WEBVTT - The Tech of Making Movies, Part Two 0:00:00.320 --> 0:00:02.880 Brought to you by the reinvented two thousand twelve camera. 0:00:03.240 --> 0:00:09.000 It's ready. Are you get in touch with technology with 0:00:09.039 --> 0:00:18.400 tech Stuff from how stuff works dot com. Hello again, everyone, 0:00:18.440 --> 0:00:20.680 Welcome to tech stuff. My name is Chris Poulette and 0:00:20.720 --> 0:00:22.920 I am an editor at how stuff works dot com. 0:00:22.920 --> 0:00:25.640 Sitting across from me as he always does, his senior writer, 0:00:25.720 --> 0:00:29.280 Jonathan Strickland, Life's like a movie. Write your own ending. 0:00:30.320 --> 0:00:31.880 I'm sorry, do you do you have a frog in 0:00:31.920 --> 0:00:36.120 your throat? A little bit? Um. So this is part 0:00:36.200 --> 0:00:40.440 two of our movie making podcast series, and we're gonna 0:00:40.479 --> 0:00:44.120 be doing a few more episodes about making movies in 0:00:44.120 --> 0:00:48.320 the future, although they'll probably be some buffer episodes between 0:00:49.159 --> 0:00:52.400 this and they because we don't want to just turn 0:00:52.479 --> 0:00:55.920 into the movie making podcast. But but it turns out 0:00:55.920 --> 0:00:59.560 there's a lot of tech behind making movies. Yeah, musically enough. 0:00:59.640 --> 0:01:02.360 We we had intended this to be two episodes, one 0:01:02.400 --> 0:01:04.600 about what happens when you're making the movie and then 0:01:04.600 --> 0:01:08.160 what happens afterward, And as it turns out, uh, there's 0:01:08.160 --> 0:01:11.800 probably gonna be enough material to create many more of 0:01:11.840 --> 0:01:14.640 these podcasts. So we're gonna just pick a couple topics 0:01:14.680 --> 0:01:18.040 today and in post production, what happens after the movie 0:01:18.080 --> 0:01:20.720 has been shot, and uh, you know, we'll get through 0:01:20.720 --> 0:01:22.280 what we can get through and the rest of it 0:01:22.319 --> 0:01:25.319 will shelve until later. Right, So future episodes might have 0:01:25.480 --> 0:01:31.000 information such as creating soundtracks, doing special effects, um, and 0:01:31.360 --> 0:01:35.119 actually just getting sound onto a film. We didn't even 0:01:35.160 --> 0:01:37.440 touch that in the last one. We had totally intended to. 0:01:37.560 --> 0:01:40.760 But thirty minutes went by so quickly. So let's look 0:01:40.800 --> 0:01:45.240 at editing films and talk about the process and how 0:01:45.280 --> 0:01:49.640 it started. Okay, so the earliest films were these static 0:01:50.120 --> 0:01:54.400 one shot films, as you know, the essentially the camera 0:01:54.560 --> 0:01:58.080 was was set running and then they captured stuff that 0:01:58.120 --> 0:01:59.800 happened in front of the camera and that's what you 0:01:59.840 --> 0:02:02.000 got to see. And we're talking like these are the 0:02:02.040 --> 0:02:05.160 earliest earliest films back when the medium was brand new, 0:02:05.400 --> 0:02:09.120 the technology was brand new, the industry was being born. Yeah, 0:02:09.280 --> 0:02:10.880 there was there was no such thing as a movie 0:02:10.880 --> 0:02:12.920 star at this point, where movie stars were things like 0:02:13.080 --> 0:02:16.280 a train going by that kind of stuff. Because it 0:02:16.320 --> 0:02:19.320 was really a proof of concept at this point. Uh, 0:02:19.400 --> 0:02:22.160 And it took a big leap to get to the 0:02:22.200 --> 0:02:26.119 point where we started to edit film. And by leap, 0:02:26.160 --> 0:02:28.800 I don't mean just technology, because actually the technology, at 0:02:28.840 --> 0:02:32.320 least the early technology of film editing, it was incredibly simple, 0:02:32.480 --> 0:02:36.239 is essentially apparent scissors and some tape. What the leap 0:02:36.280 --> 0:02:40.720 I'm talking about is a psychological leap. Now, it's hard 0:02:40.720 --> 0:02:42.840 for us to imagine this now because we've all lived 0:02:42.840 --> 0:02:46.200 in the era in which movies and television are everywhere. 