没有合适的资源?快使用搜索试试~ 我知道了~
首页视频剪辑艺术: Grammar of the Edit 第二版
视频剪辑艺术: Grammar of the Edit 第二版
![](https://csdnimg.cn/release/wenkucmsfe/public/img/star.98a08eaa.png)
"剪辑的语法 第二版" 《剪辑的语法》第二版是一本深入探讨视频剪辑艺术与技术的书籍,由Roy Thompson和Christopher J. Bowen共同撰写。这本书以其实用性和对剪辑之道的深刻理解,为读者提供了一个全面的视角来理解和实践视频编辑的精髓。 "Grammar of the Edit"这一概念强调了剪辑不仅是技术操作,更是一种表达语言,它通过精心安排的镜头序列来讲述故事和传达情感。书中的内容可能涵盖了剪辑的基本原则,如剪辑点的选择、节奏控制、叙事结构、视觉连续性以及声音与画面的同步等。作者可能会详细讲解如何利用剪辑技巧强化影片的情感冲击力,如何通过剪辑创造出流畅且引人入胜的观影体验。 书中可能还讨论了不同类型的剪辑风格,例如纪录片剪辑、剧情片剪辑、动作片剪辑等,每种类型都有其特定的剪辑规则和挑战。此外,随着数字技术的发展,现代剪辑工具如Adobe Premiere Pro、Final Cut Pro等的应用也会在书中有所提及,作者可能会指导读者如何有效利用这些软件进行高效剪辑。 在版权方面,本书遵循严格的版权规定,未经许可,任何部分不得复制或传播。若需引用或复制内容,读者需向出版商Elsevier申请许可。同时,读者也可以通过Elsevier的官方网站在线完成版权申请过程。 《剪辑的语法》第二版是为那些希望提升剪辑技能、理解剪辑艺术的专业人士或爱好者准备的一部权威指南。通过阅读此书,读者不仅能掌握剪辑的技术层面,还能理解剪辑作为叙事手段的深层意义,从而创作出更具影响力和感染力的视频作品。
资源详情
资源推荐
![](https://csdnimg.cn/release/download_crawler_static/10322596/bg10.jpg)
This page intentionally left blank
![](https://csdnimg.cn/release/download_crawler_static/10322596/bg11.jpg)
4 Grammar of the Edit
What Factors May Impact Your Editing Choices?
So, if editing is the assembly of individual shots of picture and sound into a coherent
story, then an edit must be the place where you transition from one of those shots into
the next within that assembly. Put simply, an edit is a cut point — a place where one
shot ends and another separate shot begins. (see Figure 1.2 ) The term “ cut ” stems from
the days when motion pictures were shot and edited on very long strips of emulsion
fi lm. Looking at the individual still frames on that strip of fi lm, the editor would deter-
mine where to physically cut the fi lm between pictures. A pair of scissors or a razor
blade device was used to actually cut the fi lm at that point (see Figure 1.1). Glue or
tape was then used to join the different cut strips of plastic fi lm together again. The cut
or join then becomes the point of transition from one shot to the next. The straight cut
described here is just one way to move between shots. How you choose to transition
from one shot to another depends on many variables.
The fi rst factor you may wish to consider is what medium you are using to perform the
physical edits — fi lm, tape-to-tape video, or computer-aided digital video. Each medium,
and the devices that are used in the editing process, can often dictate physical, time-
related, or fi nancial limitations. Many argue that computer-aided digital video editing is
the most economical and the most diverse as far as options for editing go, and it is,
most likely, the type of editing that you, the reader, will be performing. In this text we
are attempting to keep the discussions of editing grammar as generic as possible, so
the general rules and practices presented should apply to any medium and to any edit-
ing device or software. Just be aware that certain terminology used in one medium may
have its origins rooted in another and may vary from one software application to another.
A second factor that may impact your editing transition choices can be the kind of proj-
ect that you are editing. Are you assembling footage for a documentary, a fi ctional nar-
rative short fi lm, a news package, a music video, a television commercial, or a cousin’s
FIGURE 1.1 Initially, editing motion picture fi lm
required very basic technologies.
FIGURE 1.2 The fi lm strip of shot B is “ edited ” onto
the end of shot A.
