digital overboard

[Mr Blackstock]

I could not get to the article, but from the posts I saw a repeat of the same argument that has raged for centuries, Art...what is it? etc. etc.

Although the impetous to challenge will never change, understanding what makes up art as time goes on relies entirely on those who profess to create it, therefore, what people create today is the art of tommorow. I have no problems with that, what I do wonder about though, are the influences on that art? As the 8th man pointed out, would they be commercial? As i tried to point out, would they be technological? Just as the post war art world experienced the narrow-minded "victor" art and interpretation, people today need to be more aware than ever before of the influences of art, liberal policies, charitable organisations, etc.

Various influences may be incongruous to the finished "piece" but to many influence, like motivation, like method, matter a great deal.

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[#Pedro]

NLE for me is out of discussion, because there is NO WAY BACK TO FILM after editing. That argument is so strong, that for me it knocks out all the other (arguments).

For prof productions, the MAY be a way back to film, but for most of us it isn?t affordable.

NLE is the interface to video, leaving real film behind. The end result in 99% of all cases shurly is an ugly VHS tape - and that after all that work!!! Well, it may have sth that some of us would call "film look", but it?s not really a film, it?s only a information about a film, sth virtual.

Besides, working at home with software, without IT-support, is always troubling around and spending at least 30% of the working time in PC and software maintainance, specially in multimedia sector.

So, the only what rests when willing to keep with the real film, is to learn about editing and how to use good cement splicers. The Bolex model makes really unvisible splices in prof quality. They go rather cheap off ebay, and so you can arrange 2 or 3, like it was a train station on your desk. While drying the first splice, the second can be prepared, then the third, and the first is ready to take off the press of the splicer.

Who has trouble with dust must spend more bucks and buy a Hamman cutter, only for cutting without dust. Pressing together can be done in the Bolex machines.

What can help very much to increase creativity in editing and conservate the original footage, is to PREPARE the final cut on a computer or stand-alone system (Casablanca).

You hang all your 50 ft reels together and transfer them to video. The transfer should be done with a digital frame counter connected to the projector. One video camera captures the image, a second camera the counter and a video mixer overlays both. This way, the transfer has a "frame code".
Now you can do NLE and even soundtracking until you are satisfyed with the result, with out stressing your original footage.

In an excel table, you transfer all start-stop frame numbers of this final cut and give an index number to each singular szene.

Prepare a szene board with about 200 clamps (for 200 szenes) and number the clamps.

Now you go thru your final cut, watching your original footage on a viewer with frame counter and cut each szene out, clamping it to the clamp with the according number. After passing thru the complete video, all clamps must contain a physical film szene.

Now you can splice the complete film in only one run, without running it several times thru the viewer. For that, 2 or 3 Bolex splicers are a great help.

And the result is a REAL film - edited.
When prepared a soundtrack directly in the NLE system, you can stripe the film and transfer the sound. This is best done with a crystal synced projector (ELMO GS with crystal control).

Only my opinion, and for those who love real film.

Pedro


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[rollemfilm]

there will always be propaganda. either you are selling something or not. as an informed viewer, i can make choices as to its validity. many folks are not informed. they do not know how to look at film/art obectively. my therory is because in this country, the commerical output far out weighs all other programing. be it films, tv, radio....it's more important to sell a car than an idea. and when the idea is radical it's shot down until the mainstream picks up on it. a good example, the camera work in NYPD Blue. how many remember how the big complaint was that the camera never stood still. yet in a few years it was embraced my the commerical advertisers.

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