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Video tags
Subtitles
Russian
00:00:01
time has come for our third00:00:03
lesson on post-production00:00:05
and editing, and since the previous ones we00:00:07
very coolly disassembled all kinds of00:00:09
tools, in this we will move on to00:00:11
fundamental things and they00:00:13
are sometimes complex and even you don’t you know00:00:16
how to approach it, so today00:00:18
I will tell you these attractively,00:00:20
show you how to and how not to, and00:00:22
we will talk to you about the 10 rules of00:00:24
editing according to Sokolov, because this is the00:00:27
fundamental thing that is00:00:29
applied in one way or another in any of your editing,00:00:31
even if you don’t realize it and At the same time, I00:00:34
will do this with the help of the00:00:36
video industry, so you and I will00:00:38
do all this using the example of00:00:40
GTA 5, because it turned out to be the ideal00:00:42
editor for creating all kinds of00:00:44
stitching situations, so we begin, I00:01:03
don’t want you to earn your 10,000 hours00:01:05
thanks to these so the00:01:07
torment and the game will work out or it won’t00:01:09
work out,00:01:10
I’ll now tell you how it works00:01:13
so that you can00:01:16
use your instrument and00:01:17
create exactly these 10,000 hours, and the things that I will00:01:19
tell you were not invented by me, but the ones that00:01:22
I have understood are made for you within the00:01:25
framework of this blog and they work for00:01:28
any editing,00:01:29
even in let's play for Minecraft, or even a video00:01:32
for those who are interested in at least a short00:01:33
film, even a full meter,00:01:35
so don't let that stop you,00:01:37
I'm now on the photo of tasks 5 will be00:01:39
as long as it works everywhere and my friend,00:01:43
thank you for the comments under the00:01:44
previous videos because which again00:01:46
I will repeat, but this is wildly important for us, we00:01:48
read everything, we look at what he writes to us,00:01:50
you ask some questions, and especially we00:01:52
look at those nice words that you00:01:54
say to us, this wildly supports the00:01:56
creation of child content in general, and now00:01:58
it’s almost happening every day00:02:00
there is you could notice this so in fact it’s00:02:02
huge and let’s quickly go over it00:02:04
because during this time you and I00:02:05
have gone through00:02:07
as you can see for a week of00:02:09
post-production and editing we have to have00:02:11
three lessons 1 was on the 18th we are in it00:02:15
we studied 5 transitions with you, then there was the00:02:18
20th in which you and I went through my00:02:22
20 secrets 25 bath 25-40 30 there and00:02:27
watched the eidos to the end of the00:02:28
secrets in after effects on how to00:02:30
do effects and you and I have already gone through all of this,00:02:34
if we need anything what remains is today's00:02:36
lesson which we will study 10 rules of00:02:39
editing according to Sokolov so be sure to00:02:42
watch to the end00:02:43
because there is extremely useful00:02:46
and important information waiting for you and let's go to the computer00:02:50
[music] the00:02:53
first rule teases editing in00:02:55
size and before we even00:02:57
accept the rules you need to understand what00:02:59
size frames there are, so I’ve00:03:00
prepared some footage for you here, and00:03:02
this is a long shot, this is a long shot, this00:03:05
is a second medium shot, when we00:03:08
cut along the character’s legs above the knee,00:03:11
of course, this is 1 medium, when we cut00:03:13
above the waist, this is close up detail00:03:18
thus we have 6 plans00:03:20
that somehow need to be scattered in the editing00:03:21
1 with the second doesn’t stick very well although00:03:25
despite the fact that there is quite a00:03:26
strong change here so it’s better to look at the00:03:28
second and third as if we were00:03:31
getting closer but not enough because the00:03:34
first rule says about the fact that it’s00:03:36
nice for the viewer when your coarseness00:03:38
increases by one, that is, from the00:03:42
general shot we jump to 100:03:45
medium then it will be good and let’s00:03:48
see this in action with you, we00:03:50
just have an approximation of one coarseness00:03:53
bams and as if the operator jumped up and00:03:55
