Film editing is a technical part of the post-production filmmaking process. This term comes from the traditional process of working with movies that increasingly involve the use of digital technology.
The movie editor works with raw recordings, chooses shooting and merges them into sequences that produce finished movie images. Film editing is depicted as art or skill, the only art unique to film, separating filmmaking from other art forms that preceded it, although there is a close alignment with the editing process in other art forms such as poetry and novel writing. Film editing is often referred to as "invisible art" because when practiced properly, viewers can become so involved that they are unaware of the editor's job.
At the most basic level, film editing is the art, technique, and practice of assembling images into a coherent sequence. The work of an editor not only mechanically puts the movie pieces together, cuts the movie whiteboard or edits the dialogue scene. A film editor must work creatively with layers of images, stories, dialogues, music, pacing, and the performance of actors to effectively "re-imagine" and even rewrite the film to create a cohesive whole. Editors usually play a dynamic role in filmmaking. Sometimes, the auteurist film director edits their own movies, for example, Akira Kurosawa, Bahram Beyzai, and Coen Brothers.
With the advent of digital editing, film editors and their assistants have become responsible for many areas of filmmaking that were formerly the responsibility of others. For example, in previous years, the image editor only dealt with it - the image. Sound, music, and (more recently) visual effects editors deal with the practicality of other aspects of the editing process, usually under the direction of image editors and directors. However, digital systems are increasingly putting this responsibility on image editors. This is common, especially in lower budget films, for editors sometimes cutting emergency music, scoffing visual effects and adding temporary sound effects or other sound replacements. These temporary elements are usually replaced with finer finish elements generated by the sound, music and visual effects team hired to complete the picture.
Video Film editing
Histori
The early films were short films which were one long, static, and locked shot. The motion in the shot is all it takes to entertain the audience, so the first movie only shows activity like traffic moving on the city road. No stories and no edits. Each movie is played as long as there is a movie in the camera.
The use of film editing to build continuity, which involves the action of moving from one chain to another, is attributed to the British film pioneer, Robert W. Paul Come Along, Do! , made in 1898 and one of the first films. to display more than one shot. At the first shot, the elderly couple were outside the lunch art exhibition and then followed others inside through the door. The second shot shows what they do inside. Paul 'Cinematograph Camera No. 1 'in 1896 was the first camera featuring reverse-cranking, allowing the same film footage to be exposed multiple times and thus creating a super-position and multiple exposure. One of the first films to use this technique, Georges MÃÆ'Ã © liÃÆ'¨s's The Four Troublesome Heads from 1898, was produced with Paul's camera.
The further development of the continuity of action in multi-shot films continued in 1899-1900 at Brighton School in England, where it was definitively established by George Albert Smith and James Williamson. That year, Smith made As Seen Through the Telescope , where the main shot showed a street scene with a young man tying a shoelace and then stroking his girlfriend's legs, while an old man observed this through a telescope. Then there is a piece to cover a hand shot at the girl's feet shown inside the black circular mask, and then cut back to the continuation of the original scene.
Even more remarkable was James Williamson's Attack on China Mission Station, made around the same time in 1900. The first shot showed a gate to an outside mission station that was attacked and disassembled by the Chinese Boxer rebels, then there incision into the park from the mission station where the ensuing battle ensues. An armed party of British sailors arrives to defeat the Boxers and rescue the missionary family. The film uses the first "reverse angle" piece in film history.
James Williamson concentrates on filming taking action from one spot shown in one shot to the next which is shown in other shooting in movies like Stop Thieves! and Fire! , made in 1901, and more. He also experimented with close-ups, and made perhaps the most extreme of all in The Big Swallow, when his character approached the camera and seemed to swallow it. Both filmmakers from Brighton School are also pioneering film editing; they color their work with color and use photography tricks to enhance the narration. In 1900, their films expanded to 5 minutes.
Other filmmakers then took on all of these ideas including American Edwin S. Porter, who began filming for Edison Company in 1901. Porter worked on a number of small films before making Life Fireman America in 1903. The film is the first American film with a plot, showing action, and even close-ups of hand pulling fire alarms. The film consists of a continuous narration of seven scenes, totaling nine shots. He puts it dissolved between every shot, as Georges MÃÆ'ÂÂ © liÃÆ'¨s has done, and he often performs the same actions over and over throughout dissolution. The movie, The Great Train Robbery (1903), has a twelve minute running time, with twenty separate shots and ten different indoor and outdoor locations. He uses cross-sectoral editing methods to show simultaneous action in different places.
