STUDIES AND RESEARCH

Digital Editing

On the operational level classical editing is a rather simple process. The editor pieces lengths of film into larger sequences, i. e. into a complete motion picture using special tools. On the creative level classical editing has one significant advantage: the editor (director, producer...) can choose which part of film he will be working on at any given moment. He has an absolute freedom of approach to all the segments of film material. This is a great incentive for the author’s creativity.

However, the procedure also has many shortcomings. This mostly refers to the fact that the editor has to perform repeatedly a series of mechanical acts in a given time sequence in order to make a cut, regardless of whether the cut is good or not. The introduction of computers and digital technology in the production process solved all the above-mentioned problems, greatly changed the creative aspect of some of the key jobs in production while introducing a new time sequence of decision-making. The basis for computer digital nonlinear editing is the concept of true random access. In other words, any frame of film can be accessed in any time and order. Practical implications of this concept on the creative process and its final result are immeasurable.

The computer digital nonlinear editing obviously brought many improvements in the process of editing. Much of the time spent on manual work is now free for creative work. Instant reviewing on the set enables the author to find the best solutions on the spot, to make quick changes as well as easily preserve several versions of the same sequence. Multilayered editing enables the author to work directly on the visual structure of the frame, that is to say, in-frame editing, which created a completely new form of editing expression while also opening new creative possibilities in the field of sound. Simplified communication resulted in a much better interaction with other postproduction departments consequently resulting in more creativity and smaller editing and production costs.

Digital technology, computers particularly, in the editing process and the production as a whole represent an ideal mixture of traditional and contemporary trends. The best of traditional film editing, i. e. the concept of nonlinear editing, was merged with all the advantages of digital technolgy.

The result was a much more pleasant and effective working atmosphere and a technical base for the evolution of the process of editing, especially the evolution of its creativity.
Judging by what we know now, these changes are only the beginning. Next step is the transformation of the medium itself. First major development in that sense was already achieved by the replacement of the film negative (35mm) with the video format of the same or higher quality (High Definition TV format). At present a yet newer format is being introduced, 24p, Sony’s new format also called digital cinema. Its resolution of 1920x1080 pixels is very close to the film 2K resolution (2000 lines). By its technical characteristics (16: 9 format, 2K resolution; 24 frames per second) this digital standard is the closest to the 35mm film.

At the same time, various experiments are being carried out all around the world, which do not necessarily have anything to do with film industry, nevertheless, could soon make a significant impact on it. Experts are working on the techniques of picture presentation (2D and 3D) directly on the retina. They are trying to incite the brain to receive outside information directly via radio waves, avoiding sight and hearing. Another type of experiments concerns the presentation of film picture and surround sound in its full quality over the Internet. One should not forget the experiments with virtual reality.

The consequences of these new developments will undoubtedly be grand. Any time soon, we will most probably edit a virtual 3D action in real space. Nevertheless, no matter how dramatic these changes may be on the level of editing expression, the editing process, in its foundations, remains the same. The work will still consist of shortening material to a needed length, creating adequate temporal and spatial relationships, dynamics and the dramaturgical structure of the story. However, technical changes and new working methods are opening doors to creativity and enable us to travel in a number of new directions where the only limitation is — our own imagination.

Sergej Ivasović