the taxi was ported not very good, but00:03:57
now let’s put a general plan with00:03:59
the first one in the middle, it became much better,00:04:05
it’s logical that then it would be possible to move on00:04:08
to the detail and Sokolov just says00:04:15
that by changing the size you00:04:17
should have a good one through one00:04:20
they are one after the other for this you teach this00:04:23
when your husband edits his videos,00:04:25
we can also notice that00:04:26
the periscope is too strong in size from the background to the close-up, it does00:04:28
n’t look very good, so we00:04:32
also need to remember this, that is, not00:04:33
too close but not too far,00:04:35
so now there is a gap between00:04:37
these two plans let's set it to 2 medium and00:04:40
we get that we have a long-range second medium00:04:44
large, this already looks more00:04:47
cinematic, pleasing to the eye, let's consider00:04:49
another situation, here we have a long-range00:04:52
general second medium 1 medium00:04:57
large detail not even for the character and00:05:00
here we use the same thing with you, let00:05:03
's take for example we’ll remove this distant one,00:05:07
then we’ll put in this plan, that is, 100:05:13
middle one, and let’s take, for example, we’ll put in a00:05:17
detail of the car, it should also look00:05:19
not bad, we get a distant00:05:24
second middle one and the part looks00:05:30
a little heavy, but for the reason that00:05:32
between these gluings there are still a00:05:34
huge number of other changes00:05:36
in addition to the coarseness, how to do this more00:05:39
plan, you and I will be able to answer when00:05:41
we find out other rules of sand onion 200:05:48
rules allowed white editing by00:05:49
orientation in space00:05:50
I have here a multicam of this00:05:53
sequence where the guys are sitting and will come from00:05:56
several angles filmed00:05:58
if you have already If you are familiar with these rules, you00:06:01
can guess which of these plans00:06:03
stands out from the overall picture, namely00:06:06
the back one, because it violates these rules, the00:06:08
rules of installation for orientation in00:06:10
space, or the 180-degree rule, so00:06:12
what made this one? Let’s00:06:13
take this screenshot, and now I’ll tell00:06:15
you I’ll draw a diagram like our aunt, we00:06:17
have a camera that looks from here,00:06:19
this is our general plan, we have camera 2,00:06:23
which is closer and whose00:06:26
size is also higher and looks00:06:28
from the side, and there is another one from here, a00:06:31
classic diagram for an interview00:06:34
something or for a dialogue scene, what is happening00:06:37
here, thanks to this arrangement of00:06:40
all these cameras, you have00:06:42
this kind of feature, the area in which you are working,00:06:45
which is exactly equal to 180 degrees in it00:06:48
you must work for what, so that when00:06:51
you switch between cameras the viewer00:06:53
understands where is it located in space00:06:56
because if by chance you find yourself00:06:59
right here, that is, beyond this line,00:07:01
breaking this rule, and we have00:07:03
just 4 cameras here, then for the audience00:07:06
it will be unclear where we ended up where00:07:08
we are and the00:07:10
filmmakers will lose their memory of In this case,00:07:12
if the viewer does not understand where he00:07:14
is in space because of your00:07:16
editing, you edited it this way, then it is unpleasant for the viewer,00:07:18
he begins to waste time00:07:21
trying to understand where the camera is in the00:07:23
space where he is, what00:07:24
is happening at all, and thereby you let00:07:27
the audience watch your video00:07:30
he begins to think about things that00:07:32
he doesn’t have to think about, which you have to00:07:33
decide for him, so you have chosen00:07:35
some line for yourself to work as an00:07:37
operator, here is the work in it, and there is already at the00:07:40
stage of post-production and editing, then just do00:07:42
n’t take this camera, but like With any00:07:45
rule, if we know it, then we can00:07:48
break it so that everyone can have a good time, and00:07:49
Tarantino does this, for example, and I’ll00:07:51
show you how to do it now, so00:07:53
let’s first just edit it00:07:54
correctly, let’s return with you to our footage,00:07:56
