It is designed not to go out of date every time a new new product is introduced or software release comes out. It is about essentials. And language. With over 25, copies in print, Nonlinear is the best selling textbook on nonlinear editing in the world today.
In stories that combine realism with sentimentalism, Davis confronted a wide range of contemporary American issues, giving voice to working women, prostitutes, wives seeking divorce, celibate utopians, and female authors. Davis broke down distinctions between the private and the public worlds, distinctions that trapped women in the ideology of domesticity. By engaging current strategies in literary hermeneutics with a strong sense of historical radicalism in the Gilded Age, Jean Pfaelzer reads Davis through the public issues that she forcefully inscribed in her fiction.
In this study, Davis's realistic narratives actively construct a coherent social work, not in a fictional vacuum but in direct engagement with the explosive movements of social change from the Civil War through the turn of the century. This concise reference provides video and film editors familiar with the Avid, Media , and Final Cut Pro systems with crucial information they will need to edit on all three of these systems.
In addition to showing film editors and directors working on DV projects how to edit for this new format, this text also clarifies the NLE process to those familiar with traditional film editing.
Resolve Color Management lets you specify the Input Colorspace of your media, the Timeline Colorspace or working color space , and the Output Colorspace. At pages it is a longer read than the slimmer Premiere Pro CC manual, but it is accessibly written and provides plenty of detail where needed.
For any editor any time spent learning After Effects will pay off in spades, and having this manual to hand will certainly help to guide you as you learn. His technique of performing cuts when you would naturally blink is a revelation. Hi Simon, thanks for taking the time to comment. Notify me of follow-up comments by email. Notify me of new posts by email. This site uses Akismet to reduce spam.
Learn how your comment data is processed. DaVinci Resolve 12 Manual One of my favourite things about every new release of DaVinci Resolve is getting to dive into the updated edition of the very excellent manual, written by professional colorist Alexis Van Hurkman. Share this: Tweet. These innovations in editing visuals and sound took place more freely in experimental and documentary filmmaking than in the commercial cinema.
Experimental film, for example, was not produced under the scrutiny of commercial consideration. Documentary film, as long as it loosely fulfilled a didactic agenda, continued to be funded by governments and corporations.
Because profit played a less central role for the experimental and documentary films, creative innovation was the result. Those innovations were quickly recognized and absorbed by main- stream filmmaking. The experimental film and the documentary have played an important role in the story of the evolution of editing as an art; consequently, they have an important place in this book.
Recording an image and playing it back requires cameras, lights, projectors, and chemicals to develop the film. Sound recording has always relied on technology. So, too, has editing.
Editors needed tape, a splicer, and eventually a motorized process to view what they had spliced together. Moviolas, Steenbecks, and sophisticated sound consoles have replaced the more basic equipment, and editroids, when they become more cost effective, may replace Steenbecks. The list of techno- logical changes is long and, with the high technology of television and video, it is growing rapidly.
Today, motion pictures are often recorded on film but edited on video. This gives the editor more sophisticated choices. Whether technological choice makes for a better film or television show is easily answered. Kubrick always took advantage of the existing technology, but beginning with A Space Odyssey , he began to challenge convention and to make technology a central subject of each of his films.
He proved that technology and creativity were not mutually exclusive. Technology in and of itself need not be used creatively, but, in the right hands, it can be. Technology plays a critical role in shaping film, but it is only a tool in the human hands of the artists who ply their ideas in this medium.
Filmmaking requires col- laboration; it requires the skills of an army of people. When filmmaking works best, each contribution adds to the totality of our experience of the film.
The corollary, of course, is that any deficit in performance can be ruinous to the film. Sound people, gaffers, art designers, costumers, and special effects people all contribute, but the front-line roles are so pervasive in their influence that they are the key roles.
The editor comes into the process once production has begun, making a rough assembly of shots while the film is in production. In this way, adjustments or additional shots can be undertaken during the production phase. If a needed shot must be pursued once the crew has been dispersed and the set has been dismantled, the cost will be much greater.
Once production has been completed, sound and music are added during this phase, as are special effects. Aside from shortening the film, the editor must find a rhythm for the film; working closely with the director and sometimes the producer, the editor presents options, points out areas of confusion, and identifies redundant scenes.
The winnowing process is an intuitive search for clarity and dynamism. The film must speak to as wide an audience as possible. Sound, sound effects, and music are all added at this stage.
The degree of freedom that the editor has depends on the relationship with the director and the producer. Particular directors are very interested in editing; others are more concerned with performance and leave more to the editor. The power relationship between editor and director or editor and producer is never the same; it always depends on the interests and strengths of each.
In general terms, however, editors defer to directors and producers. The goals of the editor are particular: to find a narrative continuity for the visuals and the sound of the film, and to distill those visuals and sound shots that will create the dramatic emphasis so that the film will be effective. By choosing particular juxtapositions, editors also layer that narrative with metaphor and subtext.
They can even alter the original meaning by changing the juxtapositions of the shots. An editor is successful when the audience enjoys the story and forgets about the juxtaposition of the shots. If the audience is aware of the editing, the editor has failed. Particular styles or genres are associated with particular directors.
When these directors make a film in which the audience is not aware of the directing, they fail that audience. Individual directors can have a public persona not available to editors. The editor shares much with the director in this respect.
Film and television are the most powerful and influential media of the century. Both have been used for good and for less-than-good intentions.
As a result, the editor is a very power- ful person because of his or her potential influence. Editing choices range from the straight- forward presentation of material to the alteration of the meaning of that material. Editors also have the opportunity to present the material in as emotional a manner as possible.
