Proposal.
388413844-ual-blank-second-year-proposal.doc | |
File Size: | 69 kb |
File Type: | doc |
The World of Hollywood.
This documentary aims to show how many people work in film production and how people don't realise how much work goes into it. It is a very fast paced documentary. This is because it aims to show all the jobs involved and by it being fast paced the audience gets the impression that the film production is massive. It probably over exaggerates the size but needs to do this to create something for the viewer to actually believe.
|
|
A History Of Editing.
Bill Roberts. (2015). The Evolution of Film Editing.
Available: https://theblog.adobe.com/the-evolution-of-film-editing/. Last accessed 17th Sep 2018. |
What Is Editing.You most often hear about screenwriters and directors when it comes to film and movie production because they are the primary and secondary storytellers of a movie, editors are the tertiary ones. Since editors are given a limited amount of footage, most people may not notice, but, through editing techniques, the editor may construct or deconstruct a narrative or documentary, and shape it to their own will.
|
|
In this video it explains how editing was originally made to take multiple clips and turn them into a story from nothing. He then goes on to talk about how in modern day we can switch this round and play it in reverse and it still makes sense. He points out these techniques to show that with modern day techniques you can make a story out of nothing. It shows me the flexibility of choice in modern day editing compared to old style editing. It also shows me that the way people think about editing is completely different to how they used to see it. He also demonstrates how when two shots are put together they can mean a totally different thing to just the one shot of that shot with a different shot.
|
|
|
|
|
Unknown. (2013). A Brief History Of Film & Editing. Available: http://amirediting.blogspot.com/p/a-brief-history-of-editing.html. Last accessed 18th Sep 2018.
The Lumière brothersTheir father opened a small business making photographic plates based in Lyons, Louis Lumière began experimenting equipment his father was making. In 1881, Louis invented a new “dry plate” process of developing film, which boosted his father’s business enough to fuel the opening of a new factory in the Lyons suburbs. By 1894, the Lumières were producing some 15 million plates a year.
Antoine Lumière attended an exhibition of Edison’s Kinetoscope in Paris. When he returned to Lyons, he showed his sons a length of film he had received from one of Edison’s concessionaires, he also told them they should try to develop a cheaper alternative to the peephole film-viewing device and its bulky camera counterpart, the Kinetograph. While the Kinetoscope could only show a motion picture to one individual viewer, Antoine urged Auguste and Louis to work on a way to project film onto a screen, where many people could view it at the same time. The first experiments began in the winter of 1894, and by the following year the brothers had come up with their own device, called the Cinématographe. Much smaller and lighter than the Kinetograph, it weighed around five kilograms and operated with the use of a hand-powered crank. The Cinématographe photographed and projected film at a speed of 16 frames per second, much slower than Edison’s device (48 frames per second), which meant that it was less noisy to operate and used less film. The key innovation at the heart of the Cinématographe was the mechanism through which film was transported through the camera. Two pins or claws were inserted into the sprocket holes punched into the celluloid film strip; the pins moved the film along and then retracted, leaving the film stationary during exposure. Louis Lumière designed this process of intermittent movement based on the way in which a sewing machine worked, a tactic that Edison had considered but rejected in favor of continuous movement.
After a number of other private screenings, the Lumière brothers unveiled the Cinématographe in their first public screening on December 28, 1895, at the Grand Cafe on Paris’ Boulevard de Capuchines. In 1896, they opened Cinématographe theaters in London, Brussels, Belgium and New York. After making more than 40 films that year, mostly scenes of everyday French life, but also the first newsreel (footage of the French Photographic Society conference) and the first documentaries (about the Lyon Fire Department), they began sending other cameramen-projectionists out into the world to record scenes of life and showcase their invention.
