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Perforated Magnetic Film?


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#21 Mark Dunn

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Posted 30 August 2011 - 11:10 AM

BTW, I am using "flatbed" as the generic term for editing workprints. Is there a better term that encompasses different systems, methods?


The Steenbeck isn't much use for editing, more for reviewing a sequence. It would be all too easy to mess up sync cutting on one- that you'd do on a pic-sync. So, pic-sync for editing, Steenbeck (or your choice of flatbed) for reviewing one or two tracks. You can't sync up rushes on a Steenbeck without slitting your wrists either.
The best all-encompassing term I can think of at short notice is 'the plastic stuff with pictures on and holes down the side'. Or maybe 'editing with scissors', except you don't use scissors.
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#22 Brian Drysdale

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Posted 30 August 2011 - 11:30 AM

So, pic-sync for editing, Steenbeck (or your choice of flatbed) for reviewing one or two tracks. You can't sync up rushes on a Steenbeck without slitting your wrists either.


Yes, flatbed isn't a generic term, it's a particular type of film editing machine, as against the upright Moviola. Any professional film cutting room I've been in always had both types of machine (or similar), although I have seen editors sync up on a Steenbeck, the Pic Sync is much easier for that type of work.
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#23 John Sprung

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Posted 30 August 2011 - 12:46 PM

...., reinsert single frames, ....


Back in the wet splice days, that would require re-printing. In the tape splice days, that kind of thing wouldn't run thru the machines all that well. It was a sign of incompetence to have a lot of those little pieces taped together.




-- J.S.
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#24 James Steven Beverly

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Posted 30 August 2011 - 10:56 PM

I considered demanding your first born child in trade but then realized you'll probably be training them as a 1AC and will need him/her when you get into production.

Halsey

By the time I GET into production they'll probably be old enough to join the union, and that's saying a LOT considering they aren't even born yet. GOD getting funding can be a bitch. HOPEFULLY, AFM may change that but we'll see. Seriously though, again, THANK YOU SO MUCH!!!! I did gather up the cash for shipping so please let me know when you are ready. IF you have any suggestions for good, cheap shipping companies, please let me know as well. Admiral, if I haven't said it before, let me say it now, you are the best. Thanks again-Steve B)
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#25 James Steven Beverly

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Posted 30 August 2011 - 11:28 PM

[quote name='Brian Drysdale' timestamp='1314514567' post='357058']
There's a level of pressure from producers (especially in TV) to have lots of coverage, this can allow the producers to do the edit without any involvement from the director. Of course, this is different to the John Ford and Hitchcock method of just shooting what they wanted, so the studio can't re-cut it
[QUOTE]

The "director's Cut" in thee ONLY CUT, Apocalypses Now: Redux, Legend : The Ultimate Edition, Close Encounters Of the Third Kind: The Special Edition, Citizen Kane (NO DIRECTOR'S CUT NEEDED, It WWWAAAASSS THE DIRECTOR"S CUT) ALL of these film (With the exception of Kane UNLIKE A Touch Of Evil which NEEDED the director's cut DESPERATELY, I would so love to have seen Welles' original cut)were SO MUCH BETTER than the studio hatchet job that was released due to political correctness and financial expediency which in reality ended up probably costing them money in the long run. B)

Edited by James Steven Beverly, 30 August 2011 - 11:31 PM.

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#26 Brian Drysdale

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Posted 31 August 2011 - 02:15 AM

The "director's Cut" in thee ONLY CUT, Apocalypses Now: Redux, Legend : The Ultimate Edition, Close Encounters Of the Third Kind: The Special Edition, Citizen Kane (NO DIRECTOR'S CUT NEEDED, It WWWAAAASSS THE DIRECTOR"S CUT) ALL of these film (With the exception of Kane UNLIKE A Touch Of Evil which NEEDED the director's cut DESPERATELY, I would so love to have seen Welles' original cut)were SO MUCH BETTER than the studio hatchet job that was released due to political correctness and financial expediency which in reality ended up probably costing them money in the long run. B)


There is a later version of "A Touch Of Evil" released a few years ago based on notes made by Welles after the only viewing allowed by the studio. Very few directors get a final cut.

Regarding Close Encounters special edition, the deal with the studio was that Spielberg had to show inside the Space Ship, while he originally just wanted to shoot more of the early stuff (Gobi stuff etc), so it was a trade off. Apocalypses Now was very much Coppola's baby, he made decisions to drop scenes that are in the later Relux during the actual filming eg the French planters. There were different versions around the release period. It's more a reconsidered version of a film that he was feeling his way around at the time of production and the myths surrounding the film allowed him the space to cut another version. These later versions only got done because because the films made money.

In TV drama producers run the system rather than the directors and perhaps the best current TV drama is where the writer, who is also is an excellent producer on the programme, has a measure of control. However, I suspect it's not truly the writer's medium as claimed by the producers, the exception being the odd A list writer, there are too many producers.
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#27 John Sprung

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Posted 31 August 2011 - 06:57 PM

There is a later version of "A Touch Of Evil" released a few years ago based on notes made by Welles after the only viewing allowed by the studio.


Yes, it was done by Walter Murch. He put a tremendous amount of time and effort into it. I saw it at a show and tell he did at Universal right after it was finished. Alas.... no matter what you do with it, it's just not a good movie.




-- J.S.
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#28 Brian Drysdale

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Posted 01 September 2011 - 01:57 AM

Alas.... no matter what you do with it, it's just not a good movie.


As they say everything is subjective. It managed 109 in the UK film magazine Empire's top 500 reader poll; http://www.empireonline.com/500/78.asp , so it also has its fans. Certainly it's more European than mainstream Hollywood studio. The other quirky film of the period "The Night of the Hunter" was 71.
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