Lumiere Brothers:
In 1985 the Lumiere Brothers began their idea of in camera editing. They would of had to film there videos using one real of film and in a linear order; they had no way to change the sequence around.
This is a film shot by the Lumiere Brothers. It emphasises the fact they had to stop the film to change scenes because the screen turns black. They always shot with a diagonal relationship to the action, and pioneered the moving shot - the same techniques used today. The brothers also pioneered the idea of charging money for the cinema experience. They created the first motion picture, which people ran out of the screening. It terrified them because they had never seen anything like that before; they literally thought the train was coming towards them.
DW Griffith:
Pioneered seamless editing. He developed the idea of putting together different types of shots to give the film a sense of pace.
Pioneered seamless editing. He developed the idea of putting together different types of shots to give the film a sense of pace.
This example is A Birth Of A Nation, it shoes seamless editing as it shows the shots flowing in order to match the action. His work has influenced today's films greatly, the majority of films now flow as one and the different scenes make sense. In action movies, like Bourne Ultimatum, the seamless editing is highly noticeable in the iconic fight sequence.
Sergie Eisenstien:
A Russian man who developed editing techniques by inventing montage. It consists of shots that are put into a sequence to show how much time has passed but make it shorter for the audience to watch.
An example of this is Rocky 4. In 5 or so minutes we learn of Rocky's time training and how over time he has become a fighting machine!! However we haven't had to watch hours and hours of his training, it's been condensed.
Lev Kuleshov:
The Kuleshov Effect is a film editing (montage) effect demonstrated in the 1910s and 1920s. Viewers gain more meaning from the interaction of two sequence shots than from a single shot by itself. Kuleshov edited together a short film in which a shot of the expressionless face of the idol Ivan Mosjoukine was alternated with various other shots (a plate of soup, a girl in a coffin, a woman on a divan). The film was shown to an audience who believed that the expression on Mosjoukine's face was different each time he appeared, depending on whether he was looking at the plate of soup, the girl in the coffin, or the woman on the divan, showing an expression of hunger, grief or desire. The footage was actually the same shot each time. The audience "raved about the acting... the heaviness of his mood over the forgotten soup, were touched and moved by the deep sorrow with which he looked on the dead child, and noted the lust with which he observed the woman. But we know that in all three cases the face was exactly the same.
The implication is that viewers brought their own emotional reactions to this sequence of images - now the basis of editing today.
Edwin S Porter:
His film The Great Train Robbery; one-reel film, with a running time of twelve minutes, was assembled in twenty separate shots, along with a startling close-up of a bandit firing at the camera. It used as many as ten different indoor and outdoor locations and was ground-breaking in its use of "cross-cutting" in editing to show simultaneous action in different places. No earlier film had created such swift movement or variety of scene. The Great Train Robbery was enormously popular for it's time. These days the film is incredibly boring as films are full of action and fast improved editing, thanks to the latest technology available.
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