These early film directors discovered important aspects of the film's language: that screen shots do not need to show a complete person from head to toe and that uniting two images creates in the viewer's mind a contextual relationship. These are the key discoveries that make all non-live or non-live-on-videotape and television narratives possible - that shooting (in this case, the whole scene as each shot is a complete scene) can be photographed in the very location different. over a period of time (hours, days or even months) and combined into an overall narrative. That is to say, The Great Train Robbery contains scenes shot on the set of telegraph stations, the interior of a railroad car, and a dance hall, with an outside view on the railway tower, on the train itself, at a point in along the track, and in the forest. But when the robbers leave the telegraph station interior (set) and appear in the water tower, the audience believes they go straight from one to the other. Or that when they take the train in one shot and enter the trunk of the car (one set) in front, the audience is sure they are on the same train.
Around 1918, Russian director Lev Kuleshov conducted an experiment that proved this. He took an old movie clip from the head of a famous Russian actor and cut a shot with a bowl of a bowl of soup, then with a child playing with a teddy bear, then with an old woman's shot in the coffin. When he showed the movie to people, they praised the actor's acting - hunger on his face when he saw the soup, the pleasure of the child, and the sadness of seeing the dead woman. Of course, shooting the actor was years before the other photographs and he never "noticed" any of the items. The simple action of juxtaposing images in sequence creates a relationship.
Movie editing technology
Prior to the widespread use of non-linear editing systems, the initial editing of all films was performed with a positive copy of a negative film called a workprint film by cutting and uniting the pieces of the film physically. Pieces of the tape will be cut off hand and attached together with tape and then in time, glue. The editor is very precise; if they make a mistake or need a new positive print, then they will cost the lab to reprint the recording and push the editing process further. With the invention of splicer and threading machines with a viewer such as Moviola, or a "flatbed" machine such as K.-E.-M. or Steenbeck, the editing process slightly speeds up and cuts out cleaner and more precisely. Flatbed processing machines, especially Steenbeck, became industry standard equipment in film-based television production and are widely used for the filming of documentaries and dramas within the BBC Film Department. Operated by a two-person team, editor and assistant editor, this tactile process requires significant skill but allows the editor to work very efficiently.
Currently, most movies are digitally edited (on systems like Avid, Final Cut Pro or Premiere Pro) and bypass the overall positive film output. In the past, the use of a positive film (not the original negative) enabled the editor to experiment as much as he wanted, without the risk of damaging the original. With digital editing, editors can experiment just as before, except with the recording completely transferred to the computer's hard drive.
When the print job of the film has been cut to a satisfactory state, it is then used to make a list of editing decisions (EDL). The negative cutter refers to this list while processing negatively, dividing the shooting results into scrolls, which then the contact is printed to produce a final printed or printed answer. Today, production companies have the option to ignore the negative cuts altogether. With the advent of digital intermediate ("DI"), the negative physical does not need to be physically cut and heat put together; otherwise the negative is optically scanned to the computer and the cut list is adjusted to the DI editor.
Women in film editing
In the early years of the film, editing was considered a technical work; editors are expected to "cut the bad bits" and string together the movie. Indeed, when the Motion Film Editor Guild is formed, they choose to be "below the line", that is, not a creative, but technical union. It really helps women. Women usually can not get into "creative" positions; directors, cinematographers, producers, and executives are almost always male. Editing gives women creative places to assert their mark on the filmmaking process. The history of the film has included many female editors such as Dede Allen, Anne Bauchens, Margaret Booth, Barbara McLean, Anne V. Coates, Adrienne Fazan, Verna Fields, Blanche Sewell and Eda Warren.
Maps Film editing
Postproduction
Post-production editing can be summarized by three distinct phases that are usually referred to as editor pieces, director pieces, and final pieces.
There are several editing steps and the editor's edits are the first. Editor snippets (sometimes referred to as "Editors of the assembly" or "Crude cuts") are usually the first graduation of the last film when it reaches the image key. Film editors usually start working when main photography begins. Chances are, before cutting off, editors and directors will see and discuss "daily" (raw recordings daily) while shooting takes place. Filtering daily gives the editor a general idea of ​​the director's intent. Since this is the first operand, the editor piece may be longer than the last movie. The editor continues to fine-tune the shoot as the shoot continues, and often the whole editing process runs for months and sometimes more than a year, depending on the movie.
