Before the widespread use of digital 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 splicing together pieces of film.
Editing film used to literally be a cut-and-paste process, involving splicing and glue by hand. Splicing was the way film editors made their edits, working with copies of negatives and creating workprints.
At the beginning, this did involve using scissors to splice the footage and then using tape to attach it in the correct order. Methods like this were used until the 1920's, when the first editing machine, called the Moviola, was invented.
A popular 1970-80s system for creating these transitions was the U-matic equipment (named for the U-shaped tape path). That system used two tape players and one tape recorder, and edits were done by automatically having the machines back up, then speed up together simultaneously, so that the edit didn't roll or glitch.
When the '90s began, every major theatrical release was shot on celluloid, films were edited on flatbeds rather than computer screens, animation was still a hand-drawn art, and analog sound was the norm for both mixing and exhibition.
Film editing technology. Before the widespread use of digital 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 splicing together pieces of film.
Film grain used to be a natural part of filmmaking. That textured, “noisy” look of old movies was a side effect of shooting and recording onto celluloid film. It was a natural part of the process, and so it became something people automatically associated with watching a movie. Flashforward to 2020.
1950s: Flatbed editing tables, such as the Steenbeck and Keller-Elektro-Mechanik (KEM), are introduced as an alternative to the Moviola. These tables feature a series of rollers and motorized plates. Film splicing machines, such as the Ciro Guillotine Tape Splicer, also make an appearance in the 1950s.
A Moviola (/ˌmuːviˈoʊlə/) is a device that allows a film editor to view a film while editing. It was the first machine for motion picture editing when it was invented by Iwan Serrurier in 1924.
The first film editor, James Williamson, used simple techniques such as cutting and splicing to create the illusion of movement in films. Later, filmmakers like D.W. Griffith used cross-cutting to create tension and suspense in films like "The Birth of a Nation" (1915).
One of the most significant changes in 1970s cinema was the shift towards more realistic portrayals of life. Instead of the glamourous Hollywood productions of the past, filmmakers started to focus on the everyday struggles of ordinary people.
The very first fan edit can be traced back to 1975, when Star Trek fan Kandy Fong made a slideshow of Star Trek outtakes inspired by The Beatles' music video for "Strawberry Fields Forever." In a 2012 interview, Fong described the lightbulb moment: "[The Beatles] weren't standing there and playing instruments, which ...
1: Emotion 51% 2: Story 23% 3: Rhythm 10 % 4: Eye trace 7% 5: Two-dimensional plane of screen 5% 6: Three-dimensional space of action 4% Page 9 9 When making a cut, an editor should aim to satisfy all of the six criteria above, but this might not always be possible.
What did they use to edit images in order to make movies before the 90s? Moviolas and Steenbecks were edit machines that used actual film. The were used well into the 90s and beyond, as some editors were slow to switch to digital editing. Nearly all current edit software is based on these tried and tested machines.
Each take was filmed on physical film, just like old 35mm cameras. That film was then spliced together using a cutting and splicing machine. If changes were made, then new film was cut, and spliced into the desired location of the reel.
The 1920s saw a vast expansion of Hollywood film making and worldwide film attendance. Throughout the decade, film production increasingly focused on the feature film rather than the "short" or "two-reeler." This is a change that had begun with works like the long D. W.
They literally cut the film strip and taped them together. Computers most certainly DID exist. Movies were edited back then the same way they had been edited back to the dawn of movies, and the same way some are still edited: they cut apart strips of film and glued them back together in the desired order.
The simplest was to put the text onto a long sheet of paper, and literally to roll it past the camera. Layering was done using an optical printer. If the credits were done as white on black, then it wouldn't even have been necessary to use masks, though they could have.
Economics dictated shooting closer to the threshold of the illusion, and most silent films were filmed around 16-18 frames per second (fps), then projected closer to 20-24 fps. This is why motion in those old silent films is so comical, the film is sped up: Charlie Chaplin.
They also are a reminder of the past and life at the time. For many people, old movies are a beautiful reminder of a time when things were simpler. These movies don't rely as much on technology to wow and shock the viewer, the story lines are clear and straighter forward, their plots simpler.
The 1970s movies were still using film while the 1980s were going video. This makes everything look brighter. The cuts are also neater and sound is better. The 1970s movies aimed for looking gritty.
Movies consist of copyrighted audio and visual material. Capturing, duplicating, and redistributing film footage can constitute copyright infringement and piracy. However, using film footage to practice editing or incorporating movie clips in projects that fall under Fair Use are both perfectly legal endeavors.
