Development of Editing Technology

The purpose of editing, is to allow viewers to experience a smooth sequence of scenes, which collectively become a compilation of shots that make sense and develop emotional impact.

Primary forms of editing were very basic and entailed the editor physically cutting and glueing parts of the film. They would do this, by holding the film up to a light source and identifying the correct/desired frame to cut or join. This was a tedious and time consuming method of working, however formed the foundation of editing techniques.

The Moviola was introduced in 1924, as a pioneering piece of editing technology. It became a much easier and more precise method of editing film. It also brought about 'edge numbering', allowing audio and visual to be edited in synchronisation.

Flatbed Edit Suites -
Steenbeck is renowned for a rich history of manufacturing film editing, viewing and controlling tables since the early 50's. During 1953 the first Steenbeck flatbed 16mm 4 plate the ST200 was born. This editor included optical sound and playback of 16mm perforated magnetic tape and was seen as new media at that time. The predominant editing methods were still very practical and require the use of trim bins, guillotine splicers and the use of a light table.

Soon the ST100 followed, a 4 plate 35mm editor in 1954. Following this, the first editor with back projection on a ground glass was the 35mm ST400 followed by the ST500 switchable for standard and Cinemascope.

Live television editing became the pioneering form of editing, which began in the early-mid 40's. This led to kinescope recordings, which consisted of a camera recording a video screen of a live broadcast. This was not a very successful method and led to such issues as ghosting and banding, nonetheless tv studios were using more raw film stock in their kinescopes, than most Hollywood film studios combined.

In the early 50's, engineers working for Bing Crosby's production company, pioneered in recording video images onto magnetic tape. In 1956, Ampex released the first 2" quadruplex video tape. Editing this, was a similar process to that of editing film. Initially the tape had to be developed, using extremely fine iron filings suspended in a toxic, carcinogenic carbon tetrachloride solution. This was done so that the magnetic bands on the video tape visible when viewed through a microscope, so that it could be aligned in a specialised splicer and cut precisely. Video and audio read heads were several inches apart in the machine, therefore it was not possible to make a physical cut that would function correctly for both video and audio. As a result, a cut was made for the video and a portion of the audio was then re-copied into the correct part. 

To get from one place to another on a tape you have to shuttle past everything in-between. One could argue that you spend more time waiting for tapes to cue with a linear system than you do making edits. In addition, Linear editors are not particularly flexible and it is difficult to build up separate sequences, especially if you need to go back and alter them. The only way to change a previously made edit is to perform a new edit "on top of" the old one. If the scene you want to add happens to run longer than the scene you're replacing, you'll cover up a bit of the next scene on the tape. If it's shorter, you'll have a bit of the old shot still in the program.

Non-linear and Digital Editing - 

Non-linear editing is a non-destructive process and a much more natural way of editing. It requires two predominant functions; computer power and data storage. 

There is no question that nonlinear editing and digital technology will have positive effects on the editing process and on the outcome of that process, the screen story. In technical terms, time is money, and the speed of nonlinear systems should have a positive impact on postproduction budgets. So too will the capacity for the editor to build up his own tracks and mix them down on his nonlinear systems. 

The capacity to work in a more complex way with sound and picture can only help the postproduction process and budget. Digital technology also helps in the creation of special effects. The famous shots of Gary Sinise legless in the second half of Forrest Gump (1994) were produced in a digitized set of images reconstituted frame by frame to eliminate his legs from each frame. Equally possible today is the removal of any portion, small or large, of the image. This same technology can be used in film or sound restoration as well. (Dancyger, 2011)

The CMX 600, introduced in 1971 and only 6 were ever produced. They paved the way for non-linear editing. The EMC 2 and the Avid 1 followed, which was a macintosh based non-linear editor (1989), it became the gold standard of editing in Hollywood. Although technology had progressively advanced, storage was still an issue. In 1993, Avid increased the amount of storage available, debuting a 7 terabyte system. Editor Walter Murch won an oscar for best editing in 1997, for The English Patient, which he edited using an Avid. 

Digital Editing - 

Digital has many pros over analogue, for example; it is easy to copy, is resistant to noise, not subject to generation loss and is much easier to sync.

