The King of Directors 2000

Chapter 507 Li Da Dao’s Teaching

At 2011 a.m. on March 3, 2, there was a rising sun in the sky over Yanjing.

The warm sunshine was shining down.

The spring breeze carries the aroma of earth and flies freely over the city.

At the headquarters of Fenghua Film Company in Liangmahe Building, Li Shengyao and three editors, as well as Dapeng and Bi Gan came to the editing room. He then began to instruct the three editors on their work.

As for Dapeng and Bi Gan, they were sitting in the corner, quietly watching how Director Li edited.

They had long heard that Director Li edited very quickly, and both of them were very curious.

"1937" is said to have one shot to the end, but at least before Lee Sheng Yew's time travel, no one could make a 110-minute feature film with one shot to the end.

It's impossible for Lee Sung-yew to do the same. "1937" is just a fake shot to the end.

What this "fake" one-shot means is to use some magical editing techniques to make the movie look like there are no editing points. Ordinary laymen can't see the flaws and think that a 110-minute movie was shot directly.

And now Lee Sheng-yew has to teach these three editors to hide those editing points.

Ten days later, Li Shengyao and his team completed the editing work.

Director Li was in high spirits, and the three editors were relieved. However, Dapeng and Bi Gan looked confused. They had no reaction at all and did not understand how this so-called "one shot to the end" was formed.

They obviously watched the entire editing process, but they couldn't understand the reason.

Bi Gan had a straightforward temper. He took a deep breath and then asked directly: "Director, how did you hide those editing points?"

Most of the movies are long shots, ranging from 3 minutes to 8 minutes, with a total of 22 editing points. As a result, Lee Sheng Yew completely concealed these editing points.

When Li Shengyao heard this, he was slightly startled, and then looked over, "Don't you understand?"

"We...we didn't understand."

Dapeng lowered his head in shame, while Bi Gan was very magnanimous.

Director Li did not hide his editing method when instructing the editors. If you are a talented person, you should be able to see it at a glance.

Now it seems that, at least in terms of film editing, Dapeng and Bi Gan have average talents.

Dapeng was silent for a moment, then raised his head and said, "Director, can you explain it to us? We must study hard."

There was shame, expectation, and some anxiety in Dapeng's eyes.

He really wants to improve.

Li Shengyao smiled when he heard this.

"1937" can be regarded as a lesson to editors all over the world.

It is indeed not easy to hide the splicing points, but it is not a secret that is not told. Not to mention the editor, a seasoned director can tell where the splicing points are.

There is nothing to hide about this.

"Okay, I'll talk to you carefully, let's go outside."

Dapeng and Bi Gan did not expect that Li Shengyao was willing to teach them. They were so excited that their voices changed their tone, "Director, we... we will work hard."

Soon after, the three of them came to Director Li's office. Li Shengyao asked people to pour three cups of tea, and then said: "This movie is all long shots. In this case, compared with ordinary movies, the editing points of "1937" are There are very few, but there are still more than [-] places. There are four main ways I hide the splicing points."

Dapeng and Bi Gan immediately took out their notebooks and pens, waiting for Director Li's instruction.

"The first way to hide the cutting point is to use a black field. After a period of black space, you can cut."

Black scene is easy to understand. It means that the picture enters a completely dark environment. At this time, the screen is completely black, and it cannot be seen even if it is edited.

Dapeng and Bi Gan nodded immediately, and then wrote down Li Shengyao's words.

"The second type is the obstruction. The principle is the same as the black scene. If you use something to block the lens, it will appear to the audience that the lens is blocked. In fact, the lens editing is completed at this time."

Dapeng and Bi Gan then took note of Li Shengyao's words.

This kind of theoretical knowledge is actually not difficult. What is difficult is finding the appropriate splicing point.Li Shengyao continued: "The third type is the fast and blurry lens movement."

The principle behind fast blurring is very simple.