0:02:47.160 --> 0:02:50.520 But think back to imagine that you are in the age. 0:02:50.520 --> 0:02:54.560 Actually you know what way back machine get in? Here 0:02:54.560 --> 0:02:58.360 we go this next copyright all right, our time travel 0:02:58.480 --> 0:03:02.440 machine patent pending. Let's see, we're just gonna set this 0:03:02.560 --> 0:03:08.640 to the beginning of let's say, the twentieth century. Okay, 0:03:11.280 --> 0:03:13.760 you're all right, and here we are beginning of the 0:03:13.760 --> 0:03:19.320 twentieth century. Now we're talking about a time when entertainment 0:03:19.360 --> 0:03:22.720 was essentially you would go to a you know, maybe 0:03:22.720 --> 0:03:25.799 like a vaudeville theater and watch a live show. So 0:03:25.840 --> 0:03:29.000 what you're used to seeing are actors coming out on 0:03:29.040 --> 0:03:31.560 stage where you can see the actor. Uh, you watch 0:03:31.720 --> 0:03:34.600 a sequence from beginning to end, and you get one 0:03:34.680 --> 0:03:37.640 view and that's it. Right. You might change some scenery 0:03:37.680 --> 0:03:40.840 between scenes, but other than that, you know, you're watching 0:03:40.920 --> 0:03:45.360 a scene play in full no change of perspective. Film 0:03:45.440 --> 0:03:50.040 gave you the opportunity to use multiple perspectives in one scene. 0:03:50.360 --> 0:03:52.440 So you can have two people talking, but you could 0:03:52.520 --> 0:03:55.000 have the camera focused on one character for part of 0:03:55.040 --> 0:03:57.920 that scene and then take a totally different shot and 0:03:57.960 --> 0:04:01.000 focus it on another character for the rest of that scene. 0:04:01.040 --> 0:04:03.040 We see this all the time in any sequence that 0:04:03.040 --> 0:04:06.160 has dialogue. Sure, so you might be like over the 0:04:06.200 --> 0:04:08.240 shoulder of one character and you're looking at the face 0:04:08.280 --> 0:04:11.040 of another, and then it switches views. Well, in the 0:04:11.040 --> 0:04:13.640 earliest days of filmmaking, no one knew that that would 0:04:13.640 --> 0:04:16.320 work because no one had done it before. No one 0:04:16.360 --> 0:04:20.120 had thought, is the human brain capable of following a 0:04:20.200 --> 0:04:24.640 sequence of events that are happening at different perspectives and 0:04:24.680 --> 0:04:28.640 make that one narrative? And it turned out yes we can. 0:04:28.920 --> 0:04:31.680 And once we were able to to establish the fact 0:04:31.680 --> 0:04:34.119 that it doesn't really matter where you place the camera, 0:04:34.200 --> 0:04:36.679 doesn't really matter where you make the cut as long 0:04:36.760 --> 0:04:40.720 as continuity is preserved, uh, people will follow and and 0:04:40.760 --> 0:04:45.360 go along with you, and they have no trouble thinking, oh, well, 0:04:45.360 --> 0:04:48.600 this is a continuation of that scene. But before we 0:04:48.640 --> 0:04:50.200 tried it, we didn't know. It might have been that 0:04:50.240 --> 0:04:52.120 you would cut from one perspective to another, and the 0:04:52.120 --> 0:04:55.080 whole audience go, what just happened? I don't understand anymore, 0:04:55.160 --> 0:04:58.400 This doesn't make sense. I'm leaving, and I'm sure there 0:04:58.400 --> 0:05:01.120 are people listening who are saying, no, that's not possible. 0:05:01.120 --> 0:05:02.840 Of course it was going to work out like that, 0:05:02.880 --> 0:05:05.600 but you don't know until you try. No, No, And 0:05:05.839 --> 0:05:08.200 it's it's like science. You know, you have someone who 0:05:08.240 --> 0:05:11.200 makes a discovery, the next generation of scientists sort of 0:05:11.240 --> 0:05:14.279 take it for granted because it's been proven scientifically. So 0:05:14.480 --> 0:05:16.440 now that we're at the point we are now these 0:05:16.480 --> 0:05:18.599 things we could take for granted because we know for 0:05:18.640 --> 0:05:20.360 a fact that they work, But we took the work 0:05:20.360 --> 0:05:24.039 of the early filmmakers to discover that and and and 0:05:24.279 --> 0:05:26.599 allow us to build on that at this point. Yeah, 