Development of editing
Editing has many different purposes such as telling a story, creating a mood or creating an atmosphere, all leading to the success of your film. The earliest film. In the 1900's were all done in camera, meaning there was no editing involved in the production of film making. Filmed were played on one long real which means that film makers would have to film everything in order for there movie to make sense.
The great train robbery is a 1903 western film written, produced and directed by one man. Edward S.Porter. Even though the movie is only 12 minutes long this film is classes as a huge milestone in movie history as this film used a number of innovative techniques such as cross cutting, double exposure composite editing, camera movement and on location shooting.
To everyone who love film making cross cutting was a new sophisticated way to edit your films. Many prints were also hand coloured in certain scenes. How're ever non of these techniques were original to the great train robbery many people speculated that the work was inspired by a man called Frank Mottershaw. Who had earlier made the British film a darling daylight burglary.
The first individuals to experiment with editing were David Griffiths, Eisenstein and Lev Kuleshov
David Griffiths was considered to be the father of narrative cinema. D.W. Griffiths practically invented such techniques as parallel editing, pushing them to unprecedented levels of complexity and depth. Griffith's work in the teens was highly regarded by Kuleshov and other soviet film makers and greatly influenced their understanding of editing. And what we now know as the popular 'classic Hollywood' style of editing was developed by early European and American directors. in particular D.W. Griffiths in his films such as the birth of a nation and intolerance. The classic style ensures temporal and spatial continuity as a way of advancing narrative, using such techniques as he 180 degree rule. establishing shot, and reverse shot.
Lev Kuleshov was among the very first to theorise about the relatively young medium of the cinema in the 1920s. For him, the unique essence of the cinema - that which could be duplicated in no other medium - is editing. He argues that editing a film is like constructing a building. Brick-by-brick (shot by shot) the building (film) is erected. His often-cited Kuleshov experiment established that montage can lead the viewer to reach certain conclusions about the action in a film. Montage works because viewers infer meaning based on context. He was a soviet filmmaker and film theorist who taught at and helped establish the world's first film school, the Moscow film school. Although editing innovations, such as crosscutting were used by directors in Hollywood before him, Kuleshov was the first to use it in soviet Russia. He studied the techniques of Hollywood directors. Particularly D.W. Griffiths and Mark Sennett and introduced such innovations as crosscutting in editing and montage into Russian cinema.
Sergei Eisenstein was briefly a student of Kuleshov's, but the two parted ways because they had different ideas of montage. Eisenstein regarded montage as a dialectical means of creating meaning. By contrasting unrelated shots he tried to provoke associates in the viewers, which were introduced by shocks.
Eisenstein introduced five methods of montage in his introductory essay "word and image"
1. Metric - Where the editing follows a specific number of frames (based purely on the physical nature of time), cutting to the next shot no matter what is happening within the image. This montage is used to elicit the most basal and emotional of reactions in the audience.
2.ryhtimic - includes cutting based on continuity, creating visual continuity from edit to edit.
3. Tonal - a toner montage uses the emotional meaning of the shots - not just manipulating the temporal length of the cuts or its rhythmical characteristics - to elicit a reaction from the audience even more complex than from the ,metric or rhythmic montage. For example, a sleeping baby would emote calmness and relaxation.
4. over tonal/ association- The over tonal montage is the accumulation of metric, rhythmic, and tonal montage to synthesize its effect on the audience for an even more abstract and complicated effect.
5. intellectual - uses shots which, combined, elicit an intellectual meaning.
Starting in the late 1970s to the early 1980s, several videos equipment's were introduced such as the TBC - time based correctors and digital video effects units. They operated by using standard analog, it composed the video and then within digitalized it. This made it easier to correct or enhance the video signal.
In the early days of electronica video production, linear (tape-to-tape) editing was the only way to edit videos tapes. Then, in the 1990s, non-linear editing computers became available and opened a whole new world of editing power and flexibility. Non-linear editing was not welcomed by everyone and many editors resisted the new wave. In addition, early digital videos was plagued with performance issues and uncertainty. However, the advantages of non-linear videos eventually became so overwhelming that they could not be ignored.
