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F. P. G
Whether you are making a sport or family film, you can edit as you go
EDITING AS THEY COME
Harold M. Lambert from Black Star
SIDNEY MORITZ, ACL
I EDIT my movies at once. My enthusiasm for movie making is at its highest when I view a newly processed reel for the first time. So, whether it is part of a long feature, that will be weeks in production, or only the result of a day's shooting, the roll of film is edited immediately after its return from the processing station.
The procedure is simple. I first assemble all the equipment I use for editing, which includes a splicer and rewinds mounted on a board with a film viewer, a projector, screen, bottle of fresh film cement, pair of scissors, a few sheets of newspaper, extra spools, small slips of paper, a piece of clean cloth, a memorandum pad and a pencil.
Before I bought my film viewer, I used a magnifying glass to examine individual frames which I thought should be eliminated. My projector also came in handy to throw a "still" on the screen of whatever frames required further minute inspection. Whenever I decided to cut out a frame, I would project it as a still; then, removing the film from the gate, I would pierce it with an awl. This awl hole made it easy to locate the undesired frame when the cutting began. A sim
A plea for reel by reel cutting to keep interest
pie ticket punch often will work as well.
Successful editing requires the utmost care in handling the film. I keep the splicer scrupulously clean by wiping it occasionally with a piece of cloth saturated with alcohol. I spread newspapers on the floor beneath my desk, so that the ends of film strips which fall on the floor will not pick up dust. The film is cut with shears and it is always held by the edges to avoid finger marks.
Having assembled my materials and arranged my working desk in orderly fashion, I now begin editing in earnest. If two or more reels are to be edited, I splice them together in sequence and put a leader on the end of the film. I always do this even if the reel is but fifty feet in length. It enables me to reverse the projector and to look at the film again without rethreading it.
Then comes the thrilling moment, the first viewing of the film. So that I may familiarize myself with what should be eliminated or what sequences do not follow in their proper order, I run the film back and forth a number of times. I jot down on the pad the scenes which are either overexposed or underexposed, too long or too short, uninteresting and dull, shaky or blurred. Since I now know which shots are to be eliminated, and have a good idea of the order in which they are to follow one another, I begin the actual cutting. Remembering which scenes are undesirable, I cut them out when I reach them. I label the "rejected strips" and put them away somewhere that is con [Continued on page 332]