In 1990, New Tek released the first 'Video Toaster' on the Omega system. Although it had limited linear editing capabilities, it brought video production to small television studios, production shops and schools. It was loaded with various effects and even a 3D package, called light weight 3D and proved that there was a market for small scale media production.
1995, saw the introduction of dvd optical disks, using a new type of compression referred to as MPEG-2. 

The first US public HD broadcast occurred in 1996, which was around the same time in which Hollywood studios began using digital intermediary to create special effects. The process entails sending 35mill film through a telecine, which scans the film and creates a digital file, that can then be manipulated in a computer using special effects and compositing. Once this is complete, the optical printer would ten place the video images back onto film.

1992, visual fx superviser Chris Woods, overcame many technological difficulties with telecine and created the visual effects of 1993's Super Mario Bros. 

Chris Watts then revolutionised the DI process with Pleasantville (1998). The film holds the record for most visual effects shots in a single film.

The very first motion picture to be shot purely on digital, was Star Wars: Ep II, in 2002. In the late 2000's, it became possible to shoot purely on digital and edit online, using the original full quality files.

Reference List:
Brown, B. (2012) Cinematography - Theory and Practice. 2nd Edition. Oxford: Focal Press.

Dancyger, K. (2011) The Technique of Film and Video Editing. Oxford: Focal Press.

CHRISTOPHER, B. THOMPSON, R. (2009) Grammar of the Edit. 2nd Edition. Oxford: Focal Press.

Herman, J. (2012) A Brief History of Film Editing Technology. Editors Guild Magazine. [Online] Volume 1 (Part 3) Available From: https://www.editorsguild.com/magazine.cfm?ArticleID=1104 [Accessed: 24th September 2015].

Loehr, M. (1995) Edit Points: Linear vs Non-Linear Editing. Article [Online]. November issue. Available from: http://www.videomaker.com/article/c3/1214-edit-points-linear-vs-nonlinear-editing

http://filmmakeriq.com/lessons/the-evolution-modern-non-linear-editing-part-1-from-tape-to-digital/

http://filmmakeriq.com/2014/01/the-history-of-cutting-the-birth-of-cinema-and-continuity-editing/

Music Video - Preparation

In preparation for Music Video Production unit, I decided to photograph a live gig, in order to explore the technical aspect of capturing a live band and then apply this to the terms of moving image.

As I was capturing a live environment, it was paramount that I achieved the correct exposure. In order to do this I initially planned what additional equipment I would need. Considering the dark setting of most music venues, I decided that a telephoto or mid-range zoom lens would grant me the ability to shoot at a wide aperture, in order to allow more light into the images. This was vital, as a relatively fast shutter speed would be required to capture the movement of the band.

I shot on the continuous mode, as this allowed me to capture a variety of frames ensuring that I was able to keep up with the pace of each subject and also meant it was less likely that I missed a good shot.

In addition to this, I shot on auto focus mode, once again this made certain that I had a good selection of shots and did not loose a good image, as a result of it being out of focus. I also did this, as the shallow depth of field meant that there was more in the shot that was out of focus and each subject would not remain stationary for very long, therefore shooting on manual focus would have proved difficult in trying to capture the main focus with accuracy. I also kept the ISO setting relatively high as this compensated for the loss of light as a result of a fast shutter speed.

Freud

Structure of The Personality 

Freud's iconic work on the subject of abnormality was recognised as pioneering, particularly his model of the human personality. He suggested that the human psyche is constructed of three interacting elements;

The id:

The reservoir of unconscious and instinctual psychic energy that we are born with. The most integral aspect being the psychic energy's libido, or life instincts, however this energy may also direct itself into aggression. 

The id operates upon basic principles of pleasure, constantly attempting to gratify the these instincts through pleasurable activity. 

The Ego: 

Represents our conscious self and develops during early childhood, regulating interactions with our immediate environment. The ego is also responsible for trying to balance the demands of the id for self-gratification with the moral rules imposed by the superego of conscience. 

The ego operates upon the reality principle, in that it constantly balances the demands of the real world against the instinctive drives of the id.

The Superego:

The personal moral authority, or conscience, developing later in childhood through identification with one or other parent. At this point, the child internalises the moral rules and social norms of society. 

References:

Green, S. McGinley, R. Willerton, J. Wilson, J. Bailey, J. (2008) AQA AS Psychology. Cheltenham. Nelson Thornes. 

