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Speaker 1: Brought to you by the reinvented two thousand twelve camera.

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Speaker 1: It's ready. Are you get in touch with technology with

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Speaker 1: tech Stuff from how stuff works dot com. Hello again, everyone,

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Speaker 1: Welcome to tech stuff. My name is Chris Poulette and

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Speaker 1: I am an editor at how stuff works dot com.

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Speaker 1: Sitting across from me as he always does, his senior writer,

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Speaker 1: Jonathan Strickland, Life's like a movie. Write your own ending.

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Speaker 1: I'm sorry, do you do you have a frog in

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Speaker 1: your throat? A little bit? Um. So this is part

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Speaker 1: two of our movie making podcast series, and we're gonna

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Speaker 1: be doing a few more episodes about making movies in

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Speaker 1: the future, although they'll probably be some buffer episodes between

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Speaker 1: this and they because we don't want to just turn

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Speaker 1: into the movie making podcast. But but it turns out

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Speaker 1: there's a lot of tech behind making movies. Yeah, musically enough.

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Speaker 1: We we had intended this to be two episodes, one

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Speaker 1: about what happens when you're making the movie and then

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Speaker 1: what happens afterward, And as it turns out, uh, there's

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Speaker 1: probably gonna be enough material to create many more of

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Speaker 1: these podcasts. So we're gonna just pick a couple topics

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Speaker 1: today and in post production, what happens after the movie

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Speaker 1: has been shot, and uh, you know, we'll get through

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Speaker 1: what we can get through and the rest of it

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Speaker 1: will shelve until later. Right, So future episodes might have

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Speaker 1: information such as creating soundtracks, doing special effects, um, and

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Speaker 1: actually just getting sound onto a film. We didn't even

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Speaker 1: touch that in the last one. We had totally intended to.

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Speaker 1: But thirty minutes went by so quickly. So let's look

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Speaker 1: at editing films and talk about the process and how

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Speaker 1: it started. Okay, so the earliest films were these static

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Speaker 1: one shot films, as you know, the essentially the camera

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Speaker 1: was was set running and then they captured stuff that

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Speaker 1: happened in front of the camera and that's what you

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Speaker 1: got to see. And we're talking like these are the

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Speaker 1: earliest earliest films back when the medium was brand new,

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Speaker 1: the technology was brand new, the industry was being born. Yeah,

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Speaker 1: there was there was no such thing as a movie

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Speaker 1: star at this point, where movie stars were things like

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Speaker 1: a train going by that kind of stuff. Because it

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Speaker 1: was really a proof of concept at this point. Uh,

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Speaker 1: And it took a big leap to get to the

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Speaker 1: point where we started to edit film. And by leap,

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Speaker 1: I don't mean just technology, because actually the technology, at

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Speaker 1: least the early technology of film editing, it was incredibly simple,

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Speaker 1: is essentially apparent scissors and some tape. What the leap

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Speaker 1: I'm talking about is a psychological leap. Now, it's hard

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Speaker 1: for us to imagine this now because we've all lived

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Speaker 1: in the era in which movies and television are everywhere.

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Speaker 1: But think back to imagine that you are in the age.

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Speaker 1: Actually you know what way back machine get in? Here

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Speaker 1: we go this next copyright all right, our time travel

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Speaker 1: machine patent pending. Let's see, we're just gonna set this

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Speaker 1: to the beginning of let's say, the twentieth century. Okay,

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Speaker 1: you're all right, and here we are beginning of the

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Speaker 1: twentieth century. Now we're talking about a time when entertainment

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Speaker 1: was essentially you would go to a you know, maybe

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Speaker 1: like a vaudeville theater and watch a live show. So

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Speaker 1: what you're used to seeing are actors coming out on

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Speaker 1: stage where you can see the actor. Uh, you watch

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Speaker 1: a sequence from beginning to end, and you get one

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Speaker 1: view and that's it. Right. You might change some scenery

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Speaker 1: between scenes, but other than that, you know, you're watching

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Speaker 1: a scene play in full no change of perspective. Film

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Speaker 1: gave you the opportunity to use multiple perspectives in one scene.

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Speaker 1: So you can have two people talking, but you could

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Speaker 1: have the camera focused on one character for part of

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Speaker 1: that scene and then take a totally different shot and

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Speaker 1: focus it on another character for the rest of that scene.

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Speaker 1: We see this all the time in any sequence that

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Speaker 1: has dialogue. Sure, so you might be like over the

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Speaker 1: shoulder of one character and you're looking at the face

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Speaker 1: of another, and then it switches views. Well, in the

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Speaker 1: earliest days of filmmaking, no one knew that that would

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Speaker 1: work because no one had done it before. No one

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Speaker 1: had thought, is the human brain capable of following a

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Speaker 1: sequence of events that are happening at different perspectives and

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Speaker 1: make that one narrative? And it turned out yes we can.