0:05:26.640 --> 0:05:28.520 I mean, and there was really no way of testing 0:05:28.520 --> 0:05:30.640 it other than editing film. When you get down to it, 0:05:30.680 --> 0:05:32.200 I mean, what were you gonna do. Put two actors 0:05:32.240 --> 0:05:34.560 on the stage, have one of them facing upstage, one 0:05:34.560 --> 0:05:38.000 facing downstage, deliver a line of dialogue, have them switch 0:05:38.080 --> 0:05:41.719 places and do it again. Well, you know, today we 0:05:41.839 --> 0:05:45.039 might use multiple camera angles, you know, with with several 0:05:45.040 --> 0:05:48.320 different cameras from different perspectives and and have it all 0:05:48.360 --> 0:05:51.520 done that way. But you know, back then it might 0:05:51.520 --> 0:05:53.160 not have occurred to anybody to do that, or it 0:05:53.240 --> 0:05:55.440 might have been too expensive for them to try. Right, So, 0:05:55.480 --> 0:05:58.000 a lot of the early early films looked like they 0:05:58.000 --> 0:06:00.359 were just film productions of it, like a stage show. 0:06:00.800 --> 0:06:03.120 You know, the camera pretty much had a view as 0:06:03.160 --> 0:06:06.120 if you were sitting in the audience watching a stage production. 0:06:06.440 --> 0:06:09.080 So let's get to the point where they figure out, hey, 0:06:09.120 --> 0:06:12.479 we can edit, we can actually take little bits, we 0:06:12.480 --> 0:06:15.279 can cut out stuff we don't need, we can switch perspectives, 0:06:15.279 --> 0:06:17.839 everything's all right. Actually, that that opened up a huge 0:06:17.920 --> 0:06:21.839 world of possibilities in filmmaking. Because let's say that Chris 0:06:21.839 --> 0:06:23.760 and I want to film a scene where the two 0:06:23.839 --> 0:06:27.120 of us are having a discussion, and we have found 0:06:27.120 --> 0:06:30.039 this amazing room to film the scene in, and we 0:06:30.080 --> 0:06:33.320 want one of us to have a window to our 0:06:33.360 --> 0:06:37.200 back where with a beautiful vista. Unfortunately, the room we 0:06:37.320 --> 0:06:40.120 found it's amazing, but it has a terrible view. But 0:06:40.160 --> 0:06:42.320 we found this other room that's terrible but as an 0:06:42.360 --> 0:06:45.400 amazing view. Well, film editing, of course, allows us to 0:06:45.560 --> 0:06:48.359 film one side of that conversation in one room and 0:06:48.400 --> 0:06:50.479 the other side of the conversation in another room. It's 0:06:50.520 --> 0:06:53.880 taking place in two totally different times, in two totally 0:06:53.880 --> 0:06:56.960 different locations, edited together to make it look like a 0:06:57.040 --> 0:07:01.000 single time and place. And again, this an amazing thing 0:07:01.040 --> 0:07:04.160 about film editing that had not existed before. There was 0:07:04.200 --> 0:07:05.960 no way of doing it. You had to have everyone 0:07:06.000 --> 0:07:07.760 in the same place at the same time in order 0:07:07.760 --> 0:07:11.560 to get something done. So how they do it well, 0:07:11.640 --> 0:07:14.840 they shoot the film. They shoot as much film as 0:07:14.880 --> 0:07:17.160 they need for as many takes as they need in 0:07:17.320 --> 0:07:22.440 each location. And then they end up making a workprint 0:07:22.560 --> 0:07:25.000 of the film so they're they're able to look at 0:07:25.000 --> 0:07:27.200 it and beyond the negative. They still have the negative, 0:07:27.200 --> 0:07:30.800 but they've made a workprint. An editor goes through and 0:07:30.920 --> 0:07:35.840 views those scenes scene by scene, uh, and then physically 0:07:36.320 --> 0:07:41.000 cuts up the film, physically tapes film together to create 0:07:41.040 --> 0:07:44.360 a new print, which usually we call like an editor's 0:07:44.360 --> 0:07:47.680 print or a rough cut. And then from that you 0:07:47.720 --> 0:07:49.640 could look and say, all right, this is good, we 0:07:49.640 --> 0:07:52.600 need to shave a few seconds off this scene, or uh, 0:07:52.720 --> 0:07:55.280 this take is too long. That kind of stuff. It's 0:07:55.280 --> 0:07:57.000 a lot easier to cut