we have a general shot, larger on the right,00:07:58
larger on the left and the shot from the back, let’s 100, let’s00:08:00
edit it first, let’s give00:08:03
the exposure on the general side, then turn on00:08:05
this shot, then on the other side of our00:08:08
dude and let’s give the guy from behind where00:08:15
he jumps up and see what we00:08:18
got from you,00:08:35
pay attention that00:08:38
the viewer is watching the moment of this gluing00:08:40
This situation was unusual for him because he had00:08:42
previously seen the same background in three previous shots,00:08:45
which00:08:46
allowed him to navigate in00:08:48
space and our dudes because00:08:50
one was always on the left, the other was always on the00:08:53
right, no matter where you placed the camera, but00:08:55
here they are swapped places they look similar00:08:58
they both with these with pigtails damn it the00:09:01
background has completely changed the first00:09:03
thought that the viewer has is00:09:04
here where I ended up what is happening00:09:06
so it can’t be done this way it’s better if we00:09:10
just take and extend one of the00:09:13
plans there and change it to some other00:09:15
let’s just change it to the general shot00:09:28
[music]00:09:35
another thing is the situation has changed but00:09:40
it happened to you so you want to00:09:44
take this shot you want to take it from behind for00:09:48
some reason how can this be done00:09:50
you can only do this in one00:09:51
case at the time of shooting you have00:09:55
camera movement, that is, you, inside00:09:57
the camera editing, take it with your own hands00:10:00
and go to the other side, and I00:10:04
just did it in this frame, that00:10:06
is, when the character rises, I00:10:09
move the camera beyond this imaginary line,00:10:12
which allows me to00:10:15
take and already in the next shot choose another shock, this one00:10:19
from behind, and then the viewer will not have00:10:23
any problem with the fact that you and I seem to00:10:26
have moved, so here right here all the way00:10:29
to here until it goes we have00:10:31
this movement, and then we turn it on00:10:35
from behind and see what happened00:10:46
inside the chamber editing is a completely00:10:50
different matter because the viewer00:10:52
has a clue for orientation in00:10:54
space00:10:55
and you are such a great fellow that you have to think about it00:10:57
in advance00:10:59
[music] the00:11:02
third rule is editing in the direction of00:11:05
movement of the main object in the frame,00:11:07
this is what we have with you secretions from the00:11:09
frames of the car driving passes, passes00:11:15
and an accident occurs, as you may have noticed in the00:11:20
first three shots, the car was00:11:22
always moving from left to right, and then suddenly00:11:25
our cameraman crossed the street and the00:11:27
direction of movement changed from right to00:11:30
left, which is neither good nor00:11:33
correct because the viewer again00:11:34
immediately has questions and the smoothness of00:11:37
its editing and its seamlessness disappears00:11:39
from the word just how to fix it, that is, it00:11:41
shouldn’t be like this, it’s00:11:43
good as at the very beginning, and when the00:11:45
4th plan is added, crap appears and as00:11:49
you can see, the whole editing00:11:51
begins at the pre-production stage00:11:53
and and when you are thinking through the storyboard, but you00:11:55
and I are already at the post and00:11:57
this needs to be somehow healed, as this can00:11:59
only be done if we00:12:00
add some kind of intermediate frame00:12:02
that allows the viewer to understand that the00:12:03
direction of movement of the car has changed,00:12:06
how to do this we have this00:12:09
plan with you where the car drifts zero and00:12:12
changes the direction of its movement,00:12:14
let's try to put it between and00:12:16
see what we can get00:12:25
better, but still not completely00:12:29
because in this frame the00:12:32
change in movement occurs when it has00:12:34
already gone behind the frame was placed in the wrong place gopro00:12:37
there is another chance goop rohi from the00:12:40
driver’s seat where00:12:42
this turn occurs and the whole mass of the background00:12:45
begins to move in the other direction00:12:47
let’s try to substitute it now it’s already00:12:59