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Speaker 1: And once we were able to to establish the fact

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Speaker 1: that it doesn't really matter where you place the camera,

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Speaker 1: doesn't really matter where you make the cut as long

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Speaker 1: as continuity is preserved, uh, people will follow and and

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Speaker 1: go along with you, and they have no trouble thinking, oh, well,

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Speaker 1: this is a continuation of that scene. But before we

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Speaker 1: tried it, we didn't know. It might have been that

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Speaker 1: you would cut from one perspective to another, and the

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Speaker 1: whole audience go, what just happened? I don't understand anymore,

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Speaker 1: This doesn't make sense. I'm leaving, and I'm sure there

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Speaker 1: are people listening who are saying, no, that's not possible.

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Speaker 1: Of course it was going to work out like that,

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Speaker 1: but you don't know until you try. No, No, And

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Speaker 1: it's it's like science. You know, you have someone who

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Speaker 1: makes a discovery, the next generation of scientists sort of

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Speaker 1: take it for granted because it's been proven scientifically. So

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Speaker 1: now that we're at the point we are now these

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Speaker 1: things we could take for granted because we know for

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Speaker 1: a fact that they work, But we took the work

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Speaker 1: of the early filmmakers to discover that and and and

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Speaker 1: allow us to build on that at this point. Yeah,

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Speaker 1: I mean, and there was really no way of testing

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Speaker 1: it other than editing film. When you get down to it,

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Speaker 1: I mean, what were you gonna do. Put two actors

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Speaker 1: on the stage, have one of them facing upstage, one

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Speaker 1: facing downstage, deliver a line of dialogue, have them switch

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Speaker 1: places and do it again. Well, you know, today we

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Speaker 1: might use multiple camera angles, you know, with with several

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Speaker 1: different cameras from different perspectives and and have it all

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Speaker 1: done that way. But you know, back then it might

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Speaker 1: not have occurred to anybody to do that, or it

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Speaker 1: might have been too expensive for them to try. Right, So,

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Speaker 1: a lot of the early early films looked like they

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Speaker 1: were just film productions of it, like a stage show.

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Speaker 1: You know, the camera pretty much had a view as

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Speaker 1: if you were sitting in the audience watching a stage production.

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Speaker 1: So let's get to the point where they figure out, hey,

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Speaker 1: we can edit, we can actually take little bits, we

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Speaker 1: can cut out stuff we don't need, we can switch perspectives,

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Speaker 1: everything's all right. Actually, that that opened up a huge

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Speaker 1: world of possibilities in filmmaking. Because let's say that Chris

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Speaker 1: and I want to film a scene where the two

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Speaker 1: of us are having a discussion, and we have found

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Speaker 1: this amazing room to film the scene in, and we

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Speaker 1: want one of us to have a window to our

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Speaker 1: back where with a beautiful vista. Unfortunately, the room we

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Speaker 1: found it's amazing, but it has a terrible view. But

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Speaker 1: we found this other room that's terrible but as an

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Speaker 1: amazing view. Well, film editing, of course, allows us to

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Speaker 1: film one side of that conversation in one room and

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Speaker 1: the other side of the conversation in another room. It's

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Speaker 1: taking place in two totally different times, in two totally

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Speaker 1: different locations, edited together to make it look like a

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Speaker 1: single time and place. And again, this an amazing thing

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Speaker 1: about film editing that had not existed before. There was

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Speaker 1: no way of doing it. You had to have everyone

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Speaker 1: in the same place at the same time in order

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Speaker 1: to get something done. So how they do it well,

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Speaker 1: they shoot the film. They shoot as much film as

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Speaker 1: they need for as many takes as they need in

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Speaker 1: each location. And then they end up making a workprint

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Speaker 1: of the film so they're they're able to look at

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Speaker 1: it and beyond the negative. They still have the negative,

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Speaker 1: but they've made a workprint. An editor goes through and

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Speaker 1: views those scenes scene by scene, uh, and then physically

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Speaker 1: cuts up the film, physically tapes film together to create

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Speaker 1: a new print, which usually we call like an editor's

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Speaker 1: print or a rough cut. And then from that you

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Speaker 1: could look and say, all right, this is good, we

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Speaker 1: need to shave a few seconds off this scene, or uh,

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Speaker 1: this take is too long. That kind of stuff. It's

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Speaker 1: a lot easier to cut than it is to add.

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Speaker 1: That's one of the big problems with the old old

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Speaker 1: work version of film editing. Once you started cutting, you're

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Speaker 1: really committing yourself. You didn't have a lot of opportunity

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Speaker 1: to switch stuff out either. If you said, you know this,

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Speaker 1: this other take worked a lot better than the one

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Speaker 1: that you're using, it's a lot harder to switch that

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Speaker 1: out using the old old method of film editing. Yeah,

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Speaker 1: this is a really painstaking process, and you know, it

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Speaker 1: probably was a little easier for film editors than it

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Speaker 1: was for sound editors when you had to listen to

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Speaker 1: a thing and sort of guess where the tape was, uh,

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Speaker 1: when you would cut it, because you couldn't actually see it.

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Speaker 1: But yeah, I mean we're literally talking about somebody sitting

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Speaker 1: there at the board with a light you know, the

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Speaker 1: light table, you can actually see what's in each picture.

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Speaker 1: And then you know, take the the scissors or I

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Speaker 1: assume probably a razor blade something it cuts you know,

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Speaker 1: pretty precisely, and and splicing the two together. Yea, uh,

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Speaker 1: you know that that's that takes a lot of work.

