American cinematographer. (1939)

Here Are Tips on Editin and Sp o o icin< By JAMES A. SHERLOCK Photographs by Writer Systematise your splicing, titling and editing. Meditate and enjoy the most interesting part of movie¬ making by editing your film in a way that each change of scene will be as smooth as possible. There are many systems for editing, titling and splicing that can be used to rearrange scenes so that the film will have continuity and finish. If a film be shot to a working script it is an easy matter to assemble scenes in their correct order, but if a reel con¬ tains a jumble of snapshots more thought and care are necessary. With a little meditation, systematic editing, titling and perhaps the addition of a few extra shots, the most common¬ place film can be made attractive. A caravan holiday was recently filmed, the scenic portion of the tour being emphasized but closeups of the two holiday makers forgotten. This film has been improved by the introduction of a comedy angle. Various scenes have since been taken to show that Frank allows Kay to do all the work while he eats and sleeps. These additional shots have been taken at weekend picnics, using scenery that will match the original. If the scenic background was not suitable the sky was used. When the film is projected the audience jump to the conclusion that these well matched sequences were shot en route. Projection Comes First The first step when editing is to pro¬ ject the film. If the cutting has been done in the camera matters are simpli¬ fied, but if the reel contains a mixture of unrelated scenes more time must be spent at the editing bench. The editing bench illustrated is prac¬ tical and contains many helpful gadgets. The cardboard box (1) has each com¬ partment numbered on the side to sim¬ plify the indentification of each piece of film. This box contains a lid which is kept closed when the bench is not in use. The numbers have been cut from an office desk calendar. If a simular box is unprocurable pill boxes can be mounted on a board and similarly numbered. On the working script is lying a pair of scissors (2) the liberal use of which should not be neglected. A Kodak film viewer (3) has a notching arrangement which permits any individual frame to be selected and marked, but has the fault of requiring the film to pass through it in the form of the letter “z.” The splicing block (4) and rewind are made by Bell and Howell and mounted as one unit. Each spindle (7) is geared. On the left hand spindle (5) is a Kodak reel which has one side removed. This is done simply by loosening four small clips which attach each side of the reel to the hub. When the film is wound on this one sided reel it can quickly be re¬ moved in one piece and placed in it’s compartment without becoming twisted. In the center of the bench is placed a piece of opal glass (6). Underneath is a light which permits the film to be speedily examined without putting it through the viewer. Don’t Unwind Film on Floor Do not unwind film on the floor. Apart from the film collecting grit and dust it is also liable to be trodden on. Have a waste paper basket lined with a soft washing material. This will hold about 400 feet of unwound film While this editing bench is practical and convenient many variations are pos¬ sible. Small geared emery wheels can be purchased at chain stores, mounted on a board about 4 feet by 1 foot, and with the emery stone removed serves as an excellent winder. The film viewer can be substituted by a magnifying glass or linen tester held over a piece of opal glass with a light behind it. This might be placed in the center of the board containing the re¬ winds. The splicing block can be replaced by a Kodascope film splicing outfit men¬ tioned elsewhere in these articles. The whole of this outfit would not cost £1. (S4) Make Record Each Scene V hen the editing bench that suits your requirements is complete project * the film a few times till you are sure you know each scene, then with pencil and paper make a record of each scene, not forgetting such things as: 1. Faulty exposures. 2. Shots that are too long. 3. The photographic tone or colour of each scene as the jump from Make a habit of using white cotton gloves xvhen editing. 508 American Cinematographer • November, 1939