what you have until you see it all together. Very rarely are the shots you see in an animated film or television show the first pass the editor gets.

That’s why I find it helpful to keep every version of a shot on my timeline until after it’s been finaled. Keeping track of countless iterations of each shot requires obsessive detail, but actually speeds up my workflow. I can easily compare versions of shots to see exactly what’s changed or improved. If there are better parts in different versions, I can combine them to create the best version. Here’s an example of what one of my timelines might look like throughout the retakes process:

A unique role

It takes hundreds of specialized artists and technicians tnto a very focused, hyper-specific portion of a production.

Editors who work in animation occupy a unique role, however. The editor is one of the few individuals whose job it is to consider every element within the context of the complete episode or movie, to observe how all the pieces fit together, and to use them to create the best possible final product.

And that’s the big difference between animation and live-action editors. We don’t work in a separate “editorial department” of the production. We’re part of the core team responsible for the story months or years before production even begins.

le="font-size: 16px; font-family: "Helvetica Neue", Helvetica, Arial, sans-serif; color: rgb(0, 0, 0); font-weight: 300; line-height: 1.625;">An establishing shot introduces a new location – a church, a city street, a rooftop, a hospital room – from a vantage point that allows the audience to see all the relevant characters in the filmic space. A master shot would probably be recorded from the same position, with the same lens, also showing all the characters. The difference is the duration. A master shot records the entire action, a complete run-through from that same camera position. This way if a tighter shot is forgotten or messed up during coverage, the director knows her editor will have enough material to show the scene in its entirety by cutting back to the master shot. In most movies, an establishing shot will last a few seconds before the editor cuts to medium shots and close-ups. However, if for someone reason the director decides that the cuts are not good enough, he may use the master shot of a scene to show the action unfold, in which case there would few to no cuts in that scene, which can a be a pleasant style.

EDITING CONNECTION: Why Would a Director Opt to No Cuts?

I can already hear some of you asking that question. There are several purposes why that may be the case. For starters, a scene without cuts or edits keeps the viewing distraction-free, which can be great for tense scenes.

Have you seen Hitchcocks’ Rope. That film is in my opinion one of Hitchcock’s finest pieces. In Rope, there are two obvious cuts throughout the film. The other cuts are hidden in smooth transitions. This technique does wonders for the most suspenseful scenes in the movie by locking the audience to specific camera setups, which is not what we as movie-watchers are used to.

Another reason for that choice is budget constraints. If planned ahead of time, fewer cuts could translate to fewer camera setups, which could translate to fewer days of principal photography, which is amazing for the budget.

Sling Blade (1996, Billy Bob Thornton) comes to mind. This film, which was reportedly shot for 1 million dollars ( pocket change for Hollywood standards), uses a lot of lengthy master shots to show the action of a scene. And if you think that fewer shots means a poor movie, think again. Sling Blade went on to gross almost 25 million dollars and earn an Oscar f0r Thornton’s screenplay.

To a sense, master shots are usually part of cinematography terminology because they should be standard practice for every new scene. Establishing shots, in the other hand, refer more to the editing phase of the movie, when the editor selects one quick angle to reveal the location.

Also, note that an establishing shot doesn’t necessarily mean that we see the character’s full body. Basically, the establishing shot displays the elements needed for the scene to function.

A Stroll Down Memory Lane

During the first years of cinema, the most common type of shot was the long shot. Back in the 19th century, when cinema was still young, there were no filmmakers; there were only camera operators. These operators were interested in landscapes and locations because that’s what the audience wanted – to be transported elsewhere and see something new. The camera (then called the cinamatographe) was traveling to distant countries and capturing exotic images around the globe. Close-ups were rare.

When impresarios (arguably the first filmmakers) decided to use the cinematographe to record scripted stories, establishing shots became common. Establishing shots were preferred because the camera would record scenes with a similar vantage point as theater audiences have in plays. In those times, the film grammar, which incorporates, among other things, editing and shot variety, hadn’t been developed yet.

It wasn’t until D. W. Griffith came along that medium shots, close-ups, and insert shots were understood and used effectively. D. W. Griffith changed the game because his films abound with shot variety, as he knew the different purposes of the shot sizes.

Full Shot (FS)

A full shA full shot distances the character from the viewer both physically and psychologically. They carry less emotional weight, and therefore they are not the best choice during emotional scenes.

Whenever the director wants to convey someone’s anger, fear, or joy, close-ups are way more effective. A full shot would be more appropriate during a character’s entrance or a foot pursuit, for instance.

Medium Shot (MS)

Medium shots are the most common types of shots in the movies. Showing most of the subject’s body, medium shots are halfway between long shots and close-ups; however, authors disagree on the definition. While some writers say that the medium shot shows the character fa closeup. Also, composition guidelines suggest that frame lines shouldn’t cut the actors on the joints, so as long as operators avoid knees, waists, elbows, etc., the framing shouldn’t be a problem. In other words, just go a little higher or lower with the framing to avoid the joints.