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Speaker 1: It's it's painstaking and eventually um technology started to catch

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Speaker 1: up to this technique. That's you start seeing editing machines

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Speaker 1: like the Moviola Yeah. So Moviola is essentially like a

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Speaker 1: projector where it's a viewer to let you view what's

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Speaker 1: on each frame of film, so you can go through

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Speaker 1: and uh look at a print of film. And then

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Speaker 1: it also even has uh the the stuff there so

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Speaker 1: that you can cut the film where you want it

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Speaker 1: to be cut, uh, and then you would splice it

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Speaker 1: together and you can view it again. Um. They're really

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Speaker 1: loud machines. Old timey editors loved them. They swore by them,

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Speaker 1: saying that you know, you just you would, you would

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Speaker 1: craft a film, you would build it frame by frame.

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Speaker 1: And the editor was just as important part of the

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Speaker 1: picture as the director or producer, uh, because the editor

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Speaker 1: really helped shape what the movie became. The director would

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Speaker 1: do all the things about, you know, making sure people

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Speaker 1: were giving the performances. The director wanted that kind of stuff.

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Speaker 1: But the editor was the one who said, you know,

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Speaker 1: this take is the perfect reaction, but it's a reaction

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Speaker 1: to something that was said in this other take. So

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Speaker 1: I'm going to be the one to combine the two.

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Speaker 1: That's right. Don't forget the editor is important. Yeah, I

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Speaker 1: am constantly reminded of that fact. I put a sign

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Speaker 1: up in his cubicle, so he doesn't forget right. Yeah,

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Speaker 1: and whenever I do anything wrong, big red ink. So

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Speaker 1: that's that's the old style of film editing, you know,

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Speaker 1: the actual physical cutting of film, and some of that

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Speaker 1: still goes on today, depending upon how a particular film

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Speaker 1: company is doing a particular shoot. But a lot of

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Speaker 1: the editing that you see these days are a lot

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Speaker 1: of the editing that that movie studios are are using, uh,

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Speaker 1: involves digital editing, that's right. And um, you know, of

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Speaker 1: course this has been made possible by the the advent

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Speaker 1: of of the low cost machines that we have today.

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Speaker 1: Of course was Uh, it's a lot cheaper to do

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Speaker 1: now than it would have been even ten years ago. Um.

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Speaker 1: And a lot of videos are thoroughly invested in and

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Speaker 1: using the technology. Um. Of course, the using technology like

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Speaker 1: that to edit of a movie in post production goes

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Speaker 1: back even to preproduction, because I mean a lot of

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Speaker 1: In a lot of cases, they decide the the director

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Speaker 1: and producer, I guess, decide who they want to use beforehand,

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Speaker 1: go ahead and tell them I guess what they're going

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Speaker 1: to do, what they have in mind, and then you know,

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Speaker 1: once they've actually done all the shooting. Then they bring

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Speaker 1: the the material back to the studio and of course,

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Speaker 1: um that could be either film or you know, an

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Speaker 1: actual digital version of the uh, the movie as it exists,

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Speaker 1: you know, directly after it's been shot. Right. Yeah, you

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Speaker 1: can uh to do digital editing. There are several different

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Speaker 1: ways you can you can go about it. You can

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Speaker 1: either probably the easiest way is you're using a digital

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Speaker 1: camera to start with. Oh yeah, because then you don't

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Speaker 1: have to worry about any any kind of conversion. You

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Speaker 1: don't have to come in vert anything, you don't have

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Speaker 1: to scan anything. You you just port the data from

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Speaker 1: your camera over into the computer system and then you

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Speaker 1: can start editing. Uh porting talking about your capturing the video.

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Speaker 1: You're capturing it from the camera and putting it into

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Speaker 1: the computer. Uh. That process can take a while, depending

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Speaker 1: on how high resolution you were shooting and the connection

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Speaker 1: you're using between the camera and the computer. But but

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Speaker 1: it's still faster than converting film to digital. Now, to

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Speaker 1: convert film to digital, you've got a couple of different

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Speaker 1: uh options as well. You can use something called a

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Speaker 1: tell us any which it's sort of it's kind of

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Speaker 1: like a scanner in a in a sense, and some

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Speaker 1: scanners are called tell us aanys and vice versa. The

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Speaker 1: terms are somewhat interchangeable, although purists will tell you that

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Speaker 1: there is a distinct difference between the two. Uh. Tell

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Speaker 1: us any convert its film to video formats and UH.

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Speaker 1: You may have heard us refer before about the different

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Speaker 1: frame rates of film versus video, the twenty four frames

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Speaker 1: per second for film versus the thirty frames per second

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Speaker 1: for video that's in the US. I should point out

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Speaker 1: that's not that's not a global standard. Um. It's different

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Speaker 1: in different regions. It's a standard, but not the standard. Yet.

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Speaker 1: It's a standard in the United States and a few

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Speaker 1: other countries. UM. So at any rate, because twenty four

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Speaker 1: and thirty don't match up quite right, you have to

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Speaker 1: do some some trickery to get them to kind of

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Speaker 1: coincide more closely, and then that can introduce some jitter. Uh.