By 1905, the Lumières had withdrawn from the movie making business in favor of developing the first practical photographic color process, known as the Lumière Autochrome. Meanwhile, their pioneering motion picture camera, the Cinématographe, had lent its name to an exciting new form of art and entertainment cinema. |
George Albert Smith"Along with his better-known French counterpart Georges Méliès, George Albert Smith was one of the first filmmakers to explore fictional and fantastic themes, often using surprisingly advanced special effects. An established portrait photographer, he also had a long-standing interest in show business, running a tourist attraction in Brighton featuring a fortune teller. His films were among the first to feature such innovations as superimposition (Smith patented a double-exposure system in 1897), close-ups and scene transitions involving wipes and focus pulls. He also patented Kinemacolor--the world's first commercial cinema color system--in 1906, which was extremely successful for a time, despite the special equipment required to project it"
- IMDb Mini Biography By: Michael Brooke <[email protected]> |
Cecil M. HepworthProducer, director, writer and scenic photographer, Cecil Hepworth survived in the film business longer than any other British pioneer film-maker. His film-making career began in 1899 when he converted a small house in Walton-on-Thames into a studio. Twenty-five years later it would be the over-ambitious expansion of the studio that would drive him out of business. In the course of his career, Hepworth became one of the most respected figures in British cinema.
In the early days of cinema, he worked on the periphery of the industry, assisting Birt Acres in a royal command cinematograph performance, and writing the first British book on cinema, Animated Photography, The ABC of the Cinematograph in 1897. After being sacked by Charles Urban from Maguire and Baucus, Hepworth and his cousin Monty Wicks set up their own company, Hepworth and Co, with their trade logo Hepwix. Over the next few years Hepworth and Co made a steady stream of scenic films and actualities, with Hepworth as cameraman/director. Their first popular success came with the filming of the funeral of Queen Victoria in 1901. In 1904 the company was renamed the Hepworth Manufacturing Company, and Hepworth stopped directing, handing the reigns over to others such as Lewin Fitzhamon. The company began to develop a house style, based on simple stories told with high photographic quality. Hepworth produced on average three films a week, ranging from melodramas and slapstick comedies to scenics and travel films. In 1905 he presented the first British movie star, a collie with the stage name of Rover. Rescued by Rover (co-d. Lewin Fitzhamon, 1905) was an enormous popular success. The following year he presented a new star - a horse - in Black Beauty (1906), which was then teamed with Rover in Dumb Sagacity (1907). By 1910 Hepworth had recognised the growing cult of personality in the cinema, and was promoting two series featuring recurring comic characters, Mr Poorluck, played by Harry Buss, and Tilly the Tomboy, featuring Alma Taylor and Chrissie White. Simon Brown. (Unknown). Hepworth, Cecil (1874-1953). Available: http://www.screenonline.org.uk/people/id/450004/. Last accessed 21st Sep 2018. |
Lev Kuleshov Lev Kuleshov was a Russian director who used the editing technique known as the "Kuleshov effect." Although some of the editing innovations, such as crosscutting were used by other directors before him, Kuleshov was the first to use it in the Soviet Russia. He was driving a Ford sports car amidst hard situation in the post-Civil war USSR, and remained a controversial figure who joined the Soviet communist party and destroyed archives of rare silent movies during his experiments, thus clearing way for his own work.
In 1916 he started his film career as a set designer at the Moscow film studio of Aleksandr Khanzhonkov and occasionally acted in some of its productions. He played a young lover opposite Emma Bauer, a stunning beauty, whom he truly fell in love with even before the filming started. That was the silent film For Luck (1917). Watching himself on the silver screen, young Kuleshov was disappointed with the comic effect of his acting conflicting with naturalism of his true feelings. He decided to focus on directing and developing the style of his own. His new friend, experienced filmmaker Akhramovich-Ashmarin, introduced him to American school of film-making, which also influenced his work. With the help from Khanzhonkov's leading cinematographer, Yevgeni Bauer, Kuleshov made his first experimental works in editing. In 1917, he made his first publication in 'Vestnik Kinematografii': in three consecutive articles Kuleshov trashed the "salon" traditions of his employer by writing about an artist's role in converting film industry into a new form of art. His directorial career began under the patronage of Bauer, with whom Kuleshov worked as art director on such films, as Nabat (1917) and For Luck (1917), and completed the latter as director after the original director Bauer died. In 1918, Kuleshov made his directorial debut with 'Project of Engineer Prite', and the film brought him attention of film studio executives who gave the 19-year-old beginner a chance to participate in documenting the early history of the Civil War-era Russia. His friend, Vladimir Gardin, appointed him instructor at the Moscow Film School. There he made a career as director and teacher. In 1920, he directed a war film Na krasnom fronte (1920), a government sponsored film about the Red Army. He studied the techniques of Hollywood directors, particularly D.W. Griffith and Mack Sennett and introduced such innovations as crosscutting in editing and montage into Russian cinema. For his experiments Kuleshov was cutting old silent films from the archives of Khanzhonkov, Bauer and other private studios nationalized by the socialist govenment. Kuleshov used the archives of old silent movies for his own cutting experiments and thus most of the film archives was destroyed. Kuleshov remained quiet about this part of his career when he experimented with editing technique. He focused on putting two shots together to achieve a new meaning. The "Kuleshov effect" is using the Pavlovian physiology to manipulate the impression made by an image and thus to spin the viewer's perception of that image. To demonstrate such manipulation, Kuleshov took a shot of popular Russian actor Ivan Mozzhukhin's expressionless face from an early silent film. He then edited the face together with three different endings: a plate of soup, a seductive woman, a dead child in a coffin. The audiences believed that Ivan Mozzhukhin acted differently looking at the food, the girl, or the coffin, showing an expression of hunger, desire, or grief respectively. Actually the face of Ivan Mozzhukhin in all three cases was one and the same shot repeated over and over again. Viewers own emotional reactions become involved in manipulation. Images spin those who are prone to be spun. Although editing and montage have already been used in art, architecture, fashion, politics, book publishing, theatrical productions and religious events (just look at placement of icons in churches, or photos in books, or pictures at exhibitions), the use of such editing in silent films was innovative and eventually led to more advanced visual effects. Vsevolod Pudovkin, who claimed to have been the co-creator of Kuleshov's experiment, later described how the audience "raved about the acting... the heavy pensiveness of Ivan Mozzhukhin's mood over the soup, the deep sorrow with which he looked on the dead child, and the lust with which he observed the woman. But we knew that in all three cases the face was exactly the same." Kuleshov demonstrated the effect of editing that was successfully used in montage of such films, as Battleship Potemkin (1925) and The End of St. Petersburg (1927) among other Soviet films. Kuleshov's good education, as well as his connections among Russian intellectual elite also helped his career.
At that time, Kuleshov and a group of his students, among them actress Aleksandra Khokhlova, collaborated on several movies that are now generally regarded as seminal films in Russian cinema. Among them are The Extraordinary Adventures of Mr. West in the Land of the Bolsheviks (1924), a satire on clash of civilizations showing naive American Christian pastor who comes to Russia just to be robbed twice, but then helped by exemplary Soviet policeman. In 1926 he produced his most popular film, Po zakonu(1926), based on a Jack London story. The movie was successful in Russia and especially in Europe. In 1933, he directed Velikiy uteshitel (1933), based on biography of American writer O. Henry. The film was highly praised by Osip Brik and Lilya Brik. It was an interesting advancement in Kuleshov's experimental style. - IMDb Mini Biography By: Steve Shelokhonov Steve Shelokhonov. (Unknown). Lev Kuleshov Biography. Available: https://www.imdb.com/name/nm0474487/bio?ref_=nm_ov_bio_sm. Last accessed 21st Sep 2018. |
Michael KahnHe began his journey working in a New York mailroom and slowly moved up the ladder to become an apprentice. He advanced to assistant editor and finally head editor of the classic television series Hogan’s Heroes. From there his career shot off like a rocket.
Kahn began his career producing commercials for a New York ad agency, but soon found himself working in post-production after being offered a job at Desilu. The production company was owned and operated by the legendary television duo Desi Arnaz and Lucille Ball, but Kahn found himself being essentially the “male secretary” for editorial supervisor Dann Cahn. He became Cahn’s apprentice and was soon urged by John Woodcock to join the union. By joining Woodcock, Kahn would begin working on his very first television show, The Adventures of Jim Bowie. Kahn would say, “It was a wonderful time to be in the editing business because we had fourteen or sixteen shows on the air. Some were comedies and some were dramas.” Kahn would learn valuable lessons at this stage of his career, lessons such as discovering how to manipulate the film to do what he wanted it to. By the 1960s, Kahn moved up from an apprentice to assistant editor and began working toward the ‘8 Year Rule.’ This was an old rule that editors followed that dictated they had to work professionally as an assistant editor for eight years before they could edit a film or television show as the main editor. By 1977, Michael Kahn was already having great success in the film industry when a young director named Steven Spielberg, fresh off the success of Jaws, came looking for an editor to cut together his sci-fi epic Close Encounters of the Third Kind. Kahn once remarked that cutting his teeth in the fast-paced environment of television set him up perfectly to work with Spielberg, who works quickly and captures a wide range of coverage. The result of this collaboration would be multiple Oscar nominations for the film and Kahn’s very first nomination for film editing — an award that he would lose to Paul Hirsch, Marcia Lucas and Richard Chewfor Star Wars. Kahn quickly picked up more work during Spielberg’s down time, editing Eyes of Laura Mars for Irvin Kershner and Ice Castles for Donald Wrye. After these two films, Kahn would see a string of hit films come to him from Steven Spielberg, as well various other directors like Robert Zemeckis, Richard Donner, Frank Marshall, and Tobe Hooper. In 1981, Kahn would score big with his editing work on Steven Spielberg’s legendary film Raiders of the Lost Ark. He would follow this win with Oscar nominations for Fatal Attraction and Empire of the Sun. After editing some of the most revered films of the 1980s, like Poltergeist, Indiana Jones and the Temple of Doom, The Goonies and Indiana Jones and the Last Crusade, Kahn would have an amazing run over the next ten years. Starting with 1991’s Hook, directed by Steven Spielberg, Kahn would edit Jurassic Park, Twister, The Lost World: Jurassic Park, and The Haunting. Kahn edited two films during this era that would give him legendary status within the editing community: 1993’s Schindler’s List and 1998’s Saving Private Ryan. Because of his ability to effectively craft a story and master the techniques of editing, Kahn would be awarded two more Oscars for both films. In the video below, Kahn talks about the process of editing the opening scene from Saving Private Ryan. From 2000 to 2010, Kahn wouldn’t slow down at all, editing Catch Me if You Can, Peter Pan, War of the Worlds, The Adventures of Tintin, War Horse, Munich and Lincoln. He earned Oscar nominations for the latter two films. Since 2011, Kahn has stopped editing films for filmmakers other than Spielberg, who calls Kahn his big brother. Michael Kahn recently completed editing Bridge of Spies. He’s also slated to edit BFG and Indiana Jones 5. But his long list of credits isn’t what makes Michael Kahn so great. It’s his attention to the creative process of editing. It’s his incredible ability to know when and why you need a cut or a transition and how to blend the scenes together that made him a legend. Kahn also purposefully never goes to the set to watch the production. He’s often said that he wants the film to come to him fresh without any preconceived ideas. He told Cinema Editor Magazine that he doesn’t edit the way he does because he went to school. He says it was the years working as an apprentice and assistant editor that taught him how to be a real editor. So far in his career, Michael has been nominated for eight Oscars, the most of any editor. His three wins tie him with other legendary editors like Thelma Schoonmaker, Daniel Mandell, and Ralph Dawson. Jonothan Paul. (2015). The Editing Genius of Michael Kahn. Available: https://www.premiumbeat.com/blog/the-editing-genius-of-michael-kahn/. Last accessed 21st Sep 2018. |
Thelma Schoonmaker
It's called silence. It's set in Japan in the sixteen hundreds and it's this beautiful meditative anguishing story of Jesuit missionaries priests played by Andrew Garfield and Adam driver and an expres Liam Neeson. the Japanese authorities don't want any missionaries there at all and are torturing the local Christians to whom their ministry you do for them.