Emotion itself shapes meaning even more. The danger, then, is to abuse that power. A set of ethical standards or personal morality is the rudder for all who work in film and television. Editors do not have public personae that force them to exercise a personal code of ethics in their work. Consequently, a personal code of ethics becomes even more important. Because ethics played a role in the evolution of the art of editing and in the theoretical debate about what is art in film, the issue is raised in this book.
However, the first sec- tion, the history section, is more detailed not only because the post period had to be added, but also because the earlier period can now be dealt with in a more comprehensive way. Research on the early cinema and on the Russian cinema and translations of related documents allowed a more detailed treatment than was available to Karel Reisz in Many scholars have also entered the theoretical debate on editing as the source of film art. Their debate has enlivened the arguments, pro and con, and they too contribute to the new context for the historical section of this book.
The third part of the book, on the principles of editing, uses a comparative approach. It examines how particular types of scenes are cut today relative to how they were cut 60 years ago. Finally, the section on the practice of editing details specific types of editing options in picture and sound.
A cut from long shot to close-up has a similar impact in both media. What differs is the technology employed to make the physical cut. Steenbecks and tape splicers are different from the offline video players and monitors deployed in an electronic edit. Because the aesthetic choices and impacts are similar, I assume that those choices transcend differing technologies.
What can be said in this context about film can also be said about video. With the proviso that the technologies differ, I assume that what can be said about the craft and art of film editing can also be said about video editing.
Consequently, a considerable number of shot sequences from the films he discussed were included in the book. The most significant technological change affecting this book is the advent of the VCR and the growing availability of films on videotape, videodisc, DVD, and Blu-ray. Because the number of films available on video is great, I have tried to select examples from these films.
The reader may want to refer to the stills reproduced in this book but can also view the sequence being described. Indeed, the opportunity for detailed study of sequences on video makes the learning opportunities greater than ever.
The availability of video material has influenced both my film choices and the degree of detail used in various chapters. Readers should not ignore the growing use of Blu-ray and DVDs. This technology is now accessible for most homes, and more and more educational institutions are realizing the benefit of this technology. Most videodisc and DVD players come with a remote that can allow you to slow-forward a film so that you can view sequences in a more detailed manner.
The classics of international cinema and a growing number of more recent films on video- disc can give the viewer a clearer picture and better sound than ever before technologically possible. This book was written for individuals who want to understand film and television and who want to make film and television programs. It will provide you with a context for your work. Whether you are a student or a professional, this book will help you move forward in a more informed way toward your goal.
If this book is meaningful to even a percentage of the readers of the Reisz Millar book, it will have achieved its goal. Experiments in Editing: Alfred Hitchcock New Technologies International Advances The Influence of Television and Theatre New Challenges to Filmic Narrative Conventions Changes in Pace When the first motion pictures were created, editing did not exist.
The novelty of seeing a moving image was such that not even a screen story was necessary. The earliest films were less than a minute in length. One of the more popular films in New York was The Kiss What is remarkable about this period is that in 30 short years, the principles of classic editing were developed. In the early years, however, continuity, screen direction, and dramatic emphasis through editing were not even goals.
Cameras were placed without thought to compositional or emotional considerations. Lighting was notional no dramatic intention meant , even for interior scenes. William Dickson used a Black Maria. Many of these early films were a single shot. All of the shots were strung together.
The camera was stationary and distant from the action. The physical lengths of the shots were not varied for impact. Performance, not pace, was the prevailing intention. The films were edited to the extent that they consisted of more than one shot, but A Trip to the Moon is no more than a series of amusing shots, each a scene unto itself. The shots tell a story, but not in the manner to which we are accustomed. It was not until the work of Edwin S.
Porter that edit- ing became more purposeful. In that year, he began to use a visual continuity that made his films more dynamic. He also discovered that the shot was the basic building block of the film. The story is simple. Firemen rescue a mother and child from a burning building.
Using newsreel footage of a real fire, together with performed interiors, Porter presents the six-minute story from the view of the victims and their rescuers. In six minutes, he shows how the mother and child are saved. Although there is some con- tention about the original film, a version that circulated for 40 years presents the rescue in the following way. The mother and daughter are trapped inside the burning building. Outside, the firemen race to the rescue.
In the version that circulated from to , the interior scenes were intercut with the newsreel exteriors. This shot-by-shot alternating of inte- rior and exterior made the story of the rescue seem dynamic. The heightened tension from the intercutting was complemented by the inclusion of a close- up of a hand pulling the lever of a fire alarm box. The inclusion of the newsreel footage lent a sense of authenticity to the film. It also suggested that two shots filmed in different loca- tions, with vastly different original objectives, could, when joined together, mean something greater than the sum of the two parts.
The juxtaposition could create a new reality greater than that of each individual shot. Porter did not pay attention to the physical length of the shots, and all of the shots, exclud- ing that of the hand, are long shots.
The camera was placed to record the shot rather than to editorialize on the narrative of the shot. Porter presented an even more sophisticated narra- tive in late with The Great Train Robbery. The film, 12 minutes in length, tells the story of a train robbery and the consequent fate of the robbers. In 14 shots, the film includes inter- iors of the robbery and exteriors of the attempted getaway and chase.
The film ends very dra- matically with an outlaw in subjective midshot firing his gun directly toward the audience. There is no match-cutting between shots, but there are location changes and time changes. How were those time and location changes managed, given that the film relies on straight cuts rather than dissolves and fades, which were developed later?
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