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anyone still edit with film?


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#1 Nate Downes

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Posted 22 February 2009 - 04:20 PM

I'm pondering getting off of my lazy posterior and shooting a short. Over the past year of effort I have realized, I am no good at editing. So, trying to find someone that still works the old method, if any of you still exist out there.
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#2 Brian Drysdale

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Posted 22 February 2009 - 05:27 PM

I'm pondering getting off of my lazy posterior and shooting a short. Over the past year of effort I have realized, I am no good at editing. So, trying to find someone that still works the old method, if any of you still exist out there.


Steven Spielberg still edits with film.
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#3 K Borowski

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Posted 22 February 2009 - 09:49 PM

You realize how expensive it is to edit with film, right?

To me, the process is comparable (unless you have a sweet deal from a lab, or own one yourself) to buying a new car, going out joy-riding, and totaling said car at the end of the night.
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#4 Nate Downes

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Posted 22 February 2009 - 10:24 PM

You realize how expensive it is to edit with film, right?

To me, the process is comparable (unless you have a sweet deal from a lab, or own one yourself) to buying a new car, going out joy-riding, and totaling said car at the end of the night.


???

So, you are telling me that $4 worth of tape is more expensive than $150 for a telecine? I'd like to have what you're having.

Sure, if you're doing a feature, the cost advantage comes up, but for a 3 minute short shot on reversal, cmon.
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#5 K Borowski

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Posted 22 February 2009 - 10:38 PM

You never said you were using reversal, or that it was a 3-minute short.

Unless you want to risk scratching your in-camera originals, which DOES happen, I'd highly recommend getting some kind of dupe or transfer made.
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#6 K Borowski

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Posted 22 February 2009 - 10:42 PM

You know, you could even project it all once (on a clean projector), video-tape it off the wall, and bounce-edit it with two VCRs or on a computer.

Using an actual editing table has no impact on the artistic integrity, or quality of your work. It doesnt' render the editor super-powers or increased enjoyment; editing is work. The only thing that you can do, using the original, is damage your only copy.
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#7 Nate Downes

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Posted 22 February 2009 - 10:49 PM

You know, you could even project it all once (on a clean projector), video-tape it off the wall, and bounce-edit it with two VCRs or on a computer.

Using an actual editing table has no impact on the artistic integrity, or quality of your work. It doesnt' render the editor super-powers or increased enjoyment; editing is work. The only thing that you can do, using the original, is damage your only copy.

You know, rather than come up with arguements against a request, help out with that request? My reasons why I wish to be edited with film are just that, mine. I have made my choice, and I would appreciate it if you would respect that.
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#8 K Borowski

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Posted 23 February 2009 - 11:34 AM

What is there to ask?

Cement splicer, film splicer, leader, editing table if you have access to one, and then there are a standard set of marks.

Any basic cinematography book will probalby have a section on the "standard markings" and practices, but again, if this is just for you, what is the point? And with a reversal original you don't want to make any marks anyway.

I respect you enough to tell you that what you are doing is a bad idea and it could damage your original. What do you want me to do, lie and say that it is a great idea?
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#9 David Mullen ASC

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Posted 23 February 2009 - 11:40 AM

You don't want to run your reversal original through a flatbed or upright moviola, you'll need to make a dupe. I think there is something you need to write on the lab work order to make sure that the original edgecode numbers print through onto the dupe.

The one problem people run into is access to a numbering machine to print with ink the same set of numbers on the workprint and sound mag so you can then chop off the slates, etc. and keep the trims in sync. The other issue is getting the sound transferred onto mag rolls.

At CalArts, when we edited out short 1-minute films in the basic Cinematography Workshop (b&w reversal, from which we made b&w reversal dupes for workprints), we manually wrote down the edgecode numbers on the synced mag roll with a sharpie, but that was possible since it was only one 100' roll from which we cut a 1-minute short.
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#10 Nate Downes

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Posted 23 February 2009 - 07:28 PM

Well, in this case sound is not a real issue (no sync sound) just me trying to test some bits through a 3 minute short. Nothing for commercial, just wanting to flex some muscles and actually use the equipment I have already. I am waking up, and am flexing my muscles, so to say.
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#11 Bill DiPietra

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Posted 07 March 2009 - 07:56 PM

You know, rather than come up with arguements against a request, help out with that request? My reasons why I wish to be edited with film are just that, mine. I have made my choice, and I would appreciate it if you would respect that.


Well, I respect it! I have a 16mm Steenbeck in my basement!
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