![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
You know how I said my goal for this year is to improve my cutting? Right, so I have stuff I'm rolling around in my head trying to get a handle on and since up until recently I had a sad habit of wandering off and cutting to a silent oboe and driving my poor betas to beat their heads against the wall and create color coded charts and big neon signs with pointing arrows helpfully labelled WTF, THE BACKBEAT IS RIGHT THERE YOU FREAK....well, I'm not sure I'm anywhere near getting this right. So I open my thoughts to you smart people to help me get a handle on them.
Right, so assuming a typical pop/rock song with a standard 4/4 thing going on you've got your ones and your threes and then your twos and your fours, with the twos and fours forming the backbeat. What I'm trying to get at is how using that affects choices of cuts and motion in order to do stuff more deliberately instead of flailing around until things look right. I'm watching tons of vids and going over old beta chats and reaching tentative conclusions. Feel free to mock me in comments and explain how very wrong I am with an LOLSILENTOBOE.
Cutting on the ones and threes gives a softer transition between clips...drawing them together as more of one piece maybe allowing them to be read as one continuous statement except maybe the ones also act as a sort of pause, an indrawing of breath before speaking...and maybe that's to do with phrasing? Cutting on the twos and fours gives a harder feel and is all about impact and emphasis drawing specific attention to the juxtaposition of this clip and that one either for contrast or as a sort of exclamation point. And then maybe your motion follows that, internal motion that echoes a two or a four is going to draw more attention to itself than motion on a one or a three. So if you cut on the one and throw strong motion down on the two etc. you're making your argument *within* the clip, but the other way around you're making it in the way the clips are placed in relation to each other? With, of course, tons of overlap taking into account that we're working within the larger context of the entire song and all that phrasing and structure stuff that makes my head hurt.
Am I anywhere near on the right track here? I am an admitted moron about music, so I'll not be even the slightest bit insulted if you point out all the ways in which I am wrong. And you'll notice I haven't even mentioned syncopation because it makes my brain go 'splodey, but feel free to attempt to explain or discuss where that fits in if you are far cooler than me.
Right, so assuming a typical pop/rock song with a standard 4/4 thing going on you've got your ones and your threes and then your twos and your fours, with the twos and fours forming the backbeat. What I'm trying to get at is how using that affects choices of cuts and motion in order to do stuff more deliberately instead of flailing around until things look right. I'm watching tons of vids and going over old beta chats and reaching tentative conclusions. Feel free to mock me in comments and explain how very wrong I am with an LOLSILENTOBOE.
Cutting on the ones and threes gives a softer transition between clips...drawing them together as more of one piece maybe allowing them to be read as one continuous statement except maybe the ones also act as a sort of pause, an indrawing of breath before speaking...and maybe that's to do with phrasing? Cutting on the twos and fours gives a harder feel and is all about impact and emphasis drawing specific attention to the juxtaposition of this clip and that one either for contrast or as a sort of exclamation point. And then maybe your motion follows that, internal motion that echoes a two or a four is going to draw more attention to itself than motion on a one or a three. So if you cut on the one and throw strong motion down on the two etc. you're making your argument *within* the clip, but the other way around you're making it in the way the clips are placed in relation to each other? With, of course, tons of overlap taking into account that we're working within the larger context of the entire song and all that phrasing and structure stuff that makes my head hurt.
Am I anywhere near on the right track here? I am an admitted moron about music, so I'll not be even the slightest bit insulted if you point out all the ways in which I am wrong. And you'll notice I haven't even mentioned syncopation because it makes my brain go 'splodey, but feel free to attempt to explain or discuss where that fits in if you are far cooler than me.
Tags: