Assignment 4 reflection 4
Cut between scenes
A movie has to go through three births: script writing, shooting and editing. As an editor, I can see the progress of the narrative at a glance, and deal with countless possibilities: can I get rid of the play just now? Next 3 minutes can jump off; Nesting this period of time into another period of time to link two otherwise unrelated scenarios; It deals with the overall structure: the pacing and the moral tone of the film. These questions can be distracted by a thousand factors, ranging from speed to ambient noise to how the main character’s opponent exits a conversation. In fact, there are always going to be a lot more footage produced than the final film, on average 25 times more. The editor has to sort out the best material from a sea of material and put them in the right order. Ideally, the construction of a film is a harmonious combination of all the hidden patterns in sound and picture materials, such as the arrangement and interpretation of different musical themes in a symphony. Film editors in the early days were mostly women as far back as the era of silent films. But after the sound, the electricity, the engineering, the women left. Talented directors decide what to accept and what to exclude in order to protect a common vision. It falls to the editor to actually look at all the material the director has produced, to sort it, to evaluate it, to rebalance it, and to write specific notes on some minor details. Editors must make the best use of the hands of all materials, must be in the display of the material at the same time, in a natural, exciting way to present the layers of idea of the film, the audience is easy to grasp, the mysterious when it’s mysterious, the popular time to (micro level, decided to stay in each shot the exact length; Macroscopic work involves reconstructing the scene, reordering the scene, and sometimes cutting out the subplot entirely.) . Film editing has its deadlines, and an idea has to come up. Editors should try their best to look at the problem from the perspective of the audience and avoid seeing the actors take off their costumes or out of the role, as well as the scene. The more we focus on exploring the emotional aspects of things, the more we focus on the metaphorical power of sound. Reality can only go so far, further down, must go beyond reality, beyond the viewfinder. The design of the structural relationship of the lens and the choice of where to end the lens are related to the rhythm and balance of the material up to the present moment. The invention of the film can not only be seen in the invention itself, but also in the social and cultural environment around it. Movie music is always written after the fact, and composers simply react to the action that is filmed and edited. There is an interactive, feedback relationship between script, music and film, each enlightening, perfecting and influencing the other. Such dynamic relationships do not exist in most traditional filmmaking processes. Even the most brilliant script, in which the characters are deeply flawed in their characters, gives them a certain impartiality, both emotionally and intellectually, as an editor. This is complex and dangerous, and cannot easily be ignored.