Movie Makers (Jan-Dec 1936)

Systematized editing EDWIN SCHWARZ, ACL 64 SYSTEM counts for everything in film editing. Although an efficient and comprehensive system may seem complicated at first, actually it will save hours of time, as any movie maker can prove to himself by trying a good one. At present, I rarely take more than one evening to edit 600 to 800 feet of film. The equipment which I use is as follows: projector with reverse action, small screen or sheet of white paper, typewriter, rewind outfit, viewer, dry splicer, paper clips and old 100 foot reels. The viewer is not essential but it aids in locating the different scenes and in discovering the exact frame to be cut. First of all, I number the paper boxes containing the 100 foot reels to be edited. Then I place the typewriter alongside the projector where I can operate both conveniently. Then the first reel is placed on the projector, which is operated at a slow speed. As the various scenes appear, I type the following information about each one: (1) a short statement that identifies the scene (using abbreviations) ; (2) in the case of panoramas, the direction of the "pan", in order to avoid the mistake of following a panorama made in one direction by another made in the opposite direction; (3) the photographic quality, indicated by such words as poor, good, excellent, dark, light, etc., (this facilitates placing the most striking shot at the end of the sequence and eliminating the bad effect of having a dark scene follow a light one) ; (4) directions, such as cut, or cut end, use as introduction to action, long shot, medium shot, closeup, short or long shot and any other information that will assist in deciding the scene's most effective place in the film. If one knows the Direction be a for may value of action note of editing touch typing system, he will be able to complete a 100 foot reel in five to six minutes and, if not, it will be necessary to stop the projector after Phil io D. Gendreau A carefully worked out procedure to speed up process each scene to write the comments. The next big step is to work out the continuity — the arrangement of the separate scenes. This usually takes a little thought, but it will be comparatively easy if some plan has been followed while filming. I always have the typed lists handy and, whenever a few moments are available, I start mulling over the various scenes to determine the method of presentation. I list the main subjects on a three by five card, leaving a wide margin on the left side. Then I decide the order in which the main subjects are to appear and note this by numbering the card in the margin close to the wording. For instance, in a film of Yellowstone Park, there will be several scenes of Old Faithful and perhaps many more of the Grand Canyon and Yellowstone Falls, the Mammoth Hot Springs, the bears and so forth. By listing the various groups as such, you can more readily determine that, perhaps, the scene of the Grand Canyon should be last and those of Old Faithful should come first. Thus you can produce a master card or guide to the detailed editing. Next, I run through the list of scenes, making a line completely across the margin wherever a scene is to be cut out. I make a short dash or dot in front of those scenes that are to be included in the first division on the master card. This draws one's attention only to those scenes that are to be considered at the present time. The next step is to start numbering the scenes or groups of scenes in the order that they are to appear in the finished picture. If several scenes happen to be listed on the sheet in the same order that they are to appear in the finished film, then I give all these scenes one number, using a bracket to indicate the exact shots included under this number. I continue numbering the scenes until I have finished with all the shots that belong in the first group noted on the master card. Then I proceed to start on the second group, by placing a dash or dot in front of all scenes belonging to that group. Should one be interrupted in this work, he can note on the master card the last number to be used, which will indicate where to start when the editing is resumed. You will find that this method will enable you to use all odd moments, as one can drop the work any time and pick it up again with little loss of time. In case I make the mistake of omitting a scene or later decide that one should go ahead of another, I do not erase the numbers but use a letter after the numeral to indicate the added scene. Now one is ready for the cutting and splicing. Here again, system means efficiency, while the proper layout of equipment also speeds up the work. I place the viewer at the left of the splicer and have both of them in between the two parts of the rewind outfit. I have found those two ounce flat chemical bottles with glass stopper and rod to be most economical on film cement and fastest in operation. The outside of the neck of a bottle of this type is ground and a tight fitting glass cover is provided. Vaseline can be used on the cover to insure an air tight seal, preventing evaporation which consequently thickens the cement. Alongside the splicing table, I have another table on which I place small cards that have been numbered from 1 to 100. These are about the size of a business card. They are placed in numerical order in rows, five [Continued on page 78]