At thirty years hoping to get made right and then we began working on about two years ago in Taiwan and it was very difficult shoot because they had to climb up on those mountains and writing being in New York or isn't. Before silence he is and your last film was the wolf of Wall Street which is you know if you're gonna say it's like Obama versus trump how different how opposite can we be exactly what if for you is that a good thing to work on something so radically different than its themes and its logistics in its design music editing everything? “Absolutely because that's one of the great things about working for him is that every film is different he never wants to repeat himself and he sets himself certain challenges with each film and I get to go over the hurdle with them which is very very exciting it makes every film a new wonderful adventure and I just love it.” Right even though it lacks sort of. Cortese trade marks like whoa okay to have it no tracking shot there there are some a couple of beautiful aerial shots. “Well that was very deliberate Marty wanted to make it very simple and classic. Because he felt the material demanded that and also seventeenth century Japan right was very formal place demanded that so he wanted to really evoke the life of the villagers and then also the dilemma that Rodriguez's in with very formal classic of filmmaking and didn't want a lot of quick cuts or jazzy camera moves are right it is that makes us feel that was right yeah I think he he deliberately did not want to make it look like any filming made today and he particularly did not want the music to tell people what to think first he said he wanted no music at all that we would use insects sounds because of the Shinto religion in Japan is very much alive with nature and also in the book written by.” Speaking with Wall Street it was a very funny movie among other things and and I was thinking wow and I I haven't thought of the time but thought since after hours and I guess king of comedy thirty odd years ago I don't think there been Scorsese Schoonmaker comedies. From an editing in part pacing performance is that a different language altogether. "Well yes if you're dealing with classic comedy when we were cutting for example Jerry Lewis is footage in king of comedy. Really great comedians have timing of ideas of they said that the guy Gracie Allen was one of the greatest of wonderful radio performer and television off unless loved her own she had supposedly the greatest comic timing in the world and they count so for example in in Jerry Lewis would say to some of the people on the set I'm gonna say something to count to three before you answer me because that's how the comic timing is built." so walk me through how you and markers as you work together and you say you see a script you see a shooting for by before he shoots and then you then you wait to get the film and and you do your thing is that it or or or and is he with you or do you sit down for a couple days and say okay this I think goes here in this maybe usual shorter how does that work. "Well I always do the first cut of money room yes from from his when he looks at dailies with me that's very important that you do that." |
Splicing Vs Digital
Analogue editing was before all the new technology we have today where you can easily and quite quickly edit a movie. In times when analogue editing was used, one would create a film through having a razor blade and a diagonal splicing block. After the tape was cut where it needed cutting, it would have to be taped back together, which would be repeated over and over again until a film was created. An example of this would be the first ever film ‘exiting the factory’ which was created in 1895. It’s shown in black and white and is cut with a blade between shots which you can see if you pay enough attention. This technique would have took months to create a piece of film and would have been made by a very talented person. Comparing it to digital editing, it was a time consuming thing to do.
If you look at today’s editing software, a film like ‘exiting the factory’ could have been created within a day or two, where as it would have took months with analogue editing. also, with digital editing you can go back and forth and change things if you don’t like them or if you want to improve a piece of film, but if you had to do it through analogue editing, that cut you made would have been your only cut and you have had to move on to another piece of footage. An example of digital editing would be the matrix, as nowadays, you can add special effects onto film to make things that you could only dream of into a film reality.
|
Editing A Music VideoThings To Remember:
-Explore the assets from the music video shoot Become familiar with the footage and audio you’re working with. In this example, there’s a preloaded sequence provided in a downloadable archive. -Create a multicamera sequence with audio synchronization Automatically synchronize all of your footage with the master audio file. -Cut between clips in a multicamera sequence
Edit your video in real time using keyboard shortcuts and standard editing tools. -Edit to the beat using markers Easily drop markers onto your timeline and automatically place clips using Automate to Sequence. -Fine-tune the look of your video Correct tone, adjust color, and stylize the appearance of your music video using creative LUTs, curves, and dozens of other controls available in the Lumetri Color panel. -Modify the speed of clips for dramatic effect Slow down or accelerate your footage and smooth the effect with interpolation options, including Optical Flow. Vary speed changes within a clip using speed ramps. |
MoviolaFor years the Hollywood standard was the Moviola, originally a vertical device with one or more sound heads and a small viewplate that preserves much of the image brightness without damaging the film. Many European editors, from the 1930s on, worked with flatbed machines, which use a rotating prism rather than intermittent motion to yield an image.
