Press the left button to split the scissors shape. Like scissors, in the middle of video playback, press the space bar to stop at a certain frame, and then click the left button, and the whole video will be divided into two parts. Repeated operations can divide the video into three parts and four parts.

2. After using the segmentation tool, a video has been successfully divided into several parts. For the unnecessary part, select it first, then click the right mouse button to select Delete, and you can delete the unnecessary part.

3. When there is a blank on the deleted track, you must drag the video to connect all the tracks seamlessly. If the audio track is exported without spaces, there will be no black screen. Before exporting, press and hold ctrl+enter to start playing from the beginning without errors, and then export.

First of all, early film editing was carried out through positive films developed from negative films. Each frame on the developed positive film has a number corresponding to the negative film. This kind of positive film used for editing is called working copy. The editor can control the forward, backward and frame-by-frame viewing by installing the working copy on the film spindle of the editing table. The positioning aperture will directly project the currently positioned film picture onto a small monitoring screen or ground glass. The sound is recorded on a magnetic tape, which is placed in parallel on another reel synchronized with the picture at the same speed. Positioning is the sensing head, which ensures the synchronization of sound and picture, that is, the picture rotates for 24 frames (uniform playback 1 sec), and the tape also rotates for uniform playback 1 sec.

The editing operation is to find the position to be edited on two pieces of film and tape, mark it with a marker, then cut the film and tape, and finally bond the two pieces of film and tape that need to be connected with transparent tape. Every time you cut this operation, you should mark the remaining parts very carefully and in detail. Because if you cut too much, you will probably find some pictures and sounds in the rest of the film and add them back, so you need to be very familiar with the different pictures of the clip before editing and have the ability to imagine the time and space with a strong sense of rhythm, otherwise it will waste a lot of time trying to change back and forth. The editing of each knife is not in the machine but in the brain, but few schools will learn film editing now. When you encounter shots such as fade-in, fade-out, overlap and multiple exposure special effects, you need to determine the duration of special effects and the entry and exit points of special effects on the editing table, and then calculate the corresponding frame number and mark it with a special marker.

The edited working copy will be sent to sort out the numbers of all cutting access points, and then find out the corresponding negatives, including those covering the special effect numbers. The washed negative is connected according to the cut and special effects of each access point, but the connection is not with transparent tape that will destroy the picture, but with perforations. At the same time, the connection is not made directly by hand, but with very delicate silk gloves on the soft flannel. Because there is only one negative developed after shooting, its quality directly affects all developed copies, so we must protect the top layer. Among them, special effects shots such as fade-in, fade-out, overlap and multiple exposure will be completed by light distribution technology during development, and then the negatives will be developed into hundreds and sent to cinemas of all sizes for screening.

Because your topic is not clear, I don't know if you are talking about a professionally edited movie clip or a mixed movie. I'll talk about both here.

As a film editor, editing movies is very professional and requires certain editing skills. Film editing is often called "intangible art", and the goal of most editors is to create seamless finished products. Once the work is completed and done well, it is difficult to pay attention to individual parts. Here are some editing techniques for film editing:

1. Long focal length lens

A shot that lasts a long time before the transition to the next shot. The average length of each shot varies greatly at different times and places, but the editing speed of most contemporary movies is often faster. Generally speaking, any shot that lasts more than one minute is considered a long shot.

Step 2: Rhythm

The frequency and regularity of sound, a series of shots and actions inside the shots. Rhythm factors include beat (or action), stress (or stress) and rhythm (or speed). Rhythm is one of the basic characteristics of movies, which determines the mood of movies and the overall impression of the audience. This is also one of the most complicated analysis, because it is realized through the combination of scene, photography, sound and editing. Indeed, rhythm can be understood as the ultimate balance of all elements in the film.

3. Overlapping clips

A clip that repeats some or all of the actions, thus extending its viewing time and plot duration. The most common is experimental film production. Because of its short-lived disturbing and purely graphic nature, it also appears in movies where action takes precedence over plot and dialogue: sports documentaries, musicals, martial arts and so on. Overlapping editing is the same feature of Hong Kong action movies in 1980s and 1990s. When director John Woo moved to Hollywood, he tried to incorporate this style into mainstream action movies, such as Mission Impossible 2.

transit

Shots are defined by clips, but clips can also connect shots together. Traditionally, editing is to create space and guide the audience to see the most prominent part of the scene.

1. Sorry

Borrowing is a way to show continuous time and space from one shot to another in continuous editing, but it doesn't actually conform to the position of people or things in the scene. In Vincent Minelli's Flowers of Fire and Silver, real physical space is sacrificed by dramatic space. As you can see in the first picture, there is a wall behind the mobile phone. However, in the third shot, the wall magically disappeared. In order to represent the telephone and the family sitting around the table (an important element in the movie), from one point of view, it is impossible in a real room.

intersect

Alternating action scenes that usually take place in different places at the same time. Therefore, these two operations are connected to associated roles from different spaces. To further emphasize their similarities, the father is actually reliving his first date with his first girlfriend, while his daughter is actually on the first date. Yang used the crossing of time and space to imply that history will repeat from generation to generation.