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Speaker 1: This is why if you watch a movie that's been

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Speaker 1: converted to video, Let's say you were watching an old

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Speaker 1: VHS tape or you were watching a movie broadcast on TV,

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Speaker 1: you might notice that it doesn't look quite the way

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Speaker 1: you remembered it looking when you saw it on the screen. UM.

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Speaker 1: And some of that's the conversion process. So uh, Now,

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Speaker 1: if you're using a scanner, some scanners they'll just scan

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Speaker 1: it in at the proper frames per second. Some telestening's

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Speaker 1: due too at this point, um, well, so that you

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Speaker 1: no longer have to worry about that. It's not it's

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Speaker 1: not an issue. And so you can digitally manipulate stuff

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Speaker 1: at the same frame rate as you would, um if

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Speaker 1: if you were just working on film right all the time.

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Speaker 1: So you've moved the film into the digital format. Um,

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Speaker 1: and now you have two options, two big options available

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Speaker 1: to you. You can either use the digital media to

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Speaker 1: assemble your movie in the order that you wanted in

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Speaker 1: like using choosing the takes, choosing you know, the transitions,

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Speaker 1: all that kind of stuff, and and uh and essentially

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Speaker 1: making a video checklist for the negative cutter. So what

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Speaker 1: what you would do is once you've put your movie together,

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Speaker 1: and again, the cool thing about digital is that it

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Speaker 1: makes it really easy to switch stuff out. So let's

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Speaker 1: say that you know, you have two different, very different

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Speaker 1: takes of the same scene and you want to see

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Speaker 1: how they both play out in the context of the

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Speaker 1: overall film. It's not that hard to lift it one

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Speaker 1: out and replace it with the other. If it's all digital,

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Speaker 1: it's really hard to do with film. Sure. For one thing,

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Speaker 1: you have to pay more money just to get more

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Speaker 1: film to do it. So you assembled your movie in

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Speaker 1: video format, you hand that to your negative cutter. Your

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Speaker 1: negative cutter goes back to the negative of the original

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Speaker 1: film you shot, and using the video as a guide,

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Speaker 1: assembles the movie. Right. So that's one way of doing

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Speaker 1: it that seems almost as painstaking as the original version.

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Speaker 1: The middle process is not as pain is not as

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Speaker 1: painstaking because it is easier to edit once or it's

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Speaker 1: easier to assemble the movie and the way you want

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Speaker 1: that part is easy easier anyway. Um, but yes, there

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Speaker 1: is still quite a bit of manual labor the you

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Speaker 1: have to do, oh yeah yeah, And it takes a

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Speaker 1: real skilled cutter to make sure that you get what

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Speaker 1: you captured in video, because you definitely don't want to

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Speaker 1: get to the point where you view the the negative version.

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Speaker 1: You know, when you've made a print and you you think, wait,

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Speaker 1: that doesn't follow what I made in the digital right,

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Speaker 1: So your other option, instead of using that as a guide,

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Speaker 1: you can actually print to film from your digital video,

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Speaker 1: and in that case what you do is you have

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Speaker 1: you have film coming in, you manipulate it however you

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Speaker 1: need to. You can do color correction. This this is

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Speaker 1: actually where you get the most freedom as an editor,

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Speaker 1: right you you digitize the film, print the original of

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Speaker 1: the film as it has been shot. You take the

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Speaker 1: material there on the computer and then print it to

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Speaker 1: film exactly so so that way you can do things

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Speaker 1: like color correction. You can do you can do some effects.

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Speaker 1: You can do lots of stuff that you could not

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Speaker 1: do if you were just assembling the movie, right because

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Speaker 1: I mean, if you're just assembling the movie and making

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Speaker 1: a checklist, it's not like you could insert a huge

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Speaker 1: special effect in the middle because you wouldn't have the film.

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Speaker 1: The negative cutter will be like, all right, that's awesome,

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Speaker 1: where is this? Well that's That's something that I think

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Speaker 1: it is worth pointing out to. You can do things

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Speaker 1: with color even when you're doing you know, a manual

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Speaker 1: film at it, but it takes a lot more work

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Speaker 1: because if you're going to do something like that, you

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Speaker 1: have to go in frame by frame, you know, certain

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Speaker 1: special effects and things that you want applied, and you've

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Speaker 1: got a lot more freedom to do that with the

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Speaker 1: digital process because you can add those things in the

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Speaker 1: computer that you you know, would have to go in

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Speaker 1: hand by hand to say, if you wanted to, uh,

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Speaker 1: like all the famous movies that have been that were

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Speaker 1: shot in black and white and we're later colorized for

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Speaker 1: TV and things. Um, you know that has to be done.

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Speaker 1: You know, if you're going to do that for film,

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Speaker 1: that would be a real paint in the neck to

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Speaker 1: go in and and actually paint the cells you know,

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Speaker 1: or that i should say, the frames one by one.

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Speaker 1: That would be a real real pain in the next

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Speaker 1: to do. And their entire companies that that's all they do. Yeah,

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Speaker 1: they take other people's films and then they do color correction.