The picture is blurry and the audience is not sure. At this time, it is easier to cheat. If the camera is switched, it is difficult for ordinary viewers to find the problem.

Dapeng and Bi Gan then wrote it down.

However, this trick requires the photographer to be very good, at least to be able to pan the camera skillfully.

This is not simple. Ninety percent of professional photographers don’t know how to do this. Only some talented photographers can pan the camera naturally and without any trace.

Li Shengyao continued: "The last point is the transition of still images."

The principle is actually the same as the fast and blurry camera movement, that is, the camera suddenly stops, and the still picture masks the lens editing. In this case, the audience thinks that the picture has stopped, but in fact the lens has been changed.

Dapeng and Bi Gan wrote down the four key points Li Shengyao said, and Li Shengyao then picked up the teacup.

Dapeng thought for a while and couldn't help but ask: "Director, I watched the movie with you last time. I felt that the quality of this movie was very good. It was different from the movies I had seen before. I didn't even think that this movie was I didn’t think of this gimmick in one shot, I just thought it looked good, it’s different from other movies, it looks good even without the soundtrack, is it because of the long lens?”

The first cut of "1937" was completed, and Li Shengyao took Dapeng and Bi Gan to watch the movie without soundtrack and dubbing.

When Dapeng saw such a "shabby" "1937", he thought it looked good.

Li Shengyao smiled and said, "That's right. Long lenses have some advantages over short lenses."

He didn't mind teaching Dapeng and Bi Gan some film knowledge, and he put down the teacup.

"Generally speaking, long shots are more commonly used in martial arts action scenes and the inner transformation of characters, which makes them more realistic."

"In "1937", the large number of long shots not only add to the realism of the movie, but also create a sense of urgency, crisis, and mission."

After Li Shengyao waited for Dapeng and Bi Gan to write down his words, he continued: "Traditional narrative techniques will have a lot of foreshadowing, ups and downs, constant changes in tension and relaxation, and no sustained sense of urgency."

"And "1937" is produced in a long shot. Two important characters have a task that must be completed within one day. The characters must keep running and keep moving forward without stopping."

"Using a long shot to focus on the first and second male leads can increase this sense of urgency, and the audience will not be easily affected by the emotions of other characters."

Dapeng and Bi Gan nodded repeatedly.

Li Shengyao picked up the tea cup, took a sip of tea, and continued: "The long shot of "1937" has a lot of tracking shots, a single perspective, shooting the male lead and the second male lead from behind, and occasionally taking in some other environments. "

"Give the audience more space to imagine and piece together the surrounding scenes in their brains. There is no God's perspective or a large wide-angle lens. The audience does not know what is going on outside the two main characters, which creates a lot of sense of crisis. It’s easy to have a feeling of danger.”

Dapeng and Bi Gan then recorded what Li Shengyao said. The two of them looked at Director Li like believers seeing God.

"Another advantage is that the protagonist's psychological changes are more coherent. We don't have direct lines or voiceovers to express the hero's psychological changes. However, in long shots, we use more body language to clarify the protagonist's inner thoughts. change."

"This can project deeper emotions onto the audience. The audience will follow the plot and better understand the protagonist's sense of mission."

Dapeng and Bi Gan wrote down all Li Shengyao's words.

Bi Gan had never flattered me before, so he couldn't help but say: "Director, this movie is so great."

Dapeng then said: "Yes, I will definitely win the prize."

Li Shengyao smiled and said, "Winning awards depends not only on strength, but also on luck. Although I believe in the quality of "1937", I am not sure."

The on-set shooting was a success, and the version after the first cut was also good.

It should look even better with the addition of a soundtrack.

But whether a film can win an award must not only be good-looking, but must also meet the tastes of the jury.

Lee Sung-yew was very confident before filming started last year. Now that post-production is underway, he is much more cautious.

He got up and came behind the desk, sat down, and then said: "You two will think carefully about whether there is anything that needs to be adjusted in the movie. After we score the music, there will be a fine edit."

(End of this chapter)