In addition to the movement generated by the camera, in cinema the internal movement of the plane and the external movement generated by the montage are important . Thus, the dynamism of a scene is conditioned by the movements produced by the camera, by the movements of the elements-characters-in the frame, by the changes in the point of interest or visual weight and by the final sense of the juxtaposition of shots. .
During the assembly it is essential to keep the rhythm, for this we recommend the following:
- The recording of the movement must be longer than what is foreseen in the technical script. If the character’s movement should last 15 seconds in the final montage, it is better to record 25 seconds, these seconds being more, the time in which the character is at rest. In this way, it is easier for the assembler to choose the correct start and end, thus avoiding the lack of moving raccord . This excess time is called leaving a queue .
- When assembling the images, it is important that you take into account not only the internal movement of one plane, but the movement of the rest of the internal movements of the rest of the planes. Audiovisual language is like music, like written text, the final meaning is given by the set of shots. If we assemble a series of general shots with slow camera movements, the rhythm produced is slow and contemplative; Poorly planned, it can get boring. This type of movement is widely used by filmmaker Andrei Tarkovsky. In the same way, close-ups and short shots create a fast-paced rhythm. The concept “last minute rescue” – invented by David W. Griffith – is the formula in which short-term shots are combined that convey the idea of tension.