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Speaker 1: I mean you'll see that in the credits of a

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Speaker 1: movie if you look for it, you might see that

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Speaker 1: there's color correction by such and such company. Um. But

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Speaker 1: if you use this, this digital intermediate process, you could,

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Speaker 1: if you have an editor skilled at this, could actually

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Speaker 1: have the editor do some color correction without ever having

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Speaker 1: to go to another company. Um. Chances are you probably

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Speaker 1: still would have to because if you're transferring back to film, uh,

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Speaker 1: then there's always the chance that just that transfer process

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Speaker 1: means that you need to do some clean up on

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Speaker 1: your print before you start making uh copies. Also, I

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Speaker 1: should have said there is one other option besides printing

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Speaker 1: the film. Oh yes, yeah, distributing digitally. Good point. You

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Speaker 1: don't have to go back to film at all. In fact,

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Speaker 1: if you did, you can either convert a film to

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Speaker 1: digital and keep it digital, or of course you could

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Speaker 1: use the digital camera and it's just digital the entire time. Uh.

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Speaker 1: And in either case you could distribute it digitally. Now

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Speaker 1: the we we talked about this a little bit in

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Speaker 1: the other podcast. It makes it a lot easier to

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Speaker 1: distribute the film. But on the flip side, there aren't

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Speaker 1: as many projectors that can run it, right. You have

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Speaker 1: to have the equipment on the at the theaters the side.

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Speaker 1: Otherwise it's sort of a moot point. Yeah, you could

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Speaker 1: send them a disk and then they said, this is nice.

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Speaker 1: We have nothing that can play this, yes, yeah, yeah.

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Speaker 1: If it's all the old style film projectors, then it

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Speaker 1: doesn't do you any good. So as technology catches up

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Speaker 1: in the cinemas, in the actual movie houses, uh, that

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Speaker 1: will become a bigger and bigger push. I think it's

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Speaker 1: just because of the ease of use. I mean, the

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Speaker 1: the easier it is, uh, the more likely people will

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Speaker 1: adopt it. Now they are those film purists who bemoan

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Speaker 1: this fact because they think that it doesn't have the

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Speaker 1: same sort of quality as the old films. And I

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Speaker 1: can see their point. I mean it there is there's

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Speaker 1: an argument to be made for both using the old

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Speaker 1: style film editing and the digital editing editing methods um

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Speaker 1: and it's two completely different philosophies and two completely different methodologies.

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Speaker 1: When you're doing the old film editing process, you had

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Speaker 1: to be O. C D really, because you had to

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Speaker 1: be able to keep track of miles of film, right,

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Speaker 1: and you're cutting film and you're gonna have to keep

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Speaker 1: track of all these different canisters of film until it's

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Speaker 1: all put together, and it just it took organizational skills

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Speaker 1: to a whole new level. I mean, you had to

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Speaker 1: be an amazing organizational genius really to be a great

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Speaker 1: film editor. Now a lot of that is done for

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Speaker 1: you with computers. That's that's one reason why they call

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Speaker 1: the digital process a non linear editing process, because you

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Speaker 1: can access any part of the movie at any time

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Speaker 1: digitally once you once you've converted into digital format, or

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Speaker 1: if you shot it digitally, then you already have it.

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Speaker 1: You can go to any part of that movie at

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Speaker 1: any time, and the computer essentially is keeping track of

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Speaker 1: everything for you. Now, there's not really a standard way

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Speaker 1: across all different editing suites that allows you to h

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Speaker 1: to organize your data in a in a standard format.

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Speaker 1: So if you were trained on one kind of film

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Speaker 1: editing software, you may actually have to learn a totally

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Speaker 1: different style if you if the company you work for

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Speaker 1: it switches, right, It's not like they all have the

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Speaker 1: exact same layout. So that's a downside. Um. I was

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Speaker 1: gonna talk also, just really quickly about the scanners. It's

401
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Speaker 1: also a time consuming process depending upon the equipment you have. Well,

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Speaker 1: if you wanted to be of any quality, yes, yes,

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Speaker 1: So uh let's talk about film quality. Here's another issue.

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Speaker 1: People talk about how film the quality of film may

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Speaker 1: be higher than digital, and that was probably true, especially

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Speaker 1: in the early days, but it's less true now. Um yeah,

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Speaker 1: I mean that that's a fairly recent development. I mean

408
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Speaker 1: just thinking about the quality of for example, consumer grade

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Speaker 1: uh digital still cameras. You know a lot of people

410
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Speaker 1: were unwilling to switch make the switch to a digital

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Speaker 1: still camera because they said, well, you know, it's just

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Speaker 1: not as good equality as my film camera. But you know,

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Speaker 1: today people take photos with their phones, the little cameras

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Speaker 1: that are built into their phones, and expect them to

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Speaker 1: be you know, good enough to print. Maybe not, you know, archival.

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Speaker 1: Maybe we'll be blowing it up to the size of

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Speaker 1: a building. But right, But you know, of course the

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Speaker 1: people who are in the movie studios have access to

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Speaker 1: a much wider range and much deeper range of equipment

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Speaker 1: than than you or I would have because they have

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Speaker 1: deeper pockets. But but yeah, I mean it's it's still

422
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Speaker 1: you know, only been in the last few years, a

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Speaker 1: couple of decades, right, And and Chris sent me a

424
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Speaker 1: really good article from Editors Guild magazine. It was called

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Speaker 1: Digital Intermediate for Film. And in that article, uh, it's

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Speaker 1: discussed about the resolution of film versus the resolution of digital.