than it is to add. 0:07:57.640 --> 0:07:59.600 That's one of the big problems with the old old 0:07:59.640 --> 0:08:02.720 work version of film editing. Once you started cutting, you're 0:08:02.760 --> 0:08:06.880 really committing yourself. You didn't have a lot of opportunity 0:08:06.960 --> 0:08:09.520 to switch stuff out either. If you said, you know this, 0:08:09.520 --> 0:08:11.560 this other take worked a lot better than the one 0:08:11.560 --> 0:08:13.600 that you're using, it's a lot harder to switch that 0:08:13.640 --> 0:08:17.440 out using the old old method of film editing. Yeah, 0:08:17.640 --> 0:08:20.800 this is a really painstaking process, and you know, it 0:08:21.240 --> 0:08:23.960 probably was a little easier for film editors than it 0:08:24.040 --> 0:08:26.880 was for sound editors when you had to listen to 0:08:26.920 --> 0:08:29.880 a thing and sort of guess where the tape was, uh, 0:08:30.200 --> 0:08:32.360 when you would cut it, because you couldn't actually see it. 0:08:32.559 --> 0:08:35.440 But yeah, I mean we're literally talking about somebody sitting 0:08:35.440 --> 0:08:37.320 there at the board with a light you know, the 0:08:37.640 --> 0:08:40.480 light table, you can actually see what's in each picture. 0:08:40.520 --> 0:08:43.240 And then you know, take the the scissors or I 0:08:43.480 --> 0:08:45.800 assume probably a razor blade something it cuts you know, 0:08:46.000 --> 0:08:50.640 pretty precisely, and and splicing the two together. Yea, uh, 0:08:50.800 --> 0:08:52.640 you know that that's that takes a lot of work. 0:08:52.679 --> 0:08:57.360 It's it's painstaking and eventually um technology started to catch 0:08:57.440 --> 0:09:01.760 up to this technique. That's you start seeing editing machines 0:09:01.840 --> 0:09:05.280 like the Moviola Yeah. So Moviola is essentially like a 0:09:05.280 --> 0:09:08.760 projector where it's a viewer to let you view what's 0:09:08.800 --> 0:09:10.920 on each frame of film, so you can go through 0:09:11.040 --> 0:09:14.920 and uh look at a print of film. And then 0:09:14.960 --> 0:09:19.040 it also even has uh the the stuff there so 0:09:19.120 --> 0:09:21.040 that you can cut the film where you want it 0:09:21.080 --> 0:09:24.120 to be cut, uh, and then you would splice it 0:09:24.160 --> 0:09:26.760 together and you can view it again. Um. They're really 0:09:26.840 --> 0:09:31.520 loud machines. Old timey editors loved them. They swore by them, 0:09:31.559 --> 0:09:33.280 saying that you know, you just you would, you would 0:09:33.360 --> 0:09:36.840 craft a film, you would build it frame by frame. 0:09:37.320 --> 0:09:40.000 And the editor was just as important part of the 0:09:40.000 --> 0:09:44.240 picture as the director or producer, uh, because the editor 0:09:44.320 --> 0:09:48.080 really helped shape what the movie became. The director would 0:09:48.120 --> 0:09:50.400 do all the things about, you know, making sure people 0:09:50.400 --> 0:09:53.520 were giving the performances. The director wanted that kind of stuff. 0:09:53.840 --> 0:09:55.640 But the editor was the one who said, you know, 0:09:55.920 --> 0:09:59.560 this take is the perfect reaction, but it's a reaction 0:09:59.640 --> 0:10:01.960 to something that was said in this other take. So 0:10:02.040 --> 0:10:04.000 I'm going to be the one to combine the two. 0:10:04.760 --> 0:10:08.760 That's right. Don't forget the editor is important. Yeah, I 0:10:09.400 --> 0:10:12.920 am constantly reminded of that fact. I put a sign 0:10:13.000 --> 0:10:15.600 up in his cubicle, so he doesn't forget right. Yeah, 0:10:16.160 --> 0:10:19.880 and whenever I do anything wrong, big red ink. So 0:10:21.520 --> 0:10:24.040 that's that's the old style of film editing, you know, 0:10:24.080 --> 0:10:27.000 the actual physical cutting of film, and some of that 0:10:27.080 --> 0:10:31.679 still goes on today, depending upon how a particular film 0:10:31.720 --> 0:10:36.400 company is doing a particular shoot. But a lot of 0:10:36.400 --> 0:10:38.439 the editing that you see these days are a lot 0:10:38.440 --> 0:10:41.760 of the editing that that movie studios are are using, uh, 0:10:42.000 --> 0:10:45.640 involves digital editing, that's right. And um, you know, of 0:10:45.679 --> 0:10:48.640 course this has been made possible by the the advent 0:10:48.760 --> 0:10:52.120 of of the low cost machines that we have today. 