A computer system comprises hardware and software.
Hardware is the physical medium, for example:
The great train robbery is a 1903 western film written, produced and directed by one man. Edward S.Porter. Even though the movie is only 12 minutes long this film is classes as a huge milestone in movie history as this film used a number of innovative techniques such as cross cutting, double exposure composite editing, camera movement and on location shooting.
To everyone who love film making cross cutting was a new sophisticated way to edit your films. Many prints were also hand coloured in certain scenes. How're ever non of these techniques were original to the great train robbery many people speculated that the work was inspired by a man called Frank Mottershaw. Who had earlier made the British film a darling daylight burglary.
The first individuals to experiment with editing were David Griffiths, Eisenstein and Lev Kuleshov
David Griffiths was considered to be the father of narrative cinema. D.W. Griffiths practically invented such techniques as parallel editing, pushing them to unprecedented levels of complexity and depth. Griffith's work in the teens was highly regarded by Kuleshov and other soviet film makers and greatly influenced their understanding of editing. And what we now know as the popular 'classic Hollywood' style of editing was developed by early European and American directors. in particular D.W. Griffiths in his films such as the birth of a nation and intolerance. The classic style ensures temporal and spatial continuity as a way of advancing narrative, using such techniques as he 180 degree rule. establishing shot, and reverse shot.
Lev Kuleshov was among the very first to theorise about the relatively young medium of the cinema in the 1920s. For him, the unique essence of the cinema - that which could be duplicated in no other medium - is editing. He argues that editing a film is like constructing a building. Brick-by-brick (shot by shot) the building (film) is erected. His often-cited Kuleshov experiment established that montage can lead the viewer to reach certain conclusions about the action in a film. Montage works because viewers infer meaning based on context. He was a soviet filmmaker and film theorist who taught at and helped establish the world's first film school, the Moscow film school. Although editing innovations, such as crosscutting were used by directors in Hollywood before him, Kuleshov was the first to use it in soviet Russia. He studied the techniques of Hollywood directors. Particularly D.W. Griffiths and Mark Sennett and introduced such innovations as crosscutting in editing and montage into Russian cinema.
Sergei Eisenstein was briefly a student of Kuleshov's, but the two parted ways because they had different ideas of montage. Eisenstein regarded montage as a dialectical means of creating meaning. By contrasting unrelated shots he tried to provoke associates in the viewers, which were introduced by shocks.
Eisenstein introduced five methods of montage in his introductory essay "word and image"
1. Metric - Where the editing follows a specific number of frames (based purely on the physical nature of time), cutting to the next shot no matter what is happening within the image. This montage is used to elicit the most basal and emotional of reactions in the audience.
2.ryhtimic - includes cutting based on continuity, creating visual continuity from edit to edit.
3. Tonal - a toner montage uses the emotional meaning of the shots - not just manipulating the temporal length of the cuts or its rhythmical characteristics - to elicit a reaction from the audience even more complex than from the ,metric or rhythmic montage. For example, a sleeping baby would emote calmness and relaxation.
4. over tonal/ association- The over tonal montage is the accumulation of metric, rhythmic, and tonal montage to synthesize its effect on the audience for an even more abstract and complicated effect.
5. intellectual - uses shots which, combined, elicit an intellectual meaning.
Starting in the late 1970s to the early 1980s, several videos equipment's were introduced such as the TBC - time based correctors and digital video effects units. They operated by using standard analog, it composed the video and then within digitalized it. This made it easier to correct or enhance the video signal.
In the early days of electronica video production, linear (tape-to-tape) editing was the only way to edit videos tapes. Then, in the 1990s, non-linear editing computers became available and opened a whole new world of editing power and flexibility. Non-linear editing was not welcomed by everyone and many editors resisted the new wave. In addition, early digital videos was plagued with performance issues and uncertainty. However, the advantages of non-linear videos eventually became so overwhelming that they could not be ignored.
A computer system comprises hardware and software.
Hardware is the physical medium, for example:
- circuit boards
- possessors
- keyboards
- Operating system
- editor
- compliers
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