much better and it doesn’t00:13:01
ask any additional questions at all00:13:04
so let’s thank the operator that he00:13:06
managed to put on just in case a goo00:13:08
about dicks muff the fourth rule00:13:16
editing according to the phase of a moving object or in00:13:19
common people editing in the wings when you and I00:13:21
have a scene where the key00:13:23
object in the frame performs some action00:13:25
you want to change the size and change the00:13:27
shooting point for example yes here it is00:13:30
just important that they coincide in phase with00:13:34
each other, that is, here he00:13:36
turns and in the next frame he00:13:39
completes his turn, here he starts00:13:42
aiming at the front sight and ends here, and00:13:47
sometimes even when the movement is very fast,00:13:50
like here, up to much faster than00:13:53
the turn for in order for the viewer to be00:13:55
more comfortable, you need to take and00:13:57
repeat this action a little in the00:13:59
next frame, right now I’ll00:14:00
literally take a couple of frames, drag and extend00:14:03
this video and it will turn out that he lifts it here and00:14:05
repeats this movement at the beginning in the00:14:08
first two frames, but it looks00:14:10
much better smoother than it was before this name00:14:13
and twitchily you understand, and here the conversation is00:14:15
in this very rule that you catch this gluing00:14:18
literally one frame back 1 frame00:14:21
forward until it works, you see it’s already00:14:24
late here raised here only00:14:26
raises implausible we return it to00:14:29
its place and now everything will be well,00:14:32
so you, like a true editor, sit and00:14:35
watch, catching these moments00:14:37
so that the viewer is comfortable and interested in00:14:39
watching, so remember editing in the00:14:41
wings is a very powerful gluing00:14:43
that allows you to stitch together everything that00:14:45
happens, regardless of what00:14:47
actions happen in the frame 5 rules of00:14:54
editing according to the tempo of moving objects if00:14:57
you you have some objects in the scene00:14:59
that are moving, for example, look,00:15:02
the truck here is always driving at the same00:15:04
speed, but depending on00:15:06
what point you will shoot it from, if you00:15:08
shoot it larger,00:15:10
then it will go faster because00:15:13
you have physically moved closer to it00:15:15
its speed relative to the00:15:17
reference system is we are not taking you, but the ground00:15:20
remained the same, as it was driving there 3000:15:23
km per hour, it still goes, and thanks to00:15:25
your movement you took and accelerated it, and00:15:28
for the viewer it again looks00:15:30
unpleasant and implausible, therefore with00:15:33
who in this situation suggests the00:15:35
following solution to take and stand00:15:37
a little to the sides so that the speed00:15:40
remains the same, it00:15:47
looks more comfortable to me this00:15:49
rule is honest, I don’t completely00:15:51
like it because even here we seem to00:15:54
see that due to the fact that he is first on the00:15:56
left on the left side of the frame, he is physically00:15:58
closer to you, so here his speed is 1,00:16:00
here he will already move slower00:16:02
than they leave, the farther the sunset goes,00:16:04
so remember this and do not enlarge too much00:16:07
because then you will00:16:08
change the speed of the object00:16:10
if you know this rule maybe that’s what you00:16:11
want, but the car is driving slowly and you00:16:14
want to make it deliberately faster, then00:16:16
stand closer and00:16:18
it will just fly by in relation to you, or you can00:16:21
even take the cameras and start00:16:23
turning in the opposite direction to the object in the00:16:26
frame that is moving and00:16:27
you get one the speed00:16:28
will be summed up with the speed of00:16:30
objects that are on the other side and00:16:31
will be even faster, so here it all00:16:34
depends on the tasks, the00:16:39
sixth rule is editing according to the composition of the00:16:42
frames, that is, yes, you and I are such00:16:44
great guys, we like to spread everything out in thirds,00:16:46
but here’s a question,00:16:48
did you break your frame into 3 in one frame00:16:51
you have the action happening here00:16:53
and in the other she moves here, this is00:16:56
not very comfortable for the viewer00:16:58
because he has to run his eyes back and00:16:59
forth to the left to the right and therefore you00:17:02
must adhere to so that you do not00:17:05
have such large-scale00:17:07
switches from left, right third, and for00:17:09
example, if you are in the central or from00:17:12
the central right, then the viewer will be00:17:14
comfortable with this and we will now be00:17:17
guided by you when we00:17:18
edit this piece, for example,00:17:20
we have an expeditionary shot, let’s take this one00:17:22
where the guy is running and it is logical then that since00:17:25
he is us and we are following him with our eyes00:17:27
now, the right third of the frame, then we00:17:30
need to take not this shock00:17:31
where he goes down to the left 3, but this one00:17:35
where he goes down to the right, so we00:17:37
just don’t take it too far, we00:17:41
ran away, let’s get him a little here00:17:44
continues our escape, then we look at what00:17:48
happens from the same part of the frame to the00:17:51
central one, it runs into the middle of the road, it knocks like a dodik00:17:53
here, it starts to fall into the left third, it ends up00:17:57
right at the edge of the left and00:18:01
well, it’s not very good how00:18:03
the situation looks here, so let’s do it00:18:05
let's change it, make it easier for the viewer,00:18:08
take it and hide a little here and00:18:12
move, that is, we crop00:18:15
the image already in post so that00:18:16
it satisfies this rule at least a little00:18:18
and we get the following00:18:20
picture here it rolls into the00:18:23
left side of the frame and then00:18:25
switches to another shock where he is not so00:18:27
far from this left side00:18:29
he gets up and jumps, and00:18:34
again, since he was standing in the center, we can at least00:18:37
on this side of him have him jump,00:18:40
although with this there is no big problem00:18:42
because one way or another in everything in all00:18:45
this editing now there is also an editor who00:18:48
will turn on the music of others, it’s absolutely wonderful, it’s00:18:50
not like we have to suddenly jump from the00:18:53
left side of the frame to the right side of the frame,00:18:55
so I remember this, of course it can be00:18:58
violated, but this violation must be00:19:01
justified, otherwise the viewer will not be00:19:02
comfortable watching if anything happens frame of Russia is00:19:06
already inside your post-production inside00:19:08
editing 7 rules editing according to the light,00:19:17
everything is quite simple here,00:19:18
you have some kind of00:19:20
lighting scheme on your character, how00:19:23
the light from the window works here, drawing everything else in the00:19:25
room, also to fill the work and00:19:28
we have a plan from here there is a shot from behind00:19:32
completely where you can clearly see that he is00:19:34
standing in silhouette, the one drawing on him here00:19:36
begins to work as a back-up because you and I00:19:38
have moved, there is00:19:40
this shot where he is drawing almost00:19:42
from the front00:19:43
and the trick is that this frame will be00:19:48
rushing around like with this and with this we00:19:52
understand the whole lighting scheme and it does00:19:54
n’t change radically for us, you can00:19:56
look from here to here God also from here to here00:20:06
too the windows are already heavier because00:20:10
here it prevailed that it is more of a silhouette00:20:12
than consecrated, but if we try to00:20:15
stick together with you from this plan to the exact00:20:19
opposite one, problems will begin here00:20:23
because the lighting scheme changes very much,00:20:26
so I remember this, what is00:20:30
not allowed during editing and gluing is00:20:34
such one event where our character00:20:36
just has to change the lighting scheme very much,00:20:38
it will be difficult to see, we don’t want00:20:41
him it was hard, we want her00:20:42
matte editing to not be thought about at all, so that00:20:44
for him it would all be seamlessly00:20:47
fluid and he wouldn’t notice the hard glues00:20:50
because, well, of course it’s hard to work with hard glues,00:20:53
but that’s exactly how all directors work,00:20:55
so there you are, you strive somewhere towards00:20:57
normal things, learn to work with rigid00:20:59