![](https://csdnimg.cn/release/download_crawler_static/10322596/bg12.jpg)
Chapter One | Editing Basics 5
wedding video? Each type of project or program may necessitate a certain editing style
and usage of particular transitions. For instance, you may wish to use long, slow dis-
solves from one shot to the next in a moody music video, but you would never consider
using long, slow dissolves in a hard-hitting, factual news package for the six o’clock
news. We will discuss dissolves in more detail later, but the example illustrates the
importance of following the accepted rules and guidelines of style for differing program
types and for genres within those distinct types. For the purposes of clarity and simplic-
ity, we will mostly focus on the grammar and practices associated with fi ctional narra-
tive motion picture storytelling, but the general guidelines apply to all forms of motion
image programming.
Other factors involved with editorial and transition choices include your own creativity,
the vision of the director, the suggestions of a producer, and the quality of the raw foot-
age that you are tasked with editing together. Remember, the right editor can breathe
new life into old, tired, or boring material, but an editor may still have to answer to
other limiting factors as discussed above. The point is, an editor performs the task of
editing but she or he does not always have control over the many variables that impact
the process.
What Factors May Impact Your Editing Choices?
![](https://csdnimg.cn/release/download_crawler_static/10322596/bg13.jpg)
6 Grammar of the Edit
The Basic Edit Transitions
Let us begin our discussion of editing with the edit point itself.
There are four basic ways one can transition from one shot or visual element into
another:
●
Cut — An instantaneous change from one shot to the next. The last full frame of
picture for one shot is immediately followed by the fi rst full frame of picture for
the next shot.
●
Dissolve — A gradual change from the ending pictures of one shot into
the beginning pictures of the next shot. This is traditionally achieved via a
superimposition of both shots with a simultaneous downward and upward ramping
of opacity over a particular period of time. As the end of the fi rst shot “ dissolves ”
away, the beginning of the next shot “ resolves ” onto the screen at the same time.
●
Wipe — A line, progressing at some angle, or a shape, moves across the screen
removing the image of the shot just ending while simultaneously revealing the
next shot behind the line or the shape. The wiping shot replaces the previous
shot on the screen.
●
Fade — (1) A gradual change from a solid black screen into a fully visible image
(fade from black or fade-in) . (2) A gradual change from a fully visible image into a
solid black screen (fade to black or fade-out).
The grammar of the edit has evolved in some ways since the early days of cinema, but
these four basic transitions have remained the same. No matter what type of program
you are editing or what tool you are using to make it, a cut is still a cut. A dissolve is
still a dissolve no matter what pictures you dissolve from and to. A wipe will literally
wipe a new shot over the old shot. A fade-in still comes out of black and a fade-out still
goes into black. They have remained the same because their individual purposes have
remained the same, and, for the most part, everyone around the world understands
their grammar — or what it means when they see one being used as a transition.
Later in this text you will be able to explore a more in-depth analysis of these basic
editing transitions. For now, let us place them aside and focus our attentions on a much
broader topic — a general approach to the entire editing process.
Your goal is to have a fi nished piece that plays for your audience and provides as much
entertainment or information as it can. To achieve that fi nished piece, though, there are
several stages of the editing process that you will, most likely, need to follow.
![](https://csdnimg.cn/release/download_crawler_static/10322596/bg14.jpg)
Chapter One | Editing Basics 7
Stages of the Editing Process
The editing process, more generally referred to as post-production or sometimes just
post , can range from being rather simple to extremely complex. The post-production
period really encompasses any and all work on the project that comes after the shoot-
ing (the production ) is completed. Picture and sound tracks are edited together to
show and tell the story, special visual effects are generated, titles/graphics/credits
are added, sound effects are created, and music is scored during post-production. On
smaller projects, one person can do all of this work, but on larger productions, several
teams of women and men work in various departments to complete each element and
join each phase of the post-production workfl ow.
The following is a low-level listing of the major steps involved in a post-production
workfl ow that stresses the editing process for the visual elements of a project.
●
Acquire
●
Organize
●
Review and select
●
Assemble
●
Cut — rough
●
Cut — fi ne
●
Picture lock
●
Master and deliver
Acquisition — Simply put, you must acquire the footage shot by the production
team. Motion picture and sound elements, whether on emulsion fi lm, analog
tape, digital tape, or digital fi les, must be gathered together for the duration
of the post-production editing process. The medium of choice depends on the
method of editing and the physical devices used to perform the edits. If you are
using a computer-aided digital non-linear editing system to perform the edit,
then you will have to import, capture, or “ digitize ” all materials as media on
your storage drives. These media fi les must remain accessible by your editing
software for the life of the project for you to complete the work.
Organization — All of the minutes, hours, feet, reels, or gigabytes of picture and
sound elements should be organized in some way. If you do not have a clear
system of labeling, grouping, or sorting all of the material needed for your project,
you will eventually have a diffi cult time fi nding that good shot or that good sound
Stages of the Editing Process
剩余224页未读,继续阅读
![pdf](https://img-home.csdnimg.cn/images/20210720083512.png)
![](https://csdnimg.cn/download_wenku/file_type_ask_c1.png)
![](https://csdnimg.cn/download_wenku/file_type_ask_c1.png)
![](https://csdnimg.cn/download_wenku/file_type_ask_c1.png)
![](https://csdnimg.cn/download_wenku/file_type_ask_c1.png)
![](https://csdnimg.cn/download_wenku/file_type_ask_c1.png)
![](https://csdnimg.cn/download_wenku/file_type_ask_c1.png)
![](https://csdnimg.cn/download_wenku/file_type_ask_c1.png)
![](https://csdnimg.cn/download_wenku/file_type_ask_c1.png)
![](https://csdnimg.cn/download_wenku/file_type_ask_c1.png)
![](https://csdnimg.cn/download_wenku/file_type_ask_c1.png)
![](https://csdnimg.cn/download_wenku/file_type_ask_c1.png)
![](https://csdnimg.cn/download_wenku/file_type_ask_c1.png)
![](https://csdnimg.cn/download_wenku/file_type_ask_c1.png)
![](https://csdnimg.cn/download_wenku/file_type_ask_c1.png)
![](https://csdnimg.cn/download_wenku/file_type_ask_c1.png)
![](https://csdnimg.cn/download_wenku/file_type_ask_c1.png)
![](https://profile-avatar.csdnimg.cn/12a8ad61fd4040129e3729f162f683c6_sinat_26977529.jpg!1)
carrotlib
- 粉丝: 2
- 资源: 1
上传资源 快速赚钱
我的内容管理 展开
我的资源 快来上传第一个资源
我的收益
登录查看自己的收益我的积分 登录查看自己的积分
我的C币 登录后查看C币余额
我的收藏
我的下载
下载帮助
![](https://csdnimg.cn/release/wenkucmsfe/public/img/voice.245cc511.png)
最新资源
- 多模态联合稀疏表示在视频目标跟踪中的应用
- Kubernetes资源管控与Gardener开源软件实践解析
- MPI集群监控与负载平衡策略
- 自动化PHP安全漏洞检测:静态代码分析与数据流方法
- 青苔数据CEO程永:技术生态与阿里云开放创新
- 制造业转型: HyperX引领企业上云策略
- 赵维五分享:航空工业电子采购上云实战与运维策略
- 单片机控制的LED点阵显示屏设计及其实现
- 驻云科技李俊涛:AI驱动的云上服务新趋势与挑战
- 6LoWPAN物联网边界路由器:设计与实现
- 猩便利工程师仲小玉:Terraform云资源管理最佳实践与团队协作
- 类差分度改进的互信息特征选择提升文本分类性能
- VERITAS与阿里云合作的混合云转型与数据保护方案
- 云制造中的生产线仿真模型设计与虚拟化研究
- 汪洋在PostgresChina2018分享:高可用 PostgreSQL 工具与架构设计
- 2018 PostgresChina大会:阿里云时空引擎Ganos在PostgreSQL中的创新应用与多模型存储
资源上传下载、课程学习等过程中有任何疑问或建议,欢迎提出宝贵意见哦~我们会及时处理!
点击此处反馈
![](https://img-home.csdnimg.cn/images/20220527035711.png)
![](https://img-home.csdnimg.cn/images/20220527035711.png)
![](https://img-home.csdnimg.cn/images/20220527035111.png)
安全验证
文档复制为VIP权益,开通VIP直接复制
![](https://csdnimg.cn/release/wenkucmsfe/public/img/green-success.6a4acb44.png)