![]() ![]() We’ll also let you know when and where you should use a certain type, and we’ll give you the tools to help you create them. We’re going to tell you all about the different styles of video and show you examples of each. Choosing the right style of video can make all the difference. Tomatoes might even start flying, right? Well, if you’re using the wrong video style to convey your message, you could get out of tune with your audience. Why? Imagine a singer who hits the stage but can’t hit the right notes or stay in tune. There it is used either as a parody of direct metaphors or directly as a satire of a character or situation.For entrepreneurs or video creators who are diving into video marketing, it’s crucial to know the different styles of video and when you should use them. Intellectual montage works surprisingly well in comedy, especially in eccentric comedy. ![]() The segment showing the face looks the same in all cases, but when shown next to different shots, it changes how viewers perceive its meaning. This type can be considered the purest form of Soviet montage theory, and the Kuleshov effect confirms it perfectly. So, in the process of such editing, two incoherent frames, when combined, evoke a different idea in the viewer. Intellectual montage expresses abstract ideas by creating a conceptual relationship between edited segments that is opposed to visual content. Finally, metric montage works when the scene starts with long frames and as the intensity increases, the frames are edited faster and faster. When shots of the three shooters are combined with the already well-known soundtrack piece – that’s where the rhythmic montage kicks in. Tonal montage is present in the environment and setting: the action takes place in a cemetery, which is a common symbol of the end – in this case, both death and the finale of the film. OvertonalĪ combination of the aforementioned montages, there’s an overtonal montage.Ī good example is the final scene from Sergio Leone’s “The Good, the Bad, the Ugly”. The combination of shots where she hides from danger while on the other side there are constant flashes and an alien almost invisible in the dark, set the tone and make the viewer feel tense. In Ridley Scott’s “Alien”, we can see tonal montage applied when Ripley encounters the Xenomorph. The tone can be determined, for example, by the lighting in the frame as well as its change, use of specific metaphors that associate with a particular emotion or even a sequence of reactions of characters to an emotional situation within the movie. The idea is that, when juxtaposed, they enhance the emotional impact. When it comes to the emotions the director wants us to experience, it is time for tonal montage, in which shots are arranged according to their "emotional tone". ![]() Most evident examples are modern movie trailers that combine dramatic music and vivid stills from the movie. ![]() The shots are edited according to the soundtrack and how it’s used in the particular scene, what sound effects and on-screen action there are. Rhythmic montage is similar to metric, however, as suggested by its name, here rhythm of movement and the content of specific scenes are taken into account instead of their duration. In the famous shower scene in “Psycho”, Hitchcock exploits this montage effect by editing shots of a knife and the victim next to each other. Quick cuts or, conversely, long shot, affect the level of tension the viewer feels during watching. It may feel uncomfortable while watching because the action is constantly interrupted, but if you catch the general rhythm of the movie, it turns out to be interesting and more understandable. Metric montage is based on the temporal length of the segments and requires cuts at regular intervals, regardless of how the action develops within the shots. Thus, Eisenstein proposed his own classification of montage techniques. Eisenstein believed that the image in the film should be a combination of different frames in a structure where the conflict exists between its elements, which is achieved by video montage editing. Types of editing styles in films differ in how frames will be joined to each other, and on what basis – by meaning, by association, sequentially or in parallel, etc. However, it is still subject to rules, and as a result, it was divided into different types. It is the expressive means of the screen, the way of artistic thinking, and the rhythm of the work. Nowadays, montage in movies is something that is determined by the worldview of its director. Montage techniques in movies and their effect ![]()
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