gluing, they are through transition and other00:21:01
things, the00:21:06
eighth rule is editing in color, it is00:21:09
similar to the previous one, only here it is00:21:11
with that we pay the main attention not to the00:21:13
lighting scheme, it is the main color00:21:16
mass in the frame, so this one, the frames00:21:19
with this are glued well, but with with its other00:21:24
analogue, this one doesn’t work very well,00:21:27
although it would seem that the shooting point was shifted,00:21:30
the size was changed, but in general two00:21:33
rules were satisfied,00:21:34
but due to the fact that a red wall appears behind it,00:21:36
it breaks absolutely everything00:21:39
because for the audience the first question is00:21:41
where am I who am I what’s the point life00:21:44
here is all okay because this00:21:46
blue sky foliage fence we are already accustomed to this00:21:48
in this account and here we see00:21:50
them again we immediately understand where we00:21:52
are right at the subconscious level00:21:54
there is no problem here there are big00:21:57
questions why the hell the operator00:21:59
asked the camera is opposite the red wall00:22:03
[music] the00:22:05
ninth rule is editing by shifting the00:22:08
shooting axis, sometimes it’s not enough to just change the00:22:11
coarseness one at a time, but sometimes you also need to00:22:14
move the camera and this rule just00:22:16
says this, that shifting about shooting at00:22:19
the time of gluing, that is, shooting, let’s say00:22:21
now guys like this and then you start00:22:23
shooting like this a little bit from the side and00:22:25
changing the coarseness as necessary,00:22:27
satisfying the first rule of Sokolov,00:22:29
this really saves the situation, it makes00:22:32
everything very cinematic, we look beautiful,00:22:34
but if you just physically come up and don’t00:22:38
shift it to your shooting axis, then what00:22:41
happens is not very beautiful and look like00:22:47
bam it’s a bunch of sushi, we just00:22:49
ported the taxi forward and this is a mistake very00:22:51
often people make when they are filming00:22:53
interviews when they are filming blogs, that is, they00:22:56
don’t push it, this is the00:22:58
camera movement, here we have three characters standing00:23:00
in the bazaar with each other, the first shooting point00:23:03
and we are like this even we can a little bit, here it is, here is the00:23:06
axis, we can move it a little bit,00:23:09
for example, and stand closer, this00:23:13
will not be enough because it00:23:15
will still feel like a00:23:16
forward separation for the audience, like something you00:23:18
just picked up and stopped, this is not a00:23:21
movie, this it’s ugly, so you need to shift the00:23:23
coordinates by as much as 45 degrees and00:23:28
come up, and then you’ll have a gluing like this, a00:23:38
completely different matter, but as you may have00:23:40
noticed now, we don’t satisfy the00:23:42
rule of mounting on the hook, otherwise00:23:45
here it means from a lsa cigarette to a00:23:48
tsa cigarette here so let's do it the00:23:50
right way,00:23:51
if he practically raised his hand here,00:23:54
let's cut it here and here and put it in place00:23:59
and see that it will be00:24:05
beautiful and that's all,00:24:06
these rules work00:24:08
together, you have to think about each of them00:24:11
when you mount something and00:24:13
more precisely, it’s not even like that, I00:24:15
’ll tell you at the end how this process should be and00:24:16
to build the00:24:21
tenth rule, it’s somewhat similar to 400:24:25
where we had a car with you, but00:24:27
remember the third one for editing, the00:24:31
direction of movement of the main object in00:24:33
the frame, here the main thing was the object, but also00:24:36
there is also a very tricky rule 10 in the00:24:38
direction of movement of the main mass in the00:24:41
frame, which is what I mean, look, the gluing doesn’t00:24:49
look very good because when the00:24:53
operator pans and00:24:56
stops here, the whole mass of00:24:59
the frame is a bus, a bus that goes from00:25:02
left to right, then the gluing occurs into the00:25:06
driver’s cabin your frame00:25:09
of reference changes and it turns out that the entire background,00:25:12
which occupies most of the mass in the00:25:13
frame, begins to move from right to left,00:25:16
