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(Today’s equivalent of a Kodak Brownie: “You push the button, we do the rest.” Insert irony here.)Īnd yet, though we’ve embraced digital code as the motion picture medium of our time, the technology of nonlinear editing remains very much a work in progress.įor one thing, picture, sound, music and effects continue to invite the forces of invention. Everyone with a point-and-shoot or smartphone in their pocket is a potential HD source.
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(With a regrettable drop in pay rates along the way.)Īs a consequence, there are exponentially more people, professional and nonprofessional alike, of all ages, in all countries, now creating, editing and distributing digital movies. It’s not hard to draw straight lines from FCP + DV to HDV and DVCPRO HD, to the rise of small camcorders, Internet streaming, cheap SD cards to record on, RED usurping film and cheap HDSLRs usurping RED. Digital democratization spread inexorably.
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What cracked the door to editing for “the rest of us” was the introduction of software-based Final Cut Pro 1.0 at NAB in 1999, coincident with the arrival of FireWire-enabled DV camcorders. Video brought “big iron” linear editing systems for online, then finally PC-based non-linear editing systems (NLEs) - all mostly operated by professionals, at least through the late 1990s when hardware-based Avids still cost tens of thousands of dollars. A century on celluloid carried us from scissors and glue to guillotine tape splicers and upright Moviolas, then flatbeds.
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Īs film syntax matured, technique formed and a profession emerged. It could as easily have been called Cubism. Disruption of time, place and point of view through film editing would soon yield a new dramatic art: Cinema.
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It would take Georges Méliès’s camera to jam and restart in a Parisian street in 1896, and a similar mishap at a 1901 horse race in Bristol, England, to reveal, respectively, the trick of editing within shots (effects) and between shots (cutting). (Vitascope was the YouTube of its day in this regard.) Uncut reels of onrushing locomotives, sneezing and kissing were gripping, profitable entertainments, such were the frisson and novelty of realistic moving images. Nevertheless, as Walter Murch likes to point out, film editing was invented 14 years after motion pictures. It was the insertion of first-person thoughts into dialogue and plot that modernized 18th- and 19th-century novels and clever sequencing of mechanically animated magic lantern glass slides that thrilled Victorian audiences to popular epics like Ben-Hur. The ordering and pacing of dialogues, scenes, entrances and exits to build conflict and resolution have long defined Western theater, from Aeschylus’s Oresteia to Wagner’s The Ring of the Nibelung. In Filmmaking, Issues, Line Items, Post-ProductionĮditing is older than motion pictures.