Han Yi won the Oscar, but that was all in the past, locked the little golden man in the safe, and Han Yi continued to shoot "Crouching Tiger, Hidden Dragon". Pen | fun | pavilion www. ｂｉｑｕｇｅ。 ｉｎｆｏ

After the Spring Festival, because of various things, basically the filming of "Crouching Tiger, Hidden Dragon" was basically at a standstill.

This time the filming officially began, and the next scenes were basically filmed in Beiping.

I went to participate in a CCTV interview halfway, and there was nothing to do, and it took nearly 20 days for Crouching Tiger, Hidden Dragon to finally finish, and then what I had to do was post-production.

Post-production also requires the coordination of multiple departments and teams, and the basis of all this is undoubtedly editing, and it is no exaggeration to say that Han Yi and even any director's shooting is in the service of editing.

Han Yi's studio does not have its own editing team, and this time it was also borrowed from Li Xiaolong's studio.

is different from the simplicity of Han Yi's studio, Li Xiaolong's studio is almost a big company, except for the theater of distribution, he can independently complete all the shooting of a movie.

This is definitely a unique studio in China, and it is estimated that there is no such studio in the world.

This has something to do with Li Xiaolong's own experience and character, and he doesn't feel at ease about putting these lifelines in the hands of others.

Originally, he even wanted to build a theater, but in the end, he couldn't afford to raise it so he gave up.

At the same time, as a "martial arts person", Li Xiaolong is very righteous, and he is reluctant to give up everyone, which gradually develops the huge scale of Li Xiaolong's studio.

As a director with a strong desire to control, Han Yi is leading the editing, and before editing, to be exact, as early as when writing the script, Han Yi already had a very clear idea.

The world's top directors are basically masters of editing, and they will personally control the process.

Of course, there are some unlucky directors who don't know what their movie will look like until it is released.

In this post-production, all the work will revolve around editing, and Han Yi has also made careful preparations for this.

It has been said that "the best editing is the one that makes people unable to find the traces of editing." ”

This is really the biggest misunderstanding of editing, it should be said that the editing that people can't find is the editing that "allows ordinary audiences to have no barriers to information acceptance", but it is not the best editing, editing has been developed for more than 100 years, there are already a variety of aesthetic standards and possibilities, and the connotation is very rich.

Of course, as a commercial film, and as far as possible for the general public, Han Yi must maintain the smoothness of the editing.

Editing that does not "let ordinary viewers have no barriers to information receptivity" is not a trick to show off tricks, let alone obscure.

If you want to maintain a smooth editing that is acceptable to the general public, the first thing is to determine the right editing points for all shots.

The editing point is the transition point between two shots, including sound or picture, and accurately grasping the editing point of the lens can ensure the smooth switching of the shot, so the selection of the editing point is the most important and basic work of Han Yi's rough cut.

The editing points of all shots in "Crouching Tiger, Hidden Dragon" can be simply divided into two categories: the first category is the picture editing point, action editing point, emotional editing point, and rhythm editing point; The second category is sound splicing points, including dialogue, music, and sound effects splice points.

In a film, most of the editing revolves around the actions of the characters, and the actions here do not refer to fights, but to the actions of the characters.

The action editing point is the coherence of the subject's action, and the action editing is certainly for the sake of a clear narrative, but it focuses more on the coherence of the action outside the camera, and the coherence of the action can increase the sense of fluidity between the shots.

Han Yi's choice of action editing points is very important, which will directly affect the effect that can be achieved in the final film.

The rough cut of "Crouching Tiger, Hidden Dragon" was divided into two parts by Han Yi.

The first step is to spell, which means to use the combination of some lenses to produce different kinds and give people different feelings.

And then the second step is the cut, specifically to control the rhythm, this rhythm and mood of the whole film.

In film editing, rhythm is very important, but as far as the techniques used by Han Yi in this film are concerned, everything still depends on the storyline and mood, Han Yi has always believed that the most important thing to control the rhythm of "Crouching Tiger, Hidden Dragon" is emotion, how does emotion need you to get here, and what kind of changes or processing do you make.

During the editing process, Han Yi hopes that he will try his best to maintain a more objective state, really regard himself as an audience, and really feel the changes in the rhythm and details in the middle, whether the play is good or not, and so on.

What kind of "Crouching Tiger, Hidden Dragon" is suitable for, then what kind of techniques he uses to cut it, so that the audience can enter the play when they watch it.

Relying on these, Han Yi and his team spent nearly half a month to get the rough cut, and the next fine cut is more important, which will directly determine the quality of the finished film.

As you can see from the name, fine cutting is far more complicated than rough cutting.

Han Yi wanted to make sure that the cut was tight enough and that the editing was tight but not too short, which meant that unnecessary pauses in the actors' dialogues needed to be cut, the blank spaces in the middle of each sentence could be shortened, and even lengthy and unimportant dialogues could be subtracted.

The concentration time of most moviegoers is generally no more than 150 minutes, which is equivalent to the length of the average mainstream commercial movie, and the rough cut version completed by Han Yi is more than 300 minutes, which needs to be compressed to about 120 minutes in the fine cut, if the film is two and a half hours or even longer after the fine cut, then it will require "major surgery".

This is a very painful process for every director, because he can't bear to give up every second, this is like Han Yi's child, reluctant, but even if he is reluctant, he has to reduce.

Every time he reached this stage, Han Yi was very painful.

In fine editing, it is necessary to take into account many aspects that are difficult to take into account when rough cutting, such as the coordination of action and picture, the use of actors' gestures, props, line of sight or movement is one of the editing methods, the best way is to let the emotions flow naturally, or cut out a smooth narrative rhythm, technical editing is not the key.

Unlike others, Han Yi also used temporary background music as an aid while editing.

This method is generally not the norm for editing, and once you like temporary music in the editing, it is difficult to find the right soundtrack that feels good, which is very bad.

However, this method is used for Crouching Tiger, Hidden Dragon, and Han Yi thinks there is no problem.

(To be continued.) )