you see, and for the viewer this is unpleasant00:25:20
because we were driving from left to right, then00:25:23
we drive sharply from right to left,00:25:24
only then does he understand that we00:25:26
moved the car and that’s why there then00:25:29
it was bus 10, it was the background, but by the time00:25:30
this time has passed, it will stop00:25:32
hurting your movie, so what can we00:25:34
do here? We keep the same00:25:36
arrangement of forces, but we accompany00:25:40
the bus up to the point until the00:25:44
panning speed matches the00:25:46
speed of its movement and it’s as if the frame00:25:49
seems to freeze and even the background00:25:52
here is already starting to move from right00:25:55
to left and not from left to right, and already at this00:25:59
moment it’s completely glue and look what00:26:00
comes out00:26:04
about much more comfortable, look again, it’s not00:26:09
comfortable00:26:17
comfortable, so remember this00:26:21
when you’re shooting some- then things are why I00:26:24
play that editing begins during00:26:25
production and you can immediately00:26:28
have a question, as if despite the fact00:26:29
that you and I have now00:26:32
sorted out all the rules in great detail using specific00:26:34
examples, I even showed you what is00:26:35
right and what is wrong. right00:26:37
now run and edit but it’s very hard00:26:39
to keep them all in your head and00:26:41
how to edit and so on and this00:26:44
satisfies this rule this00:26:45
rule this rule this is a question so00:26:47
you edit now intuitively and if00:26:51
some moments confuse you, that is,00:26:53
they don’t look cool they they don’t look00:26:55
smoothed out, they look harsh and stop00:26:57
you as spectators, and now you’ll start to00:27:00
pay attention to it after this blog, and00:27:01
then I was already wondering if00:27:04
they satisfy one of these rules,00:27:07
or even two, or even 3, if you see that00:27:09
a contradiction arises somewhere, that means00:27:12
this means this is the place that needs to be00:27:14
treated, it could be that00:27:16
everything has changed in color, or in light or in00:27:18
size, you didn’t press it, or the rule of00:27:20
the camera axis was broken, or the main00:27:22
object began to move on the other side,00:27:24
look at the situation, but this is a competent00:27:27
approach that made the editing like this how do you know00:27:29
the moments that see that the bad ones00:27:31
are polished with skill,00:27:34
focusing on the collection of Gennady, my friend, for00:27:38
this week, in fact, a00:27:40
lot has happened to you and me, well, we studied00:27:44
with you 5 transitions and how to do them,00:27:46
we studied 30 cool chips in after00:27:50
effects for creating an effect, we looked at the00:27:52
fundamental basic rules of editing00:27:54
according to Sokolov,00:27:55
but imagine what a huge number of00:27:57
things are still hidden in post-production,00:27:59
color correction, what to do with different00:28:01
cameras, the design itself in general, directing00:28:04
editing, interaction with music, how to00:28:07
process video from cameras that are very00:28:09
poorly recorded, and so on and so forth so00:28:11
on, the board is not enough to00:28:13
draw everything for you now and therefore, in00:28:15
order to nevertheless present it all to you00:28:17
and tell you so that you00:28:19
can finally close your basic00:28:21
need for knowledge and move on to00:28:23
normal creativity where00:28:25
nothing limits you, I want to give you00:28:26
the opportunity to be on our new00:28:28
stream of the post-production00:28:31
and editing course. The last stream of this course was00:28:36
already six months ago, so now you00:28:38
have a unique opportunity to be00:28:40
among the people who will take it.00:28:42
Now I’ll also tell you the information you00:28:45
need to know to be00:28:47
on our course. for post-production00:28:48
editing, firstly, you will need to00:28:51
come see us directly, broadcast on the 25th at00:28:54
1500 because that is where you will receive00:28:57
all further instructions on how00:28:59
to get here where you want, also00:29:02
in order to be in all this00:29:04
you will have three days, that is, three days of00:29:08
access so that you can fly to our course and a00:29:12
very important detail is that there are only00:29:15