Lacan

The Mirror Stage

Lacan and The Mirror Stage (1966)

We often see that infants observe themselves in the mirror and believe that the image they see is superior in comparison to them. The baby fails to identify as the image they see, hence they set this mirage as a worshiping icon and will strive to correspond to this vision of themselves.

In the same way, women often elicit the same behaviour in cinema; the 'ideal' depiction that they see on screen is a representation of a superior being which they wish to transform themselves into.
This internalisation of ideals, results in a hyper awareness of ones self as an object to be watched. Hence people often develop body dysmorphia, which ultimately supports Laura Mulvey's concept that we have been exposed to a very patriarchal kind of cinema. 

New Wave - Film Evaluation

Evaluation and Health & Safety

My new wave sequence was constructed of an array of shots that I had captured in various locations, structured in the form of a montage. By doing this, I have given the viewer the ability to derive meaning from the film based on their own interpretation. I felt that this was a key theme surrounding a majority of the New Wave texts that I had looked at for my contextual study. In terms of concept, this style provides a loose narrative which makes the film easy to follow, but not too conventionally organised.  

When conducting on location shoots, I was sure to consider the practical elements of health and safety. I ensured that all of my equipment was correctly put away when not in use and whilst shooting, I had to be sure that both myself and my apparatus were not obstructions which could lead to potential physical harm for pedestrians or those around me.

When assembling the footage together, I wanted to make sure that the rough trademark of new wave editing was made apparent, therefore I was not too careful in selecting where to cut the shots. With long takes, I transformed them into a series of jump cuts, adding a sense of discontinuity.

Similarly, I was sure to keep a consistent flow throughout the sequence, by maintaining the choppy editing style. I also incorporated elements that were featured in the New Wave, such as having the subject look directly at the camera, ultimately breaking the fourth wall and acting as a reminder to the audience that they are simply watching a film. This was commonly demonstrated in French new wave films, shedding new light onto the world of cinema and transforming film making from the conventions of classic, large scale productions.

I also experimented with the use of colour, taking inspiration from Daisies (1966) and the creative use of filters used within the iconic nightclub scene. Shifting between exotic hues adds a sense of the unconventional as well as enhancing the surreal essence of the film. In addition to this, colour has the potential to influence the audiences feelings towards what they view on screen, as each shade holds personal connotations, hence every viewer may develop varying interpretations.

'Daisies' (1966)

However, I did not want to make the effect so drastic within my own film, so I altered the colour levels slightly, just enough to add a slight tint to each shot. I did so with purpose, although the effect was predominantly done for aesthetic purposes, I ensured that the colour complimented the tone of the shot, in order to enhance the focus of it. For example, for a location shot of a secluded area of Digbeth, I added a cold filter, to represent the solitude felt when present there.

 Overall, I found that I was able to manage my time effectively; by documenting my planning for each shoot, I was able to express the developments in my ideas and then elicit them in a practical sense. Such as altering the fundamental concept so that it was not too heavily based around a narrative, as this would not have been true to the nature of new wave. Most new wave productions emitted a sense of spontaneity in terms of their content and I wanted to be as authentic as possible when making my film, hence created a montage of scenes which were loosely connected, so that the viewer is able to derive their own interpretation of events.

 As a result, I was able to produce a new wave montage sequence that combined various elements displayed by the movement. I felt that this project particularly allowed me to explore and strengthen my editing skills, as there was a vast amount of footage to sift through and implement into a sequence. In addition, the fact that I edited to audio and a poem also stretched my ability to edit in time.  

New Wave Film

New Wave - Video Planning

Shooting Plan 3

In terms of editing, I have decided to cut my footage in time to the poem 'Ode' by Arthur O'Shaughnessy, as a majority of what I have already shot corresponds lyrically and conceptually with the poem. By doing this, the creatively surreal element will be significantly enhanced, creating a vivid depiction of events, from which the viewer is be able to draw their very own interpretation.

When conducting the research for my contextual study, I analysed a selection of films from the Czech new wave movement. From doing this, I found that although each text had a different director and concept, the underlying similarity stood out in a visual sense; surrealism was the common undertone.

With this in mind, I plan to conduct my third shoot in Birmingham and Digbeth. Within this shoot, I will not be focusing so much on the subject, instead I will be filming the location itself and any objects that I find are relevant to the context of the poem. Combining this footage with what I have already shot of the subject will provide a good array of scenes to create the surreal ambience that I wish to achieve.