When the filming is over, the director can then turn his full attention to collaborate with the editor and perfect the movie pieces. This is the time set aside where the first piece of the film editor is printed to fit the director's vision. In the United States, under the rules of the Board of Directors of America, directors receive at least ten weeks after completing major photography to prepare their first piece. While collaborating on what's called a "cut director", directors and editors go through the film in great detail; scenes and shooting are re-sorted, deleted, shortened, and if not tweaked. It is often found that there are plot holes, missing images or even missing segments that may require new scenes to be filmed. Because it is now working closely and collaborating - a period that is usually much longer and more elaborate than all previous film productions - many directors and editors form unique artistic ties.
Often after the director has the opportunity to supervise cuts, the next cuts are overseen by one or more producers, representing a production company or a film studio. There have been several past conflicts between the director and the studio, sometimes leading to the use of "Alan Smithee" credit which signifies when a director no longer wants to be associated with the final release.
Method montage
In film terminology, montage (from French for "composing" or "assembly") is a film editing technique.
There are at least three meanings of the term:
- In French film practice, "montage" has its French meaning (assembly, installation) and only identifies editing.
- In the Soviet filmmaking of the 1920s, "montage" was a method of juxtaposing images to gain a new meaning that was not in one shot.
- In classic Hollywood cinema, the "montage sequence" is a short segment in the movie where narrative information is presented in a concise mode.
Although the film director D.W. Griffith is not part of a montage school, it is one of the earliest advocates of editing power - controlling across sectors to show parallel actions in different locations, and codifying the grammar of films in other ways as well. Griffith's work in adolescence is highly appreciated by Kuleshov and other Soviet filmmakers and greatly influences their understanding of editing.
Lev Kuleshov was one of the first theorized about a relatively young medium in theaters in the 1920s. To him, the unique essence of cinema - which can be duplicated in other mediums - is editing. He argues that editing movies is like building a building. A brick-by-shot (film) building was established. His often quoted Kuleshov experiment determined that montage can lead viewers to reach certain conclusions about action in a film. Montage works because viewers are inferring context-based meanings. Sergei Eisenstein was a student of Kuleshov, but the two parted because they had different montage ideas. Eisenstein considers the montage as a dialectical means for creating meaning. By contradicting unrelated images, he tries to provoke associations in the viewer, caused by shocks.
The montage sequence consists of a series of short shots that are edited into sequences to compact the narrative. Usually used to advance the story as a whole (often to suggest time travel), rather than creating symbolic meaning. In many cases, a song plays in the background to enhance the mood or reinforce the message being delivered. One of the most notable examples of montage seen in the 1968 film 2001: A Space Odyssey , describes the beginning of the first human development from ape to human. Another example used in many films is the sports montage. The sports montage shows the training of star athletes over a period of time, each shot has more improvement than the last. Classic examples include Rocky and Karate Kid.
Editing and sustainable alternatives
Continuity is a term for the consistency of elements on screen during a scene or film, such as whether the actor's costume remains the same from one scene to the next, or whether a glass of milk held by a full or empty character throughout the scene. Because movies are usually photographed sequentially, the script supervisor will keep a record of continuity and give it to the movie editor as a reference. The editor can try to maintain the continuity of the element, or perhaps deliberately create a discontinuous sequence for the effect of style or narration.
The continuity editing technique, part of the classic Hollywood style, was developed by early European and American directors, in particular, D.W. Griffith in his films such as The Birth of a Nation and Intolerance . Classical styles include temporal and spatial continuity as a way of advancing narration, using techniques like 180-degree rules, Setting shots, and reverse shooting.
Early Russian filmmakers such as Lev Kuleshov further explored and theorized about its editing and ideological nature. Sergei Eisenstein developed an editing system that paid no attention to the rules of the classic Hollywood continuity system which he called the intellectual montage.
Alternatives to traditional editing were also explored by surrealist filmmakers and early Dada such as Luis BuÃÆ'  ± uel (director of 1929 Un Chien Andalou ) and Renà ©  © Clair (director of 1924 Entr'acte starring famous artist Dada, Marcel Duchamp and Man Ray).