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Speaker 1: So when you scan a movie in are you losing resolution?

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Speaker 1: And depending on the scanner you're using, yeah, you you

429
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Speaker 1: do lose some resolution. And uh, and also the higher

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Speaker 1: resolution you're scanning to the high resolution you're converting into digital,

431
00:23:27,840 --> 00:23:33,280
Speaker 1: the more information that the more data that that requires. Right,

432
00:23:33,480 --> 00:23:36,040
Speaker 1: So if you're scanning a film and you wanted to

433
00:23:36,040 --> 00:23:38,960
Speaker 1: be as true as possible to the original film. That's

434
00:23:39,000 --> 00:23:42,439
Speaker 1: gonna result in an enormous file and it's gonna and

435
00:23:42,720 --> 00:23:44,720
Speaker 1: that also means it's gonna take more time just to

436
00:23:44,760 --> 00:23:49,160
Speaker 1: capture the film. So the example that Editors Guild magazine

437
00:23:49,160 --> 00:23:54,000
Speaker 1: makes was that right now, the the what they call

438
00:23:54,040 --> 00:23:57,679
Speaker 1: the gold standard for resolution and digital film is four K,

439
00:23:58,760 --> 00:24:02,600
Speaker 1: which is uh four thousand ninety pixels horizontally by three

440
00:24:02,600 --> 00:24:07,360
Speaker 1: thousand pixels vertically, and there there are actual digital cameras

441
00:24:07,359 --> 00:24:11,720
Speaker 1: out there that can capture video at that resolution. At

442
00:24:11,720 --> 00:24:15,520
Speaker 1: the four K resolution, Now, some purists will argue that

443
00:24:15,640 --> 00:24:19,800
Speaker 1: film itself really ultimately could be up to six K

444
00:24:20,080 --> 00:24:25,360
Speaker 1: in resolution. However, that we're talking about that as a

445
00:24:25,480 --> 00:24:29,840
Speaker 1: perfect negative. A perfect negative could be at six K resolution.

446
00:24:29,920 --> 00:24:34,240
Speaker 1: Once you convert that negative into a workprint, you lose resolution,

447
00:24:34,320 --> 00:24:37,000
Speaker 1: and once you start copying from the workprint to make

448
00:24:37,040 --> 00:24:40,160
Speaker 1: your prints a film that you distribute, you lose even more.

449
00:24:40,200 --> 00:24:41,919
Speaker 1: So by the time you will see a film on

450
00:24:41,960 --> 00:24:45,360
Speaker 1: the screen, it may be closer to two K than

451
00:24:45,480 --> 00:24:49,880
Speaker 1: six K just through the whole process. So, while film

452
00:24:49,920 --> 00:24:54,280
Speaker 1: at its ideal is a higher resolution than most digital video,

453
00:24:55,720 --> 00:24:59,840
Speaker 1: you don't see the ideal, so it doesn't really matter. Okay, no,

454
00:25:00,040 --> 00:25:04,159
Speaker 1: that makes sense. So when you're scanning the film, you

455
00:25:04,200 --> 00:25:06,640
Speaker 1: have to choose what resolution you want to scan it at.

456
00:25:06,920 --> 00:25:09,240
Speaker 1: And if you're scanning, the higher resolution you you use,

457
00:25:09,320 --> 00:25:11,040
Speaker 1: the more information is going to require, the more time

458
00:25:11,040 --> 00:25:14,240
Speaker 1: it's going to require to scan. Until recently, that meant

459
00:25:14,240 --> 00:25:18,960
Speaker 1: that it could take weeks to scan uh film. For

460
00:25:19,200 --> 00:25:21,840
Speaker 1: let's say a feature link film, it could take weeks

461
00:25:21,880 --> 00:25:25,879
Speaker 1: to scan all that film into four K quality. It's

462
00:25:25,920 --> 00:25:28,000
Speaker 1: gotten to the point now where there are some companies

463
00:25:28,000 --> 00:25:30,600
Speaker 1: that have scanners that can if you're if you're scanning

464
00:25:30,600 --> 00:25:33,560
Speaker 1: it at two K, which remember that's the resolution that

465
00:25:33,680 --> 00:25:37,399
Speaker 1: most feature films appear in, and once you get to

466
00:25:37,400 --> 00:25:40,159
Speaker 1: the theater, if you're scanning in at two K, you

467
00:25:40,160 --> 00:25:42,080
Speaker 1: can do it in real time. So at thirty frames

468
00:25:42,119 --> 00:25:46,800
Speaker 1: per second, it's not a problem. Uh. If you want

469
00:25:46,800 --> 00:25:48,520
Speaker 1: to do four K, it tends to be a little slower,

470
00:25:48,600 --> 00:25:51,800
Speaker 1: usually between eight and sixteen second eighteen and sixteen frames

471
00:25:51,800 --> 00:25:54,800
Speaker 1: per second, so you're scanning it in at a slower

472
00:25:54,840 --> 00:25:59,400
Speaker 1: speed than you would be playing the movie. However, at

473
00:25:59,440 --> 00:26:05,879
Speaker 1: least that's improve somewhat, So that's the editing process in general.