The medium shot also includes two other famous shot types: The two-shot, with two actors facing the same screen direction, and the over-the-shoulder shot, showing a conversation in which the actors sit or stand across from each other:

To record medium shots, a normal lens* should be enough. Ad: 24px; font-family: "Helvetica Neue", Helvetica, Arial, sans-serif; color: rgb(0, 0, 0); font-weight: 400; line-height: 1.2;">Close-Up (CU)

In close-up shots, the subject occupies most of the frame, allowing very little observation on the environment. Close-ups are much more dramatic than long or medium shots. They are preferred when emphasizing someone’s emotion:

Extreme Close-Up (ECU)

Often labeled as a detail shot, extreme close-ups do exactly that: show a small detail that would otherwise be missed in a winder shot.

For close-ups and extreme close-ups, telephoto lens* are more appropriate.

Insert Shots

Insert shots don’t focus on people. They are utilized to emphasize a relevant object, such as a letter, an envelope with money, or a gun that would otherwise be lost in the grand mise-en-scène. Insert shots are tight shots in which objects fill most of the frame. Even if inserts don’t reveal anything new, they are still welcome during the editing phase, as they smooth transitions between shots, often serving as a neutral shot that allows a breach of the 180 degree rule.

Reaction Shots

Simply put, reaction shots are a cutaway – usually a close-up – of an actor reacting to the main scene, like a conversation or an event, though it can be pretty much anything.The reaction may be conveyed by a sneer, furrowed browns, a grin, or any other gesture that conveys an emotion.

The logic of the reaction shot is that the emot26px; padding: 0px;">

On Purpose

Besides the obvious purpose of showing different elements of the mise-en-scèneCinematographers should know by heart how the relationship between focal length (types of lenses) and camera-subject distance affects framing, and thus creates the different shot sizes. A true filmmaker, aside from understanding these basic technical concepts, must also comprehend the emotion, purpose, and meaning behind each type of shot.

* Further Reading: If you are confused by all the different types of lenses (i.e. wide-angle, telephoto, etc.) I mentioned on this page, then read our article about focal length here for further clarification. If questions persist, please don’t hesitate to contact me.

Filed Under: Cinematography

转载自https://wolfcrow.com/ 作者Sareesh Sudhakaran

我们都经历过忘记如何用镜头覆盖一场重要的对话戏或者一段动作戏时所处的巨大压力。

别担心!本指南包含三套镜头系统，你可以随身携带在手机上让这些镜头系统为你的得力帮手。

我拥有17年的拍摄制作经验，主要参与电影，短片，广告和纪录片的摄影工作。每当我脑子一片空白的时候，我就会回想起这本指南。而且它总是有效的!

让我们开始吧!

BBC镜头系统

英国广播公司BBC开发了一套培训视频制作人员的系统，这套系统的核心是如何快速用不同类型镜头覆盖拍摄场景。他们总结了五种镜头的方法，但我又增加了一个。所以，你需要共有六种镜头就可以覆盖不同类型的场景。

覆盖的目的是为了获得足够的镜头以供剪辑的时候有更多细节角度去讲故事。可事实上每次拍摄结束后人们才抱怨没有拍摄到足够的素材。

以下是我总结的六种镜头：

1. 特写镜头
2. 过肩镜头
3. 动作镜头
4. 广角镜头
5. 其他角度镜头
6. 插入镜头

为了读者更好的理解，我使用电影截图来说明，这是一部关于印度拉达克铁匠的纪录片，虽然是纪录片，但完成符合质量的拍摄并不是一件简单的事情。我采访了三个工匠，他们还在使用马上失传的技艺。而且当时，我只有一次机会拍摄到这些镜头：

1.特写镜头

2. 过肩镜头（OTS）

当时他们都背对着墙坐着，所以我没能得到一个合适的过肩镜头（OTS）。我不能站在他们身后，因为那会破坏他们的私人空间，这对纪录片来说是一个不利的情况。如果你也碰到这样狭窄空间怎么办?下图就是解决这个问题的方法:

edia hash="c1b22ae9361cbe2ae75671c734e3e="font-weight: bold;">3.动作镜头

这种镜头可以是近景或中景，但你需要用灵活的构图分离出动作。尽所能试着多角度拍摄动作镜头，就像下图所示用了两个角度拍摄同一动作。

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更多动作镜头：

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动作，但是他们所做的一切都可以反映他们自己在那个时刻的思想和情感。

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下面这个镜头展示了这个人，以及他的这个动作和它们周围的环境。在保持有意义有美感的前提下拍摄一个尽可能广角度的镜头。

