Business screen magazine (1946)

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Horizontal Editing Catches On European favorite becomes popular in U.S. One user tells why Some editors resist change Kem modular horizontal editing machine offers Irving Oshman, president of Vision Associates, speed and efficiency. ■ Geography often plays a major role in defining the methods individuals or entire industries chtwse to accomplish similar ends. In the case of film editing techniques, a clearcut difference has been apparent between European and American filmmakers. In general, those abroad have consistently preferred the ht)ri/ontal or flatbed editing machine. This type equipment throws the picture (or pictures) via a revolving prism onto a screen (or screens) at the rear of the table. Large footages of film can be run through the machine with picture and sound reels running cither separately or in synchronization. The film travels from '■feed" plates at the left, through a drive system, to the prism and sound reproducing head in the center, and then to take-up plates at the right. In contrast, film editors in the United States have consistently opted sa OS for the standard "moviola" (although a brandname, it is often used gencrically, at it was the first of its rl kind ). This upright machine projects the image through mirrors and a simple lens onto a ground glass screen. Picture and sound can be run synchronously or independently. Preference for this type equipment has been almost unanimous in the United States — until relatively recently. Irving Oshman, president of Vision Associates in New York, is one American film editor who has made the switch and is quite pleased with his decision. "The flatbed machine makes the editing room much simpler place to work in." he noted. Describing the factors that led him to make the investment, Oshman explained that during the last ten years, a tremendous increase in technology in tJie motion picture industry has taken place. Evcrythmg has become mobile and portable, and the result is that producers complete movies more quickly. The only area in the motion picture industry which did not sec equivalent technological steps — at least in the United States — seemed to be the editing room." said Oshman. Nevertheless, costs in this area of production, like costs in other facets, kept rising, and this was a major factor influencing Oshman s investment. "I was looking for a faster uay of doing a better job," explained Oshman. "Cost was a factor, not competition." When Oshman was evaluating , mailable editing machines, only two branils — Sieenbcck and Kem —were readily available in this country. 14 BUSINESS SCREEN ^