0:10:52.160 --> 0:10:55.080 Of course was Uh, it's a lot cheaper to do 0:10:55.160 --> 0:10:59.240 now than it would have been even ten years ago. Um. 0:10:59.280 --> 0:11:02.200 And a lot of videos are thoroughly invested in and 0:11:02.280 --> 0:11:07.560 using the technology. Um. Of course, the using technology like 0:11:07.600 --> 0:11:11.200 that to edit of a movie in post production goes 0:11:11.240 --> 0:11:14.160 back even to preproduction, because I mean a lot of 0:11:14.240 --> 0:11:18.040 In a lot of cases, they decide the the director 0:11:18.080 --> 0:11:21.319 and producer, I guess, decide who they want to use beforehand, 0:11:22.080 --> 0:11:23.600 go ahead and tell them I guess what they're going 0:11:23.640 --> 0:11:25.920 to do, what they have in mind, and then you know, 0:11:25.960 --> 0:11:28.520 once they've actually done all the shooting. Then they bring 0:11:28.920 --> 0:11:33.240 the the material back to the studio and of course, 0:11:33.760 --> 0:11:37.439 um that could be either film or you know, an 0:11:37.480 --> 0:11:41.120 actual digital version of the uh, the movie as it exists, 0:11:41.360 --> 0:11:43.840 you know, directly after it's been shot. Right. Yeah, you 0:11:43.880 --> 0:11:48.160 can uh to do digital editing. There are several different 0:11:48.480 --> 0:11:51.280 ways you can you can go about it. You can 0:11:51.320 --> 0:11:54.920 either probably the easiest way is you're using a digital 0:11:54.960 --> 0:11:57.360 camera to start with. Oh yeah, because then you don't 0:11:57.400 --> 0:11:59.480 have to worry about any any kind of conversion. You 0:11:59.480 --> 0:12:01.040 don't have to come in vert anything, you don't have 0:12:01.040 --> 0:12:05.120 to scan anything. You you just port the data from 0:12:05.240 --> 0:12:08.840 your camera over into the computer system and then you 0:12:08.880 --> 0:12:13.120 can start editing. Uh porting talking about your capturing the video. 0:12:13.440 --> 0:12:15.800 You're capturing it from the camera and putting it into 0:12:15.840 --> 0:12:19.640 the computer. Uh. That process can take a while, depending 0:12:19.679 --> 0:12:23.920 on how high resolution you were shooting and the connection 0:12:23.960 --> 0:12:27.160 you're using between the camera and the computer. But but 0:12:27.600 --> 0:12:32.640 it's still faster than converting film to digital. Now, to 0:12:32.840 --> 0:12:35.160 convert film to digital, you've got a couple of different 0:12:35.920 --> 0:12:39.360 uh options as well. You can use something called a 0:12:39.400 --> 0:12:45.000 tell us any which it's sort of it's kind of 0:12:45.040 --> 0:12:47.360 like a scanner in a in a sense, and some 0:12:47.440 --> 0:12:50.719 scanners are called tell us aanys and vice versa. The 0:12:51.280 --> 0:12:55.400 terms are somewhat interchangeable, although purists will tell you that 0:12:55.440 --> 0:12:59.079 there is a distinct difference between the two. Uh. Tell 0:12:59.160 --> 0:13:02.960 us any convert its film to video formats and UH. 0:13:03.120 --> 0:13:06.360 You may have heard us refer before about the different 0:13:06.440 --> 0:13:10.600 frame rates of film versus video, the twenty four frames 0:13:10.600 --> 0:13:13.079 per second for film versus the thirty frames per second 0:13:13.080 --> 0:13:16.520 for video that's in the US. I should point out 0:13:16.679 --> 0:13:20.280 that's not that's not a global standard. Um. It's different 0:13:20.280 --> 0:13:23.760 in different regions. It's a standard, but not the standard. Yet. 0:13:23.760 --> 0:13:26.400 It's a standard in the United States and a few 0:13:26.400 --> 0:13:29.960 other countries. UM. So at any rate, because twenty four 0:13:30.000 --> 0:13:32.200 and thirty don't match