How to edit movies?

1. Click Split, and when the scissors shape appears on the track, press the left button to split. Just like using scissors, during the video playback process, press the space bar to freeze at a certain frame. Click the left button and the entire video will be divided into two parts. Repeat the operation to divide the video into three parts. Four parts, etc.

2. After using the segmentation tool, a video has been successfully divided into several parts. For the parts you don't need, first select them, then right-click the mouse and select Delete to delete the parts you don't need.

3. After deletion, there will be a blank space on the track. At this time, you must drag the video to connect everything seamlessly. If the track is not blank, there will be no black screen when exporting. Before exporting, hold down ctrl+enter and start from the beginning. Play it again without any errors and then export.

First of all, in the early days of film editing, the positive film was developed from the negative film. Each frame on the positive film that was developed would have a number corresponding to the negative film. This positive film that was used for editing was called work. copy. The editor mounts the work copy on the film reel of the editing table to control forward, reverse and frame-by-frame viewing, and the positioning aperture will directly project the currently positioned film frame onto a small monitor screen or frosted glass. The sound is recorded on tape, and is placed parallel to another reel in synchronization with the picture at an equal-proportion speed. The positioning is an induction head to ensure that the sound and picture are synchronized, that is, the picture rotates 24 frames (normal speed playback for 1 second) and the tape also rotates at normal speed. Play a transport length of 1 second.

The editing operation is to find the positions that need to be edited on the two pieces of film and tape. First mark them with a marker, then cut the film and tape, and finally use transparent tape to connect the two pieces of film and tape. Glue it up. Each time the remaining pieces are cut during this operation, they must be marked very carefully and in detail. Because if you cut too much, you will most likely have to find some pictures and sounds in the remaining footage and add them back. Therefore, you need to be very familiar with the different pictures to be edited before editing and have the ability to imagine time and space with a very strong editing rhythm. Otherwise, there will be a lot of back and forth. Trying to make changes can actually waste a lot of time. Each cut is edited not on the machine but in the mind, but now there are very few schools that learn film editing. When encountering special effects such as fade in and fade out, dissolve, and multiple exposure, you need to determine the duration of the special effects and the entry and exit points of the special effects on the editing table, calculate the corresponding number of frames, and then mark them with a special marker.

The edited working copy will be sent to sort out the numbers of all editing entry and exit points and then find the corresponding negative film, which also includes the negative film covering the number of special effects frames. The developed negative film will be edited according to It is connected to every entry and exit point of the special effects. The difference is that the transparent tape that will destroy the picture is no longer used when connecting, but the perforated buckle is used. At the same time, the connection is not done directly by hand but by the soft silk gloves with very fine texture. Do it on flannel. Because this is the only negative that is developed after a movie is shot, its quality directly affects all the copies that are developed, so it must be top-level protected. Among them, special effect shots such as fade-in, dissolve, multiple exposure, etc. will be completed using light distribution technology during development. Then the negative film will be developed into hundreds or thousands of copies and sent to large and small cinemas for screening.

Since your title is not very clear, I don’t know if you are talking about film editing as a professional editor or as a person who wants to edit films. Let me talk about both here.

As a film editor, editing movies is highly professional and requires certain editing skills. Film editing is often called the "invisible art" and the goal of most editors is to create a seamless finished product. . Once the job is done, and done well, it's hard to notice the individual parts. Here are some editing techniques for film editing:

1. Long shot

A shot that lasts for a long time before transitioning to the next shot. The average length of each shot varies widely across time and place, but most contemporary films tend to be edited faster. Generally speaking, any shot longer than a minute is considered a long shot.

2. Rhythm

The frequency and regularity of sound, a series of shots and the actions within the shot. Rhythmic factors include beat (or movement), accent (or accent) and rhythm (or speed). Rhythm is one of the basic characteristics of a film, which determines the mood of the film and the overall impression of the audience. It is also one of the most complex analyses, as it is achieved through a combination of scenes, cinematography, sound and editing.

Indeed, rhythm can be understood as the ultimate balance of all elements in a film.

3. Overlapping clips

A clip that repeats some or all of the action, thus extending its viewing time and plot duration. Most common in experimental filmmaking, due to its ephemeral disturbing and purely graphic nature, it also appears in films where action and action take precedence over plot and dialogue: sports documentaries, musicals, martial arts, etc. Overlapping editing is a common feature of Hong Kong action movies in the 1980s and 1990s. When director John Woo moved to Hollywood, he tried to incorporate this style into mainstream action films, such as Mission: Impossible 2.

4. Transitions

Shots are defined by edits, but edits can also connect shots together. Traditionally, editing was done to establish space and lead the viewer to the most salient parts of a scene.

1. Borrowing

In continuity editing, borrowing is a method of showing continuous time and space from one shot to another, but in fact it is not related to the scene. The position of the characters or objects does not match. In Vincente Minnelli's Illuminati, real physical space is sacrificed for dramatic space. As you can see in the first screen, there is a wall behind the phone. However, in the third shot, the wall magically disappears to show the phone and the family gathered around the dinner table (an important element in the film) from an angle that would not be possible in the real room. possible.

2. Crossover

Alternately shoot action shots that take place in different places, usually at the same time. Therefore, these two operations are connected to relate characters from different spaces. To further emphasize their similarities, the dad actually relived his first date with his first girlfriend, while his daughter actually went on a first date. Yang uses intersections across time and space to suggest that history repeats itself generation after generation.