5. 插入镜头

我还发现拍摄中需要一些切出或者叫插入镜头，这样你可在对话或访谈中插入这些镜头。这些镜头会丰富和增加故事的深度和细节。7e1b" type="image/jpeg" />

6.其他角度镜头

有时拍摄时退后一步，就可能以一种完全不同的方式展现相同的场景。一个广角镜头会给你一个独特的视角：一个完全不同的角度。确保这个镜头与另一个镜头至少有90度夹角，或者确保两个镜头在不同的位置拍摄。

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案例中这个镜头的目的是提供了另一个视角：将老铁匠放到了一个独特的角度去展现他们，这样增加了这个角色的深度和更多的细节。

从这个案例得到启发吧！

下一个拍摄公式是什么呢？

以下是这五种镜头：

1. 主镜头(广角镜头，每个人都在构图里)
2. 中景镜头(一个或多个人在构图里)
3. 特写镜头
4. 过肩镜头
5. 插入镜头

提示:拍摄时尽量保证以上所列的这些镜头都有。最重要的镜头(可能是最困难和花费经历最多的，时间往往消耗到灯光布置，设计走位和执行)优先拍摄完成。通常，这个镜头就是主镜头。

1. 主镜头或叫广角镜头

一个镜头如果覆盖了所有的动作，那么就被称为一个主镜头，否则只是个广角镜头。在剪辑的时候你可以将主镜头分开在不同的地方使用，但一场戏你至少得保证有一个展现全部动作的镜头。好莱坞高成本电影可以不光拍摄一个角度的主镜头，还可以多个角度拍摄主镜头，独立电影人则负担不起只能选择一个角度拍摄主镜头。

如果你想拍好主镜头，需要问问自己:哪里是最好的位置和角度，是否可以看清楚所有的动作，并且镜头是否可以覆盖这些动作?

以下是电影《宿醉》中的例子，导演是托德·菲利普斯(Todd Phillips)，这是迈克·泰森(Mike Tyson)主演

的一场戏，这个镜头不一定就是主镜头，但它是一个广角镜头。

下图是这场戏另一个角度的主镜头(镜头可以按任意顺序剪辑):

2. 中景镜头

一旦主镜头完成，就开始拍摄中景镜头。中景可以是两个人(“two -shot”)或者三个人(“three -shot”)，或h="baf17bc2b3a9b4085270f7f915a9cc18" type="image/jpeg" />

演员们在中景又将重复一遍完整的表演。不在画面构图中的人则会单独拍摄，但是要和其感。

当然，中景镜头之外可能需要反打镜头(称为“reverse shot”)，让观众看到角色在跟谁说话:

3.特写镜头

特写镜头是用来排除干扰信息的，通过特写镜头观众会只关注角色本身说的内容。虽然不是必须拍摄这些特写镜头，但有些导演坚持这么做，下图是迈克泰森的特写镜头:

头(也称为“切出镜头”)，就和BBC镜头系统一样。有时你需要关于细节的信息或只需要一些切出镜头使跳切变得流畅。在这个场景里没有插入镜头，但第二个镜头是一个切出镜头:

你需要多次重复以上系统提到的准则，并且多去练习拍摄素材。一个简单的典型双人对话可以包含7到10个镜头。这样的好处是导演得到了更多剪辑的可能性。通常一个镜头不可能营那时候我决定使用好莱坞镜头系统来覆盖这个场景：

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这个场景花了我一整天的时间来拍摄。这是我拍摄的第一部电影《不可能的谋杀》。

长镜头系统

这是我最喜欢的拍摄方式，也是最难拍摄长镜头！

我很确定你的时候就无法挽回。

真的需要优秀的工作人员和演员才能完成长镜头的拍摄。一场戏的时间越长，难度越大。最好的学习方法是研究电影大师，特别是奥森威尔斯。

嗯,就是这样!三个镜头系统绝对能让你成功的学会如何用镜头覆盖一个场景。保存此备忘单到手机上，不用再害怕了。

现在就去拍一个对话场景吧!

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First version of this page 23/3 1997

hash="05932c2ada7cec3bffe27529ac1a8cdb" type="imag 17px; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; background-color: rgb(255, 255, 255); margin-top: 1em; margin-bottom: 1em;">Introduce people with long shots and mid shots.

Then use closeups to show their expressions.

These shot sizes are explained in more detail here.

Make sure you use different camera positions around, above or below the subject as well. If you shoot everything from the same position the camera will appear to ‘jump’ forward. There’s more about this, and other continuityrules, here.

Starting with closeups 从特写开始

You could go the other way round.

idth="320" />Start with a closeup, or a series of closeups.

This is a good way to add anticipation, and maybe mystery, to a scene.You could go the other way round.

Then cut to mid and long shots to show the bigger picture.

This is a good way to add anticipation, and maybe mystery, to a scene.