up quite right, you have to 0:13:32.360 --> 0:13:35.680 do some some trickery to get them to kind of 0:13:36.800 --> 0:13:42.640 coincide more closely, and then that can introduce some jitter. Uh. 0:13:42.800 --> 0:13:45.160 This is why if you watch a movie that's been 0:13:45.200 --> 0:13:47.640 converted to video, Let's say you were watching an old 0:13:47.720 --> 0:13:51.959 VHS tape or you were watching a movie broadcast on TV, 0:13:52.360 --> 0:13:54.880 you might notice that it doesn't look quite the way 0:13:54.920 --> 0:13:58.840 you remembered it looking when you saw it on the screen. UM. 0:13:58.880 --> 0:14:03.040 And some of that's the conversion process. So uh, Now, 0:14:04.040 --> 0:14:06.480 if you're using a scanner, some scanners they'll just scan 0:14:06.559 --> 0:14:09.160 it in at the proper frames per second. Some telestening's 0:14:09.200 --> 0:14:11.560 due too at this point, um, well, so that you 0:14:11.600 --> 0:14:13.480 no longer have to worry about that. It's not it's 0:14:13.480 --> 0:14:17.240 not an issue. And so you can digitally manipulate stuff 0:14:17.240 --> 0:14:20.320 at the same frame rate as you would, um if 0:14:20.760 --> 0:14:23.200 if you were just working on film right all the time. 0:14:23.440 --> 0:14:27.880 So you've moved the film into the digital format. Um, 0:14:27.920 --> 0:14:31.800 and now you have two options, two big options available 0:14:31.800 --> 0:14:37.280 to you. You can either use the digital media to 0:14:38.280 --> 0:14:40.920 assemble your movie in the order that you wanted in 0:14:41.080 --> 0:14:44.880 like using choosing the takes, choosing you know, the transitions, 0:14:44.880 --> 0:14:48.120 all that kind of stuff, and and uh and essentially 0:14:48.160 --> 0:14:54.040 making a video checklist for the negative cutter. So what 0:14:54.040 --> 0:14:56.080 what you would do is once you've put your movie together, 0:14:56.080 --> 0:14:58.480 and again, the cool thing about digital is that it 0:14:58.520 --> 0:15:02.080 makes it really easy to switch stuff out. So let's 0:15:02.080 --> 0:15:04.640 say that you know, you have two different, very different 0:15:04.680 --> 0:15:07.000 takes of the same scene and you want to see 0:15:07.040 --> 0:15:08.920 how they both play out in the context of the 0:15:08.960 --> 0:15:12.200 overall film. It's not that hard to lift it one 0:15:12.240 --> 0:15:14.520 out and replace it with the other. If it's all digital, 0:15:15.080 --> 0:15:18.920 it's really hard to do with film. Sure. For one thing, 0:15:18.920 --> 0:15:20.440 you have to pay more money just to get more 0:15:20.480 --> 0:15:25.200 film to do it. So you assembled your movie in 0:15:25.400 --> 0:15:28.200 video format, you hand that to your negative cutter. Your 0:15:28.240 --> 0:15:30.840 negative cutter goes back to the negative of the original 0:15:30.880 --> 0:15:34.720 film you shot, and using the video as a guide, 0:15:35.560 --> 0:15:38.720 assembles the movie. Right. So that's one way of doing 0:15:38.760 --> 0:15:42.480 it that seems almost as painstaking as the original version. 0:15:43.920 --> 0:15:46.520 The middle process is not as pain is not as 0:15:46.560 --> 0:15:49.680 painstaking because it is easier to edit once or it's 0:15:49.680 --> 0:15:52.520 easier to assemble the movie and the way you want 0:15:52.560 --> 0:15:56.720 that part is easy easier anyway. Um, but yes, there 0:15:56.840 --> 0:16:00.120 is still quite a bit of manual labor the you 0:16:00.120 --> 0:16:02.720 have to do, oh yeah yeah, And it takes a 0:16:02.720 --> 0:16:04.840 real skilled cutter to make sure that you get what 0:16:04.960 --> 0:16:07.480 you captured in video, because you definitely don't want to 0:16:07.520 --> 0:16:10.720 get to the point where you view the the negative version. 