3. Cut in and out

In the same space, there is an instant transition from a distant view to a close shot, and vice versa.

4. Dissolve

The transition between two shots, the first picture gradually disappears, and the second picture gradually appears. For a moment, the two images blended together. Dissolve can be used as a fairly straightforward way to connect any two scenes, or in a more creative way, such as to suggest a hallucinatory state.

5. Circle in/circle out

A circular, movable mask that can end a scene (circle it) or emphasize a detail, or it can be opened A scene (circling) or showing more space around a detail.

Jump cuts are used to express, suggest musings or contradictions about a character or his/her daily life, but they are also a clear sign of a break with mainstream film storytelling. Rather than presenting a film as a perfectly self-contained story that unfolds seamlessly before us, a jump cut is like a sentence that attests to both the artificiality of telling such a story and the inability to tell such a story. The difficulty of the story.

6. Positioning Shot/Repositioning Shot

A shot, usually involving a long shot, showing the spatial relationship between important people, objects and the background in the scene. Typically, the first few shots of a scene are often establishing shots, as this introduces positional and spatial relationships within it.

7. Front-reverse shots

Two or more shots switch characters to each other, usually in the context of dialogue.

8. Overlay

Expose multiple images on the same film. Unlike dissolves, dissolves do not imply a transition from one scene to another. Often used to have two characters on screen with the same actors, to express subjective or drunken visuals, or to simply introduce narrative elements from another part of the psychedelic world into a scene.

9. Wipe

A transition between shots in which a line cuts across the frame, removing the first shot as it moves and replacing it with the next shot. This is a dynamic, dramatic transition often used in action or adventure movies.

Like other transitions, such as pans, wipes became popular during a specific historical period (the 1950s and 1960s) to the point where they became a stylistic signature of the films of that period.

5. Match editing

Match editing refers to the technique of connecting and dividing two shots by establishing some form of connection between them. This connection can be inferred from the circumstances described by the scene (e.g., graph matching).

1. Line of sight matching editing

A kind of editing that follows the principle of action. The first shot is a person leaving in one direction, and the second shot is a nearby space, inside There is something he or she sees. If the person is looking to the left, the shot below should imply that the person is looking to the right off-screen.

2. Graphic matching editing

Two consecutive shots are joined together to create a strong similarity in compositional elements (such as color, shape). Used to convey continuity style to transition between two shots in a smooth manner, graphic match editing can also be used to make metaphorical associations, as in the Soviet continuity style.

6. Editing style

1. Continuity editing

An editing method that keeps the narrative action coherent. Continuity editing relies on the direction, position, and temporal relationships from one shot to another, that is, the time and space between consecutive shots are coherent. Additionally, the narrative is easier to follow when the on-screen direction matches that of the film's world. As shown below, the "180-degree rule" states that the camera should stay in an area on either side of the axis of action (an imaginary line in the scene between the main elements A and B, usually two characters).

By following this rule, the director ensures that each character occupies a consistent area in the frame, helping the audience understand the layout of the scene. This consistent sense of space is enhanced by technical means such as motion matching.

2. Montage

Including montage within the shot, montage between sound and image, multi-layered implicitness, and conflict between the two shots. Unrelated shots are linked together through patterns of duration, screen orientation and shot proportions, creating meaning for unrelated shots.

3. Elliptical editing

Omitting part of the shot transition in the event, resulting in the omission of plot and story duration.

After talking about this, let’s talk about the mixed editing of the movie.

The first step is to determine the central idea of ??editing

Before starting mixed editing, we must first determine what type of film we want to edit, instead of starting right away Editing by hand, this is the so-called plan before taking action.

The second step is to select video materials

After the theme is determined, start selecting materials around the theme. You can’t decide to edit a collection of warm hugs, but select bloody fights. scene. For example, when editing Marvel villains, choose movies from the Marvel series; when editing Iron Man, choose movies involving Iron Man; when editing the robot series, choose science fiction movies; when editing Chinese kung fu, choose martial arts and kung fu movies, etc.

The third step is to determine the framework

Browse the video to determine the structure and find suitable fragments. After the movie is ready, you should set a general framework based on your own central idea, such as the beginning- - Development - Climax - Ending, etc., then browse the video to pick out the appropriate clips.

The fourth step, music is very important

Choose appropriate music and sound effects materials. It is no exaggeration to say that if the music is well selected, mixing and editing is half the battle. It should be based on the central theme and structure. Choose music, choose soothing music for heart-warming editing, choose exciting music for intense fighting, etc.

The fifth step, rough cutting

Rough cutting based on music and structure. First, organize the selected fragments according to the structure, and then put together similar actions, such as jumping, hugging, etc. Run, crash, attack, fall, explode and more. Finally, the scene is laid out according to the lines and narration, and the whole is coherent.

The sixth step, fine cutting

According to the rhythm of the music, start adjusting frame by frame, and hit the music rhythm at the climax. Delete unnecessary footage.

The seventh step, check

The film that has been revised repeatedly should be revised repeatedly. Watch it several times yourself. Once you have revised it, ask others to watch it and put forward suggestions for revision, and refine it over and over again. , until you can impress yourself, you can impress the audience.

The eighth step, output into a film

After the rendering output is correct, it can be rendered and output into a film!