New Wave French filmmakers such as Jean-Luc Godard and FranÃÆ'§ois Truffaut and their American counterparts such as Andy Warhol and John Cassavetes also pushed the limits of editing techniques during the late 1950s and throughout the 1960s. French New Wave films and non-narrative films in the 1960s used a carefree editing style that did not fit the traditional editing ethics of Hollywood movies. Like Dada's predecessor and his surrealist, French New Wave editing often attracts his own attention because of the lack of continuity, the sidestepping reflexive nature (reminding the audience that they are watching the movie), and with the use of jump-jumps openly or the insertion of material does not often relate to any narrative.
Since the end of the 20th century Post-classical editing has seen faster editing styles with nonlinear and discontinuous action.
Significance
Vsevolod Pudovkin notes that the editing process is a truly unique production phase for moving images. Every aspect of filmmaking comes from different media from film (photography, art direction, writing, voice recording), but editing is a unique process for movies. Filmmaker Stanley Kubrick was quoted as saying: "I like editing, I think I like it more than any other filmmaking phase.If I want to be frivolous, I might say that everything that precedes editing is just a way of producing movies for edit."
According to writer-director Preston Sturges:
[T] here is the law of natural cutting and that this replicates what the audience did in a legitimate theater for itself. The closer the film cutters approach this law of natural interest, the less visible it will be to cut it. If the camera moves from one person to another at the right moment where someone in a legitimate theater will turn his head, someone will not be aware of being cut off. If the camera missed a quarter of a second, someone will jerk. There is one other requirement: two portraits should be roughly the same tone value. If someone cuts from black to white, it's jarring. At any given moment, the camera must show the exact place the audience wants to see. To find the place is very easy: one just needs to remember where one looks at when the scene was created.
Assistant editor
Assistant editors assist editors and directors in collecting and organizing all the elements necessary for film editing. When the editing is done, they keep an eye on the various lists and instructions needed to put the movie into its final form. The big budget feature editors will usually have a team of assistants working for them. The first assistant editor is responsible for this team, and can do a little image editing as well, if necessary. Other assistants will organize assignments, usually helping each other when needed to complete many time-sensitive tasks. In addition, an apprentice editor may be ready to assist assistants. An apprentice is usually someone who studies a variety of aids.
Television shows usually have one assistant per editor. This assistant is responsible for every task required to bring the show to its final form. The lower budget features and documentaries also typically have only one assistant.
The work of organizational aspects is best compared to database management. When a movie is taken, every piece of image or sound is encoded with numbers and time codes. This is an assistant job to track these numbers in a database, which, in non-linear editing, is related to a computer program. Editor and director crop the movie using a digital copy of the original movie and sound, commonly referred to as "offline" editing. When the piece is finished, it is the job of the assistant to bring the film or television show "online". They create lists and instructions that tell the image and sound coating how to put the edits back together with the high-quality original element. Assistant editing can be seen as a career path to eventually become an editor. However, many assistants do not choose to pursue progress to the editor, and are delighted at the assistant level, working long and fulfilling careers in many movies and television shows.
See also
References
Note
Bibliography
- Dmytryk, Edward (1984). In Film Editing: Introduction to Film Construction Art . Focal Press, Boston.
- Eisenstein, Sergei (2010). Glenny, Michael; Taylor, Richard, eds. Towards a Montage Theory . Michael Glenny (translation). London: Tauris. ISBN: 978-1-84885-356-0. Ã, Russian translation work by Eisenstein, who died at 1948.
- Knight, Arthur (1957). The Liveliest Art . Book Mentor. New American Library.
Further reading
- Morales, Morante, Luis Fernando (2000). TeorÃÆ'a y PrÃÆ'¡ctica de la EdiciÃÆ'³n en video . Universidad de San Martin de Porres, Lima, PerÃÆ'º
- Murch, Walter (2001). In A Blink of an Eyes: A Perspective on Film Editing . Silman-James Press. 2d rev. ed.. ISBNÃ, 1-879505-62-2
External links
- A Picsync machine demonstration by former BBC film editor
- Demonstration of editing 16mm film using Steenbeck editing table
- Discussion and demonstration of 16mm editing circuit and work environment inside
Wikibooks
- Mewa Movie User Guide
- Manual Movie Making
Wikiversity
- Portal: Movie creation
Source of the article : Wikipedia
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