0:16:10.760 --> 0:16:13.560 You know, when you've made a print and you you think, wait, 0:16:13.840 --> 0:16:17.160 that doesn't follow what I made in the digital right, 0:16:18.000 --> 0:16:21.960 So your other option, instead of using that as a guide, 0:16:22.360 --> 0:16:26.520 you can actually print to film from your digital video, 0:16:27.400 --> 0:16:28.840 and in that case what you do is you have 0:16:28.920 --> 0:16:33.280 you have film coming in, you manipulate it however you 0:16:33.280 --> 0:16:35.360 need to. You can do color correction. This this is 0:16:35.400 --> 0:16:37.840 actually where you get the most freedom as an editor, 0:16:38.160 --> 0:16:42.080 right you you digitize the film, print the original of 0:16:42.200 --> 0:16:46.080 the film as it has been shot. You take the 0:16:46.120 --> 0:16:49.040 material there on the computer and then print it to 0:16:49.080 --> 0:16:51.640 film exactly so so that way you can do things 0:16:51.640 --> 0:16:54.800 like color correction. You can do you can do some effects. 0:16:54.800 --> 0:16:56.640 You can do lots of stuff that you could not 0:16:56.840 --> 0:17:00.840 do if you were just assembling the movie, right because 0:17:00.840 --> 0:17:02.960 I mean, if you're just assembling the movie and making 0:17:02.960 --> 0:17:05.520 a checklist, it's not like you could insert a huge 0:17:05.600 --> 0:17:08.120 special effect in the middle because you wouldn't have the film. 0:17:08.560 --> 0:17:10.560 The negative cutter will be like, all right, that's awesome, 0:17:11.200 --> 0:17:15.040 where is this? Well that's That's something that I think 0:17:15.080 --> 0:17:17.280 it is worth pointing out to. You can do things 0:17:17.640 --> 0:17:21.159 with color even when you're doing you know, a manual 0:17:21.200 --> 0:17:23.560 film at it, but it takes a lot more work 0:17:23.600 --> 0:17:25.399 because if you're going to do something like that, you 0:17:25.440 --> 0:17:28.119 have to go in frame by frame, you know, certain 0:17:28.160 --> 0:17:30.920 special effects and things that you want applied, and you've 0:17:30.920 --> 0:17:32.679 got a lot more freedom to do that with the 0:17:32.720 --> 0:17:36.600 digital process because you can add those things in the 0:17:36.600 --> 0:17:39.040 computer that you you know, would have to go in 0:17:39.160 --> 0:17:40.919 hand by hand to say, if you wanted to, uh, 0:17:41.080 --> 0:17:44.240 like all the famous movies that have been that were 0:17:44.240 --> 0:17:46.359 shot in black and white and we're later colorized for 0:17:46.440 --> 0:17:49.440 TV and things. Um, you know that has to be done. 0:17:50.040 --> 0:17:52.880 You know, if you're going to do that for film, 0:17:52.920 --> 0:17:55.439 that would be a real paint in the neck to 0:17:55.480 --> 0:17:57.760 go in and and actually paint the cells you know, 0:17:57.920 --> 0:18:00.159 or that i should say, the frames one by one. 0:18:00.240 --> 0:18:02.520 That would be a real real pain in the next 0:18:02.520 --> 0:18:05.680 to do. And their entire companies that that's all they do. Yeah, 0:18:05.720 --> 0:18:08.720 they take other people's films and then they do color correction. 0:18:08.760 --> 0:18:10.359 I mean you'll see that in the credits of a 0:18:10.359 --> 0:18:12.080 movie if you look for it, you might see that 0:18:12.119 --> 0:18:15.679 there's color correction by such and such company. Um. But 0:18:15.880 --> 0:18:19.679 if you use this, this digital intermediate process, you could, 0:18:19.920 --> 0:18:22.280 if you have an editor skilled at this, could actually 0:18:22.280 --> 0:18:25.880 have the editor do some color correction without ever having 0:18:25.920 --> 0:18:28.960 to go to another company. Um. Chances are you probably 0:18:29.000 --> 0:18:32.680 still would have to because if you're transferring back to film, uh, 0:18:32.760 --> 0:18:35.920 then there's always the chance that just that transfer process 0:18:35.960 --> 0:18:37.480 means that you need to do some clean up on 0:18:37.520 --> 0:18:42.160 your print before you start making uh copies. Also, I 0:18:42.200 --> 0:18:45.080 should have said there is one other option besides printing 0:18:45.080 --> 0:18:49.240 the film. Oh yes, yeah, distributing digitally. Good point. You 0:18:49.240 --> 0:18:52.119 don't have to go back to film at all. In