Graphic rhythm video editing

graphite montage


I am writing to you for a feature suggestion to the Shotcut software.

My proposal would be a beat graph function for video editing, as shown by the photo attached to this post.

This feature would be used to create the desired rhythm as well as the dynamics of the cuts. The points on the graph would make it possible to determine the cuts within the shots and thus precisely control the rhythm of the sequence in question.

According to my research, this type of graphic would be used by film editors to create the emotional rhythm of the cinematographic work.

What do you think about this feature suggestion to Shotcut? Perhaps it would be too complex and ambitious to achieve, probably a function too professional or unsuitable for the software.

Thank you very much in advance for your response.

With my best regards,

Gabriel Lozano

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I actually have one question, it’s simple to answer, does any of these software have the feature that you are requesting (without plugins) :-

After Effects, Premiere Pro, DaVinci Resolve (Paid), Flame, Sony Vegas Pro, Lightworks (Paid)

Answer with yes or no, also mention the software name. If it can be achieved with plugins in the mentioned software then mention it too.

Your suggestion is good to me and I am ready to vote, but I just want to know if it is too much, if any of my mentioned ones have it, it’s not too much to ask, but if the other’s don’t have it too, I think it would be hard, but still good to add in roadmap both ways.

What exactly is this a photo of? I do not really see a rhythm. Maybe it some high level suggestion of when to make a cut (points on X axis), but I do not understand the vertical position of the points or their color.

According to my research

Perhaps you can share more details.

Thank you very much for your message. These are very good questions and I completely understand your observations.

According to my research, the following software has or does not have this functionality:

-After Effects: Yes and can also be done with plugins

-Premiere Pro: Yes and can also be done with plugins

-DaVinci Resolve (paid): Yes and can also be done with plugins

-Flame: Yes and can also be done with plugins

-Sony Vegas Pro: Yes and can also be done with plugins

-Lightworks: Yes and can also be done with plugins.

Do not hesitate if you have any additional questions to the previous message!

@Taxidriver1976 - I’m a musician, and I too can’t understand this sentence at all. The image also leaves me baffled. Could you perhaps post a video of it in action, in other software, or even a larger screenshot to help me understand its purpose? Thanks.

Do I understand you correctly that you want a way to synchronize the tempo of the music and what is happening on the screen? Unfortunately, at the moment, shotcut does not do this, except for a few audio-visual plugins, but most likely this is not exactly what you are looking for. Ideally, it would be great if Shotcut had the ability to analyze the audio signal and create markers on the timeline based on the analysis, it would be great to have two modes of operation: analyzing the rhythm and creating a series of markers based on the tempo of the composition, and a second mode - markers are created on strong beat of the track, for example on the “bass drum”. And it would be possible to attach tracks, keyframes, etc. to the created markers. Maybe this will appear in Shotcut someday.

Thank you very much for your message. These observations and remarks are very relevant.

My previous explanations were much too vague and confusing, I sincerely apologize for that.

I will try to explain this more clearly and precisely.

The edit pacing graphic I showed you as an example in my first post comes from the timeline shown above from the movie “Mad-Max Fury Road.”

To further illustrate my point, here is a short extract from the film’s script:

----Furiosa honds the horn twice to declare war.

They speed up across the desert, Furiosa in the War Ring following a small war boy car with several other cars and motorbikes behind her.

A wire springs up in front of them. A booby trap! The first car hits it at full speed. It flips over and lands on its head in a pit of spikes.-----

Editor Margaret Sixel creates a very intense and emotional rhythm of tension for this type of action scene.

On the editing table, when the points of the graphics are placed at the top, the rhythm of the scene will be intense and makes it possible to determine the cuts within the shots.

Conversely, when the points of the rhythm graphic are placed at the bottom, the rhythm will be calmer.

In the following very short passage of the film you will see from 3:16 to 3:27 the extract of the sequence edited in the editing table:

From what I understand, when Max is fighting on the roof of the truck against the warrior, the dot will be placed at the top of the graphic to give tension to the scene.

When zooming out on Furiosa’s truck, the line on the graph goes back down and there is a dot placed at the bottom, the rhythm becomes intensely calm showing Furiosa’s unsettling determination to fight the enemy.

As we can see in the editing table timeline, this sequence has cuts within the shots, made by the editing software according to the indications given by the positioning of the point on the graph.

The dot bars located right next to the rhythm graph relate to the transitions between scenes which are, in this context, very fast to also create the tension of the sequences.

Coming back to the scene’s montage rhythm graph, when the warrior throws the grenade inside Furiosa’s truck, the tension rises again, so the line rises with a point at the top.

Then there is a shot of the grenade about to burst, the segment lowering a little from its height, a moment of anguished hesitation.

Furiosa’s truck explodes, the line goes down in a certain way, quite difficult to explain in the photo, to create an intense and brutal atmosphere of the explosion.

The War Boy raised his arm in the air in victory, holding Max in chains. The war is over. The enemy is victorious, it is an intense moment, the segment then goes back vertically.

This was what I personally understood from the beat editing graph not in relation to the scene.

As I was writing this post, I saw posts asking if the beat chart was about music. In fact, according to my research and personal observations described above, it is a film editing pacing chart to pace, according to the context of the sequence, the scene of the cinematographic work.

@Taxidriver1976 Thank you for this explanation but I still am struggling to understand the purpose of the graph.

Surely the tension/calmness of a movie scene is partly achieved by the duration of the cuts?
I downloaded the video you put in the link and in Shotcut and added timer track to indicate each cut. Is this close to the purpose of your graph? I am open to be enlightened…

The great works of AI’s copy and paste.

In my years of using them, I have never seen anything like that. What you are asking for, I believe is a music maker, which basically allows you to create and edit beats. Even on my google searching I find nothing about this.

I really don’t understand anything you say, it’s too complicated to understand, I started video editing with premiere pro, yet I have never ever seen anything like that interface.

That sounds AI to me, I smell the fumes of AI from far away (check my about :wink:). This much perfect grammer, not a single spelling mistake, and professionalism. Too good to be human.

What exactly makes you say that this image was generated by artificial intelligence? It would be nice if you could explain more.

Personally, I used several online tools to find out if this image was generated by an AI or not and the result was that the percentage of this image being a human creation was always the highest.

As we can see in the photo attached to your previous message, this image comes from a presentation of the nominees for the Oscar for best editing in 2017.

I did some advanced research to find out who was making these presentations of the nominees in the different categories. I also have a relative who is a member of the Academy.

According to my investigation, the Academy of Cinema Arts and Sciences rigorously monitors these presentations of cinematographic works in competition in the various categories.

The Academy is comprised of many experienced and respected industry professionals who guarantee the authenticity and quality of the material presented there.

The materials used in the presentations are provided by the teams working on the film in question as well as by the studios. This material is selected to demonstrate the skills of the nominated professionals.

There are also editing consultants and experts who help make film presentations and ensure that the material presented there accurately reflects the skills of the film editors.

Sorry, but I’m not an artificial intelligence. I am a human being just like you.

When you ask an artificial intelligence if it is a robot, it will answer affirmatively.

When you tell a human that he is a machine he will tell you no.

And that’s the case, without wanting to disappoint you, I am indeed a human being.

AI. :wink:

This thread is confusing. You originally mention stuff about “rhythm” and “beat graph” which makes it seem like it is about music. It is not; it is more like a director’s tool to guide the mood. I did not think you are composing the entire message with AI–maybe assisted by, and I think that is OK. In any case, I have decided not include this feature in Shotcut and closing this thread.