Step 3 cut in and out of the lens

In the same space, the instantaneous transition from distant view to close view, and vice versa.

Step 4 overlap

In the transition of two shots, the first picture gradually disappears and the second picture gradually appears. For a moment, the two images were mixed together. Overlap can be used as a fairly direct way to connect any two scenes, or in a more creative way, for example, to suggest the state of illusion.

Circle/circle

A circular and movable mask that can end the scene (circle) or emphasize the details, or open the scene (circle) or show more space around the details.

Jumping clips are used to express, suggesting a person's meditation or contradiction in daily life, but they are also obvious signs of breaking with the narrative mode of mainstream movies. Instead of presenting a movie as a perfect independent story and unfolding it seamlessly in front of us, jumping and editing is like a sentence, which proves both the artificiality and the difficulty of telling such a story.

6. Positioning lens/repositioning lens

Shots, usually including telephoto lenses, show the spatial relationship between important people, objects and backgrounds in the scene. Usually, the first shot of a scene is usually a positioning shot, because it introduces positional relationship and spatial relationship.

Step 7 shoot forward and backward

Two or more shots change roles with each other, usually in the case of dialogue.

8. Overlapping pictures

Expose multiple images on the same film. Unlike overlapping painting, overlapping painting does not mean the transformation from one scene to another. It is usually used for the same actor to appear two characters on the screen at the same time, to express subjective or drunken visual effects, or to simply introduce narrative elements into the scene from another part of the psychedelic world.

9. portrait

A transition between shots, in which a line passes through the picture. When the first shot moves, it will be deleted and replaced by the next shot. This is a dynamic and dramatic change, usually used in action or adventure movies.

Just like other transitional modes such as rolling and portrait, it became popular in a certain historical period (1950s and 1960s), so that it became the style symbol of movies in that period.

Matching clip

Matching editing refers to the technology of connecting and dividing two shots by establishing some form of connection between them. This connection can be inferred from the situation of scene description (such as graphic matching).

1. Line of sight matching clip

A clip that follows the principle of action. The first shot shows a person leaving in one direction, and the second shot is a nearby space with something he or she sees. If the person looks to the left, the following shot should imply that the person looks to the right of the screen.

2. Graphics matching clips

Two consecutive shots are connected to create a strong similarity of composition elements (such as color and shape). It is used to convey the continuity style and smoothly transition between two shots. Graphic matching editing can also be used for metaphorical association, just like the continuity style of the Soviet Union.

6. Editing style

1. Coherent editing

An editing method to keep the narrative action coherent. Coherent editing depends on the direction, position and time relationship from one shot to another, that is, the time and space between consecutive shots are coherent. In addition, narrative is easier to understand when the direction on the screen matches the direction of the movie world. As shown in the figure below, the "180 degree rule" stipulates that the camera should stay in an area on both sides of the action axis (there is an imaginary line between the main elements A and B in the scene, usually two characters).

Following this rule, the director should ensure that each character occupies a consistent area in the picture and help the audience understand the layout of the scene. This consistent sense of space is strengthened by technical means such as action matching.

montage

Including the montage in the shot, the montage between sound and image, and the multi-level hints and conflicts between the two shots. Through the mode of duration, picture direction and lens proportion, the meaning of irrelevant lens is produced.

3. Ellipse editing

Omitting part of the shot transition in the event leads to the omission of the plot and story duration.

Then we'll talk about the movie mix.

The first step is to determine the central idea to edit.

Before we start mixing, we should decide what kind of film to cut, instead of starting editing as soon as we come up. This is the so-called plan before we act.

Step 2, select the membrane material.

After the theme is determined, materials are selected around the theme. You can't decide to edit a collection of warm hugs, but choose bloody fighting scenes. For example, when editing the villains of Marvel comics, we choose Marvel comic series movies, Iron Man series movies, robot series movies, science fiction movies, China Kung Fu movies, martial arts movies and so on.

The third step is to determine the framework.

Browse the film to determine the structure and find out the appropriate clips. After the film is ready, you should set a general framework according to your central idea, such as beginning-development-climax-ending, and then browse the film and choose the appropriate clip.

Step four, music is very important.

It is no exaggeration to say that if the music is chosen well, the mixed cutting is half the battle. We should choose music according to the central theme and structure, choose soothing music for warm clips, and choose passionate music for fierce combat clips.

Step five, rough cutting.

Rough cutting according to music and architecture: first, arrange the selected fragments according to architecture, and then put similar actions together, such as jumping, hugging, running, colliding, attacking, falling, exploding and so on. Finally, according to the narration of the lines, the layout of the picture is coherent as a whole.

Step 6: get a haircut.

According to the rhythm of the music, start to adjust frame by frame to get the rhythm of the music at the climax. Delete the extra shots.

Step 7, check

A film that has been revised repeatedly must be revised repeatedly. After you have watched it several times, you can ask others to watch it and make suggestions for revision. You can impress the audience again and again until you impress yourself.

Step 8, output in pieces.

The modified rendering output can be rendered into one piece without errors!