fact, 0:18:52.440 --> 0:18:56.439 if you did, you can either convert a film to 0:18:56.600 --> 0:18:59.160 digital and keep it digital, or of course you could 0:18:59.240 --> 0:19:03.720 use the digital camera and it's just digital the entire time. Uh. 0:19:03.760 --> 0:19:06.520 And in either case you could distribute it digitally. Now 0:19:07.160 --> 0:19:09.240 the we we talked about this a little bit in 0:19:09.280 --> 0:19:11.480 the other podcast. It makes it a lot easier to 0:19:11.520 --> 0:19:15.000 distribute the film. But on the flip side, there aren't 0:19:15.040 --> 0:19:17.639 as many projectors that can run it, right. You have 0:19:17.680 --> 0:19:21.000 to have the equipment on the at the theaters the side. 0:19:21.080 --> 0:19:24.000 Otherwise it's sort of a moot point. Yeah, you could 0:19:24.040 --> 0:19:26.040 send them a disk and then they said, this is nice. 0:19:26.080 --> 0:19:28.720 We have nothing that can play this, yes, yeah, yeah. 0:19:28.760 --> 0:19:30.960 If it's all the old style film projectors, then it 0:19:31.000 --> 0:19:33.919 doesn't do you any good. So as technology catches up 0:19:33.920 --> 0:19:37.080 in the cinemas, in the actual movie houses, uh, that 0:19:37.160 --> 0:19:40.920 will become a bigger and bigger push. I think it's 0:19:41.040 --> 0:19:42.920 just because of the ease of use. I mean, the 0:19:42.920 --> 0:19:46.520 the easier it is, uh, the more likely people will 0:19:46.560 --> 0:19:50.719 adopt it. Now they are those film purists who bemoan 0:19:50.840 --> 0:19:54.080 this fact because they think that it doesn't have the 0:19:54.160 --> 0:19:57.399 same sort of quality as the old films. And I 0:19:57.400 --> 0:20:00.600 can see their point. I mean it there is there's 0:20:00.640 --> 0:20:04.120 an argument to be made for both using the old 0:20:04.160 --> 0:20:08.439 style film editing and the digital editing editing methods um 0:20:08.480 --> 0:20:13.560 and it's two completely different philosophies and two completely different methodologies. 0:20:13.760 --> 0:20:17.480 When you're doing the old film editing process, you had 0:20:17.520 --> 0:20:21.159 to be O. C D really, because you had to 0:20:21.160 --> 0:20:25.440 be able to keep track of miles of film, right, 0:20:25.760 --> 0:20:28.760 and you're cutting film and you're gonna have to keep 0:20:28.800 --> 0:20:32.000 track of all these different canisters of film until it's 0:20:32.080 --> 0:20:36.560 all put together, and it just it took organizational skills 0:20:37.400 --> 0:20:39.800 to a whole new level. I mean, you had to 0:20:39.880 --> 0:20:43.960 be an amazing organizational genius really to be a great 0:20:44.000 --> 0:20:48.280 film editor. Now a lot of that is done for 0:20:48.480 --> 0:20:51.680 you with computers. That's that's one reason why they call 0:20:51.800 --> 0:20:56.199 the digital process a non linear editing process, because you 0:20:56.200 --> 0:20:58.720 can access any part of the movie at any time 0:20:59.240 --> 0:21:02.040 digitally once you once you've converted into digital format, or 0:21:02.040 --> 0:21:04.159 if you shot it digitally, then you already have it. 0:21:04.560 --> 0:21:06.359 You can go to any part of that movie at 0:21:06.400 --> 0:21:09.520 any time, and the computer essentially is keeping track of 0:21:09.560 --> 0:21:13.600 everything for you. Now, there's not really a standard way 0:21:13.840 --> 0:21:18.399 across all different editing suites that allows you to h 0:21:18.560 --> 0:21:21.480 to organize your data in a in a standard format. 0:21:21.920 --> 0:21:24.280 So if you were trained on one kind of film 0:21:24.400 --> 0:21:27.600 editing software, you may actually have to learn a totally 0:21:27.600 --> 0:21:30.840 different style if you if the company you work for 0:21:30.920 --> 0:21:34.320 it switches, right, It's not like they all have the 0:21:34.320 --> 0:21:38.720 exact same layout. So that's a downside. Um. I was 0:21:38.760 --> 0:21:43.280 gonna talk also, just really quickly about the scanners. It's 0:21:43.280 --> 0:21:46.960