History of Film Editing Technology
Before the widespread use of non-linear editing systems, the initial editing of all films was done with a positive copy of the film negative called a film workprint (cutting copy in UK) by physically cutting and pasting together pieces of film, using a splicer and threading the film on a machine with a viewer such as a Moviola, or "flatbed" machine such as a K.-E.-M. or Steenbeck. Today, most films are edited digitally (on systems such as Avid or Final Cut Pro) and bypass the film positive workprint altogether. In the past, the use of a film positive (not the original negative) allowed the editor to do as much experimenting as he or she wished, without the risk of damaging the original.
When the film workprint had been cut to a satisfactory state, it was then used to make an edit decision list (EDL). The negative cutter referred to this list while processing the negative, splitting the shots into rolls, which were then contact printed to produce the final film print or answer print. Today, production companies have the option of bypassing negative cutting altogether. With the advent of digital intermediate ("DI"), the physical negative does not necessarily need to be physically cut and hot spliced together; rather the negative is optically scanned into computer(s) and a cut list is conformed by a DI editor.
Read more about this topic: Film Editing
Famous quotes containing the words history of, history, film, editing and/or technology:
“The greatest horrors in the history of mankind are not due to the ambition of the Napoleons or the vengeance of the Agamemnons, but to the doctrinaire philosophers. The theories of the sentimentalist Rousseau inspired the integrity of the passionless Robespierre. The cold-blooded calculations of Karl Marx led to the judicial and business-like operations of the Cheka.”
—Aleister Crowley (1875–1947)
“A man will not need to study history to find out what is best for his own culture.”
—Henry David Thoreau (1817–1862)
“Film as dream, film as music. No art passes our conscience in the way film does, and goes directly to our feelings, deep down into the dark rooms of our souls.”
—Ingmar Bergman (b. 1918)
“In this century the writer has carried on a conversation with madness. We might almost say of the twentieth-century writer that he aspires to madness. Some have made it, of course, and they hold special places in our regard. To a writer, madness is a final distillation of self, a final editing down. It’s the drowning out of false voices.”
—Don Delillo (b. 1926)
“If the technology cannot shoulder the entire burden of strategic change, it nevertheless can set into motion a series of dynamics that present an important challenge to imperative control and the industrial division of labor. The more blurred the distinction between what workers know and what managers know, the more fragile and pointless any traditional relationships of domination and subordination between them will become.”
—Shoshana Zuboff (b. 1951)