474
00:26:05,880 --> 00:26:07,920
Speaker 1: I guess we could actually talk about what you're doing

475
00:26:07,920 --> 00:26:12,440
Speaker 1: when you're digitally editing films, right You're you're cutting and pasting,

476
00:26:12,520 --> 00:26:15,280
Speaker 1: but you're cutting and pasting pixels instead of uh, instead

477
00:26:15,280 --> 00:26:18,960
Speaker 1: of film actual film frames. That's true. Actually, the consumer

478
00:26:19,040 --> 00:26:23,240
Speaker 1: level video editing programs that you might see as part

479
00:26:23,280 --> 00:26:26,880
Speaker 1: of UM, you know, just your your standard I want

480
00:26:26,920 --> 00:26:31,000
Speaker 1: to make a DVD to send to my grandparents type

481
00:26:31,000 --> 00:26:33,760
Speaker 1: of programs, sort of like I movie for example, for

482
00:26:34,200 --> 00:26:37,360
Speaker 1: UH for Macintosh, UM, I know there are several for

483
00:26:37,359 --> 00:26:39,720
Speaker 1: for Windows that that do essentially the same thing. These are,

484
00:26:40,040 --> 00:26:43,280
Speaker 1: you know, fairly inexpensive pieces of software, and you might

485
00:26:43,359 --> 00:26:47,840
Speaker 1: think that they're very dissimilar to high level programs. I'm

486
00:26:47,880 --> 00:26:51,160
Speaker 1: sure professional editors would probably say they're completely different. UM.

487
00:26:51,200 --> 00:26:53,960
Speaker 1: But essentially the screen that that you look at when

488
00:26:53,960 --> 00:26:56,320
Speaker 1: you're using these these programs, if you've seen any of these,

489
00:26:56,560 --> 00:26:58,520
Speaker 1: they're they're really not all that dits similar. You have

490
00:26:58,560 --> 00:27:02,320
Speaker 1: a video editing window where you can actually see where

491
00:27:02,359 --> 00:27:05,040
Speaker 1: you are. It's like you would be, you know, looking

492
00:27:05,040 --> 00:27:07,840
Speaker 1: at a particular frame of film, and then you have

493
00:27:08,119 --> 00:27:11,440
Speaker 1: a timeline and you can take different pieces of video

494
00:27:11,520 --> 00:27:14,840
Speaker 1: and drop them into the timeline to create at one

495
00:27:14,920 --> 00:27:19,640
Speaker 1: long video segment. UM. And that's essentially what the video

496
00:27:19,720 --> 00:27:24,240
Speaker 1: editor is is doing with that software now, um or

497
00:27:24,280 --> 00:27:27,080
Speaker 1: the movie editor, I should say, The thing is, um,

498
00:27:27,119 --> 00:27:30,960
Speaker 1: you know, of course the professional level packages have lots

499
00:27:31,000 --> 00:27:33,479
Speaker 1: more capability. Yeah, there are a lot more features. So

500
00:27:33,600 --> 00:27:36,000
Speaker 1: essentially the stuff that you get on your home computer,

501
00:27:36,680 --> 00:27:39,320
Speaker 1: it's really the same sort of program that the professionals

502
00:27:39,320 --> 00:27:42,160
Speaker 1: are using. It's just a dumbed down version, yeah, because

503
00:27:42,160 --> 00:27:45,080
Speaker 1: most people don't simply don't need all of the the

504
00:27:45,520 --> 00:27:48,760
Speaker 1: special effects and the ability to uh do a lot

505
00:27:48,760 --> 00:27:51,240
Speaker 1: of color correction. UM. It's sort of like the difference

506
00:27:51,240 --> 00:27:53,680
Speaker 1: in if you will photoshop elements versus the full version

507
00:27:53,680 --> 00:27:57,280
Speaker 1: of Photoshop. It's just it's got far fewer features. Uh.

508
00:27:57,320 --> 00:28:00,359
Speaker 1: As a result, it's more affordable to the average can sumer.

509
00:28:00,800 --> 00:28:02,800
Speaker 1: But you know, if it's something that you're considering, if

510
00:28:02,840 --> 00:28:05,240
Speaker 1: you if this sounds interesting to you as a career,

511
00:28:05,640 --> 00:28:09,760
Speaker 1: if you'd like to get into professional motion picture editing, UM,

512
00:28:09,800 --> 00:28:12,800
Speaker 1: you know, you'd certainly get a feel of for what

513
00:28:12,840 --> 00:28:15,480
Speaker 1: it's like using some of these uh, you know, more

514
00:28:15,520 --> 00:28:19,080
Speaker 1: simple programs, and then you know you can perhaps invest

515
00:28:19,119 --> 00:28:22,000
Speaker 1: in some education and try out some of the more

516
00:28:22,160 --> 00:28:25,880
Speaker 1: intense programs. I would recommend getting lots of hard drive

517
00:28:25,920 --> 00:28:30,480
Speaker 1: space and a much more powerful processor. Right. You can

518
00:28:30,520 --> 00:28:34,879
Speaker 1: never have too much RAM or processing capability or or

519
00:28:34,960 --> 00:28:37,280
Speaker 1: hard drive space when you're doing this kind of work. Yep.