200 places for everyone, so take this into account00:29:19
and in order not to miss out and00:29:21
be in the front row,00:29:23
you know what to do bro, follow the link in00:29:25
in the description, a pre-recording will be waiting for you00:29:27
by going to which00:29:29
by registering you00:29:31
will definitely secure your place in00:29:33
this whole process and I won’t waste your00:29:36
time talking about how00:29:38
cool it is, how unique00:29:40
information is there and that I have invested a huge00:29:42
amount of souls into this whole00:29:44
product so that you were able to00:29:46
finally start creating and you can’t wait to press the00:29:48
button and so I’ll just give00:29:50
the floor to those people who have already taken it00:29:56
[music]00:30:00
aquas successes inspecting the lectures00:30:05
handsome guys00:30:07
told me that all this knowledge is already00:30:09
on the Internet I simply thought00:30:12
that this course was nothing can teach me00:30:15
get angry has nothing to do with editing at all,00:30:18
but so many of you, I think00:30:22
we have that moment in life to00:30:25
change something, now from the height of watching00:30:28
more than 100 lectures, I can definitely say00:30:30
that it was all not in vain, the00:30:32
whole learning process is organized simply00:30:35
on at the highest level, the training platform is00:30:37
as easy to use as possible, and for the00:30:39
clear presentation of knowledge, support00:30:41
during the course and accompanying materials00:30:43
for lectures, I want to say a special thank you,00:30:46
I only got 40 less, I received a lot of00:30:50
profit from00:30:51
acquaintances of some potential00:30:53
partners, the course gave me00:30:57
real knowledge that I’m not just00:31:00
just two types of00:31:02
area in my works, I found myself00:31:05
a job related to the business,00:31:09
well, I bought this database from where to get00:31:13
effects00:31:14
music voiceover even where it00:31:17
monitors trends and brothers browser we are00:31:20
now just worth its weight in gold in it everything is00:31:23
scattered on shelves in folders guillot00:31:25
just possible live and improve00:31:28
after every minute, thank you all so much to00:31:31
the team for and floods00:31:35
for always providing support,00:31:38
feedback very well coordinated, very cool done, the00:31:42
support guys are just awesome to God.00:31:49
Kuzmich hesitated,00:31:51
I personally will give it away very strongly, I haven’t00:31:53
worked so closely on00:31:55
video production, yes, great, yes, because I’m00:31:58
my first commercial project, it turns out that00:32:01
the date of the course and it’s definitely several times00:32:03
better than those Serbia courses without going through00:32:05
to get00:32:06
[music]00:32:08
I’m completely confident in my actions and00:32:11
knowledge regarding post-production and my00:32:13
level of editing just skyrocketed00:32:16
so I ran to filming and I wish you all00:32:20
successful editing00:32:24
[music]Description:
►Pre-Enrollment at our Post-Production and Video Editing Course: https://bit.ly/3j2Z2zP Here goes our next video editing and post-production tutorial. Today Vlad will explain to you 10 montage rules by Sokolov. These rules are like a sacred mantra that will make any video pleasant to watch. Vlad will explain to you those rules with the help of the GTA V footage. Yes, we are surprised too! However, even in a video game, the rules are working the same way as in a music video, feature film or a documentary. Watch the video until the end, as there is important info out there. 0:00 Introduction 02:49 Shot Change Rule 1— Shot closeness 05:43 Shot Change Rule 2 — Space orientation 10:58 Shot Change Rule 3 — Direction of the movement of the object 13:10 Shot Change Rule 4 — Phase of movement 14:48 Shot Change Rule 5 — Tempo of movement 16:35 Shot Change Rule 6 — Shot composition 19:10 Shot Change Rule 7 — Change by light 21:02 Shot Change Rule 8 — Change by color 22:01 Shot Change Rule 9 — Axis of action 24:17 Shot Change Rule 10 — Direction of mass movement 26:24 Conclusion Stay tuned: ► Facebook: http://facebook.com/khsfilms ► Instagram: https://www.instagram.com/khsfilms/ ► For collaboration: [email protected] Production Music courtesy of Epidemic Sound
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