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Talking Pictures
Film editors have different methods. Some do not assemble the picture until it is nearly complete, but the majority make what is called a day-by-day "rough cut." For this process an editor fastens his separate rolls of film together as each dramatic sequence is completed before the cameras. This gives him a rough idea of the progress of the story and gives the producer and the director a quick clue to its weaknesses. These weaknesses can be corrected by revising the scene and retaking it. In his rough cut, the editor can also practice balancing the dramatic values of his long-shots and close-ups. This highly creative function will be described later in more detail.
His mechanical aid in cutting is a remarkable device. It has a feeding slot for the sound track on one side which, with its own photoelectric cell, reproduces the sound just as audiences will later hear it in the theatre.
On the other side the film passes behind a glass lens about two and one-half inches in diameter which magnifies the 35 mm. frame of each separate picture to a size large enough for practical editorial purposes. A light shining upward from behind the film provides sufficient illumination to give a picture, compact for practical editing, yet large and well-lighted enough to be viewed adequately without eyestrain.
The editor watches the enlarged image and hears the sound coming through a miniature reproducing horn. His first concern when he runs a piece of film is to be certain that sound and sight are absolutely synchronized, that the "start" marks on both picture and sound track are in exactly the right place.
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