520
00:28:37,400 --> 00:28:40,400
Speaker 1: And then you'll just go through the whole process of

521
00:28:40,440 --> 00:28:43,800
Speaker 1: capturing the video from your from your recording device, whatever

522
00:28:43,880 --> 00:28:48,320
Speaker 1: camera you're using, the editing process, and then rendering once

523
00:28:48,320 --> 00:28:50,800
Speaker 1: you're done, and then you can go your Then you

524
00:28:50,920 --> 00:28:53,320
Speaker 1: got your movie. We just simplified a whole bunch of

525
00:28:53,320 --> 00:28:55,960
Speaker 1: the projects. Rendering is easy. It takes no time at all.

526
00:28:56,800 --> 00:29:01,280
Speaker 1: I expect Tyler to run in here any seconds, guys. Yeah, no, No.

527
00:29:01,440 --> 00:29:03,920
Speaker 1: Rendering is what we call. That's the time when we

528
00:29:03,960 --> 00:29:07,840
Speaker 1: walk into the video department and people are playing video

529
00:29:07,880 --> 00:29:11,440
Speaker 1: games or reading books or throwing things at each other.

530
00:29:11,680 --> 00:29:14,120
Speaker 1: They just turned to you and say we're rendering right now,

531
00:29:14,200 --> 00:29:15,720
Speaker 1: and you accept it and you walk out of the

532
00:29:15,800 --> 00:29:20,040
Speaker 1: room like it's okay. Yes. I tried that in my desk.

533
00:29:20,120 --> 00:29:22,840
Speaker 1: I said I'm writing right now, and that did not

534
00:29:22,920 --> 00:29:27,120
Speaker 1: work at all. I can't imagine why. Well that that

535
00:29:27,200 --> 00:29:30,360
Speaker 1: drives up a really good discussion about a video video

536
00:29:30,440 --> 00:29:33,840
Speaker 1: movie editing. UM and again we've there's so much more

537
00:29:33,920 --> 00:29:36,280
Speaker 1: to come to talk about, so we're going to put

538
00:29:36,280 --> 00:29:38,280
Speaker 1: this research to good use, right right, Well, at some

539
00:29:38,320 --> 00:29:41,120
Speaker 1: point we'll have plenty more episodes in the future, but

540
00:29:41,200 --> 00:29:42,719
Speaker 1: like we said, we'll give you guys a break so

541
00:29:42,720 --> 00:29:45,320
Speaker 1: that you don't have to get overwhelmed by a by

542
00:29:45,400 --> 00:29:48,880
Speaker 1: movie stuff too quickly. But if there's a specific topic

543
00:29:48,920 --> 00:29:51,040
Speaker 1: you want us to talk about about movies, obviously we've

544
00:29:51,080 --> 00:29:53,600
Speaker 1: talked about how we're going to discuss sound at some

545
00:29:53,640 --> 00:29:56,000
Speaker 1: point and how they do that. Um, but yeah, I

546
00:29:56,000 --> 00:29:58,920
Speaker 1: mean anything else, and maybe eventually we will do an

547
00:29:58,920 --> 00:30:02,960
Speaker 1: episode just on the Red one. Yeah, you know, I'd

548
00:30:03,000 --> 00:30:06,680
Speaker 1: really like to just because it's uh, you know, apparently

549
00:30:06,800 --> 00:30:10,280
Speaker 1: uh the hot camera right now in the market. Yeah.

550
00:30:10,760 --> 00:30:12,960
Speaker 1: So yeah, if you have any of those questions you

551
00:30:13,000 --> 00:30:16,480
Speaker 1: want to hear something specific about movie making or just

552
00:30:16,640 --> 00:30:19,600
Speaker 1: technology in general, you can write us. Our email address

553
00:30:19,760 --> 00:30:22,760
Speaker 1: is tech Stuff at how stuff works dot com and

554
00:30:22,840 --> 00:30:25,160
Speaker 1: Chris and I will talk to you again really soon

555
00:30:29,240 --> 00:30:31,080
Speaker 1: if you're a tech stuff and be sure to check

556
00:30:31,160 --> 00:30:34,960
Speaker 1: us out on Twitter text Stuff hs wsr handle, and

557
00:30:35,000 --> 00:30:37,640
Speaker 1: you can also find us on Facebook at Facebook dot

558
00:30:37,680 --> 00:30:41,960
Speaker 1: com slash tech Stuff h s W for Mora on

559
00:30:42,000 --> 00:30:44,480
Speaker 1: this and thousands of other topics because it how stuff

560
00:30:44,520 --> 00:30:46,720
Speaker 1: Works dot com, and be sure to check out the

561
00:30:46,720 --> 00:30:50,240
Speaker 1: new tech stuff blog now on the How Stuff Works homepage,

562
00:30:54,480 --> 00:30:57,080
Speaker 1: brought to you by the reinvented two thousand twelve camera.

563
00:30:57,360 --> 00:30:58,600
Speaker 1: It's ready, are you