Unknown. (Unknown). motion-picture technology: Editing equipment.Available: https://www.britannica.com/technology/motion-picture-technology/Professional-motion-picture-production#ref508489. Last accessed 1st Nov 2018. |
Alfred Hitchcock's Montage"Divide action into a series of close-ups shown in succession. Don't avoid this basic technique. This is not the same as throwing together random shots into a fight sequence to create confusion. Instead, carfully chose a close-up of a hand, an arm, a face, a gun falling to the floor - tie them all together to tell a story. In this way you can portray an event by showing various pieces of it and having control over the timing. You can also hide parts of the event so that the mind of the audience is engaged. (Truffaut)
Hitchcock said this was "transferring the menace from the screen into the mind of the audience." (Schickel) The famous shower scene in Psycho uses montage to hide the violence. You never see the knife hitting Janet Leigh. The impression of violence is done with quick editing, and the killing takes place inside the viewer's head rather than the screen. Also important is knowing when not to cut." Basic rule: anytime something important happens, show it in a close-up. Make sure the audience can see it. Jeffrey Michael Bays. (2004). How to turn your boring movie into a Hitchcock thriller... . Available: http://borgus.com/hitch/hitch2011.htm. Last accessed 30th October 2018. |
What It takes to Edit tv showsNancy Forner Talking on editing a TV series:
Please describe the job of an editor. I’m a storyteller first and foremost. [An editor] tells stories using visual images to interpret or express the script. I create my first rough cut, interpreting the script with the footage the director gives me. All along, I try to fulfill what I think the producers, the writers and the director intended originally but bringing to it my own aesthetic and my own interpretation of what the story is. How many hours of film are you given before you begin your process? In television, which is the predominant, but not only, form that I work in, they shoot one day and the next day I receive the “dailies” (the footage) they shot the day before. Any TV series can range anywhere from seven to ten days of shooting. Overall, each day I get about three to four hours of shot footage to work with. On an average TV series, I’ll get about thirty-five to forty hours of footage total to craft and create, mold and cut into a finished product. Most TV episodes run about forty-two minutes so the ratio of shot footage to final finished episode cut footage is tremendous.A lot of people think, “Oh, you cut out the bad stuff”. But that is not what an editor does. An editor creates. We don’t take out. We’re given forty hours of footage where no one has told us what to do with it. There are no directions. We have a script. But nowhere in the script does it say how to edit [it]. And that’s our job; that’s our art form. We take all that footage and create a beautifully, understandable, dynamic series. Mindy Peterman. (2013). The art of TV editing: A conversation with Nancy Forner, A.C.E. Read more: http://www.digitaljournal.com/article/348455#ixzz5SHzKJz9s.Available: http://www.digitaljournal.com/article/348455. Last accessed 27th Sep 2018. |
Shot Lengths And TimesThere are many skills that inspire me and other filmmakers, Some of the skills that I love are how editors can use shot length and speed to pull different emotions from the viewer. For example in Horrors like insidious and the enfield haunting they uses different shot lengths and speeds to control the suspense.
|
Baby Driver
|
Baby driver uses the synchronization of music to create drama and suspense for the viewer. The key moments in the film are cut to music and it is masterfully cut in sync with audio. The Editor decided to be on set throughout the whole production took make sure it would fit with how he wanted to edit. This 6 minute clip can show how you should cut to the beat and also how you can use that technique to create emotion for the character.
Not many editors are on set when filming takes place but Machliss was and this was key for baby driver being so well edited. It was filmed for the editor, not edited for the film. |