I am am emmy award editor and began on 2" video tape a. We used to cut tape back then and we could not see the edit until played back. We had to "develop" the tape to see the frame pulse on the tape so we could cut at each frame. To see the frame pulse we had to use a microscope but at least we always had the sound & picture sync'd all the time What is interesting to new people to edit, back in the days either on film or tape, you could only make CUTS, no dissolves or wipes or anything else. No special effects etc. Notice carefully on older movies when a fade or dissolve happened. In the case of film, you would have to send those frames out to optically mixed together onto another piece of film. After that yoy would have to locate those frames on the "master" and perform a cut right at the point where a dissolve would occur. On screen you would see a generation quality change fir those 48 frames or so, then the quality would improve once the dissolve was complete. Watch for it next time. I still miss quad editing
He can't have synched up a huge amount of rushes/dailies, because that is by no means the fastest way of doing it. He opens the gangs much more often than necessary. (As a first and second assistant editor on about half a dozen major movies in the 1980s, at Pinewood and Elstree Studios in London, I had to synch up 1000s of feet, dozens of takes per day, between c.9.00-9.15 am - when the rushes arrived from the labs - and the 10 am viewing of the rushes in the viewing theatre by the director, cast and crew - sometimes a real battle against time)
This was/is nonlinear editing. Film was inherently nonlinear, since you could literally cut a frame or series of frames and splice them anywhere without having to undo everything ahead of it first only to reassemble it in sequence. Think being able to take a hangar off a closet rod and place it instantly anywhere else on the rod. Early video, though, was linear. Instead of hangers with hooks, now imagine you had rings that couldn't be removed from the rod without sliding them off one end. In order to move one ring to another position, you'd have to remove all the rings before or after it. Then you'd put back whatever rings you needed before placing the ring in question where you want and adding any others in the sequence as needed.
Hey I see you're using 35 mm magstripe. If you are, there's a great likelihood you use the sound transfer technician to get your original quarter-inch transferred onto that. What studio is still using sound transfer technicians in 2014? I was a sound transfer technician in the early 80s and thought the craft was somewhat obsolete at this point?? Where are you doing this film work I'd like to know?
@@DaCarnival i may be incorrect but I think some film labs can (or atleast used to offer the option) sync your location sound to your dailies right onto the work print. Cost more though
pinoy0978234 Do I have to trade off the expensive exotic locationWith promising opportunity for the equipmentAnd the vastness of cheap space in a rural area. Understand it’s just the synchronizer, that I am probably overreacting. Who taught you all the stuff are you self-taught as well? I meant to ask a different question that I did not state.
to be fair the instructor here was taking his time to show certain things for the audience. in reality the process is much faster. loading mags is also a lost art - I would be in amazement to watch loaders on set with a loading tent stuffing the mags with film whilst talking about random stuff unrelated to the task at hand. hats off to the instructor here.
This brings back so many good memories. Those were the days of real work... so happy times
As a self-taught editor/digital compositor in the digital age. I really appreciate seeing this. Thanks dude!
I know Im quite randomly asking but do anybody know a good site to watch new movies online ?
@Jasper Gunnar Flixportal :P
@Jason Miles Thanks, I went there and it seems to work :) I really appreciate it!!
@Jasper Gunnar happy to help :)
I am am emmy award editor and began on 2" video tape a. We used to cut tape back then and we could not see the edit until played back. We had to "develop" the tape to see the frame pulse on the tape so we could cut at each frame. To see the frame pulse we had to use a microscope but at least we always had the sound & picture sync'd all the time
What is interesting to new people to edit, back in the days either on film or tape, you could only make CUTS, no dissolves or wipes or anything else. No special effects etc. Notice carefully on older movies when a fade or dissolve happened. In the case of film, you would have to send those frames out to optically mixed together onto another piece of film. After that yoy would have to locate those frames on the "master" and perform a cut right at the point where a dissolve would occur. On screen you would see a generation quality change fir those 48 frames or so, then the quality would improve once the dissolve was complete. Watch for it next time.
I still miss quad editing
He can't have synched up a huge amount of rushes/dailies, because that is by no means the fastest way of doing it. He opens the gangs much more often than necessary. (As a first and second assistant editor on about half a dozen major movies in the 1980s, at Pinewood and Elstree Studios in London, I had to synch up 1000s of feet, dozens of takes per day, between c.9.00-9.15 am - when the rushes arrived from the labs - and the 10 am viewing of the rushes in the viewing theatre by the director, cast and crew - sometimes a real battle against time)
Would love to hear more!
Still beautiful to see
I'm setting up a traditional studio..
Wow! You're amazing! Teach me more!
Gosh... and when the final film appears on screen its all glitch free in picture and sound -amazing but no doubt hard work for an editor!
Sure makes me appreciate non-linear editing. :-)
This was/is nonlinear editing. Film was inherently nonlinear, since you could literally cut a frame or series of frames and splice them anywhere without having to undo everything ahead of it first only to reassemble it in sequence. Think being able to take a hangar off a closet rod and place it instantly anywhere else on the rod. Early video, though, was linear. Instead of hangers with hooks, now imagine you had rings that couldn't be removed from the rod without sliding them off one end. In order to move one ring to another position, you'd have to remove all the rings before or after it. Then you'd put back whatever rings you needed before placing the ring in question where you want and adding any others in the sequence as needed.
After the film is edited , and all is said and done, you go to a theather and watch the movie you edited. Pretty cool!!!
Hey I see you're using 35 mm magstripe. If you are, there's a great likelihood you use the sound transfer technician to get your original quarter-inch transferred onto that. What studio is still using sound transfer technicians in 2014? I was a sound transfer technician in the early 80s and thought the craft was somewhat obsolete at this point?? Where are you doing this film work I'd like to know?
If hes at a university film dept, there may be a tech room with equipment to make the transfers
How much is time involved? I really want to try this. Computers look so boring now.
More teaching please!
0:32 an inexpensive recording monitor would do a better job.
I would think you would need more the one editing machine to edit a film? Am i correct?
I didnt know the audio was on a separate roll. Im sure I have seen audio tracks on the film strip too..
I think that's just for the release print (or was, way back when).
@@DaCarnival i may be incorrect but I think some film labs can (or atleast used to offer the option) sync your location sound to your dailies right onto the work print. Cost more though
hoota toota solo?
What a great hands on video, where do you get a synchronizer with the sound head?
jonathan Hancock they can easily be found on ebay nowadays for not too much money
I have the space for a steenbeck but not the location
jonathan Hancock what do u mean?
pinoy0978234 Do I have to trade off the expensive exotic locationWith promising opportunity for the equipmentAnd the vastness of cheap space in a rural area. Understand it’s just the synchronizer, that I am probably overreacting. Who taught you all the stuff are you self-taught as well? I meant to ask a different question that I did not state.
I publicly apologize
Really all I was saying is I wish I had a Steenback have you ever edited on one?
Then I was excited that you actually replied that another person cared about Film as much as I did
Damn, if it takes this long just to sync one take, imagine working on a feature length film. No wonder the industry has moved on digital.
to be fair the instructor here was taking his time to show certain things for the audience. in reality the process is much faster. loading mags is also a lost art - I would be in amazement to watch loaders on set with a loading tent stuffing the mags with film whilst talking about random stuff unrelated to the task at hand. hats off to the instructor here.
It is such a dreadful way to synchronize film
Its actually a lot of fun
@@77Pinoyako a fun way of making things the wrong way
What a nightmare! Glad film's dead...