In regards to health and safety elements, I must ensure that my equipment is correctly packed away when not in use and that I am mindful of pedestrians, as I do not want me or my apparatus becoming objects of obstruction which could lead to potential harm. 

New Wave - Video Planning

Shooting Plan 2

By altering my concept slightly, so that the film is not too heavily structured upon the foundation of a narrative, I have decided to compose my film in the style of a montage. Therefore, for this shoot I planned to collect shots of the subject that I could use in a surreal style montage. I intended to capture in the style of new wave, hence making use of natural light/sound, filming long takes that could be edited as a series of jump cuts and all shot using a handheld camera, as seen in Godard's "Breathless'.



This shoot took place within Manchester as I had planned to capture a selection of settings to feature the subject in. As the film I am creating is a montage and an expression of creativity, I visited galleries, having the subject look at the art itself, suggesting that as they begin exploring a pleasantly aesthetic world, they are inducing their own creative energy.

In addition to this, I captured the subject around the city of Manchester itself, this not only allowed me to capture the setting, it also provided me with the opportunity to utilise natural lighting and make explicit use of handheld camera. Which worked, in both an aesthetic term and a conceptual one.

New Wave - Film Brief 2

By conducting shoots, I found that the initial concept for my new wave sequence was based too heavily around a structured narrative. Hence, I have decided to adapt my work so that it is more visually surreal, yet explicitly illustrates all the recognisable features of the new wave.

In order to achieve this, I intend to collate my footage into a form of montage, something that was done prominently within a variety of new wave films. Using jump cuts and other discontinuity techniques, which will provide the distinctive and somewhat imaginative flavour of such alternative film making. In doing so, I do not want the film to become confusing and difficult to follow, therefore, I intend to have the same subject, so that there is some consistency and an almost narrative. So combining shots of the subject and various other location shots, I will produce a creative montage that explores the elements of the new wave as a whole.

Overall, I want to convey an expression of creativity, as it appears to be the foundation upon which a majority of new wave movements were constructed. Like the texts I had studied for my contextual essay, from the Czech movement, the viewer is able to develop their very own interpretation, as a result of the loosely structured narrative and abstract depiction.

New Wave - Video Planning

Shooting Plan 1

For my initial shoot, I intend to experiment with lighting techniques. For this, I will particularly make use of natural lighting, as it was something that a majority of new wave films utilised; the natural element completely juxtaposed the conventional large studio set-up, which had become the norm for film productions made prior to such alternative cinematic movements.

As the initial idea for my film focuses upon expressing beauty ideals within todays society, I would like to shoot the subject in quite an alternative manner; I intend to focus upon the shadow of the subject, as this is suggestive of distorted perceptions that one may hold about themselves.

I experimented with surfaces that are the right texture/colour to capture shadows without reflecting too much light, in order to capture the effect with clarity. The outcome created a surreal ambience, which was what I desired to create, this kind of footage would be ideal to feature within a montage sequence, something that was common amongst a variety of new wave films.

The indirect filming also holds significant conceptual depth, connoting towards the inability to view oneself with acceptance. This will also give me the opportunity to develop some narrative, centred around the subject and a discovery of who they are.

Laura Mulvey - Visual Pleasure and Narrative Cinema

Mulvey suggests that cinema audiences are forced to observe films from the perspective of a heterosexual male, which involves the gaze of the camera - otherwise referred to as the 'Male Gaze', the gaze of the audience and finally, the gaze of the characters within the film.

This concept is reinforced by Sigmund Freud's allusion to scopophilia, which is ultimately finding pleasure in observing; an expression of sexuality. Freud suggests that from babyhood, we have a natural tendency to fix our gaze upon objects and although we gain more control over what we observe as we grow, it never diminishes completely. Hence, Mulvey argues that the cinema is the perfect location for engaging in such 'voyeuristic fantasies', as a result of the dark, silent atmosphere in which nobody is restricted from viewing with pleasure.

The technical elements in film which significantly enhance the use of a male dominated camerawork include: close-ups, fragmentation, slow motion, focus, lighting/spotlighting and editing style in which we often see the shots cut between the spectator and the spectacle.
The visual elements include tight, or no clothing upon the female subject, some form of analogy between machinery or sexualised objects which is suggestive of ownership over women. All of which can be seen within the film examples below, reinforcing Mulvey's suggestion that the cinema is very patriarchal.