EQUIPMENT

Basic editing equipment is needed to view the picture and play the sound track. Since film relies on separate picture and sound elements, the editing process is facilitated by the very nature of the technology. Picture and sound are combined to produce a unique work of art. The synchronizer keeps the picture and sound track in sync as you run these elements with identical sprocket holes for picture and mag film. Both are shot and recorded respectively using the 24 frames per second speed standard. (Silent movies were shot at 18 fps. That's why when viewed on modern projection equipment you have that funny speeded-up look! They were not intended to be viewed that way.)

You eyeball the slate when you sync by using the synchronizer and line-up the frame where the clapper contacts the slate board with the sound of the clapper as you hear it off the "squawk box" (amplifier/speaker box,) which reads the sound from the emulsion side of the mag through a sound head mounted over the synchronizer at the middle of the sprocketed wheel. You mark it clearly with a sharpie or a China marker (or grease pencil.) The actual cutting is done on upright moviolas or flatbed editing machines. Originally, American editors cut on upright moviolas and Europeans cut on flatbeds. The flatbed machines are more sophisticated.

Steenbeck and Kem are manufactured in Germany. Cinemonta was manufactured in Holland (this company -- Olde Delft -- no longer manufactures editing machines, however Cinemontas happen to have the best picture.) Provosto are made in Italy. And Moviola also manufactured flatbeds after many decades of sticking with uprights. Flatbeds are still available for rental, even though a lot of editing is done on video or, now more and more, on computers. I recommend film editing on uprights or flatbeds. Among flatbeds I prefer renting Steenbecks because they're the most trouble free. Rewinds, benches, bins, racks, cores, splicing tape, leaders, sound stock and filler -- all these make up the equipment used in editing movies the old fashioned way! You earn the title of editor!

Table of Contents

Part I.
The Screenplay.
Story Construction.
Script Formats.
Story-Boarding.

Part II.
Pre-Production.
Script Breakdown.

Budgeting.
Financing.
Casting.
Crew Selection.
Production Manager.
Cinematographer.
Operator/ Focus Puller/Loader/Slate.
Sound Recordist.
Boom.
Continuity Person.
Art Director.
Costume Designer.
Gaffer.
Key Grip.
Prop Person.
Make-Up & Hair.
Production Assistant.
Editor.
Equipment.
Studio & Location Scouting.
Lab Procedures.
Catering.
Insurance.

Part III.
Production.
Producer.
Director.
Hierarchy of Command.
Setting Up the First Shot. 
Procedure for Shooting a Scene. 
Language of Film. 
Long Shot. 
Medium Shot. 
Close-up. 
Aesthetics. 
Coverage.
Sticking to Schedule. 
Sticking to Budget. 
Directing Actors. 
Controlling Technicals. 
Special Effects. 
Special Processes and Genres. 
Finishing Principle Photography. 
Pick-Ups. 

Part IV.
Post-Production. 
Editing. 

Dialogue Cutting. 
Cutting Action. 
Techniques. 
Artistic Considerations. 
Equipment. 
The Editor. 
Editing Music. 
Sound Effects Editing.
ADR & Dubbing. 
The Mix. 
Negative Cutting. 
Printing the Film. 
The Answer Print. 
Release Prints. 

Part V.
Distribution. 
Finding a Distributor. 
Majors' Distribution. 
Mini-Majors. 
Independent Distributors. 
Distributing Your Own Film. 
The Foreign Market. 
Domestic Distribution. 
Festivals. 
Four-Walling. 
Video, TV & Ancillary Markets. 
Building Your Library of Films. 
Business Options. 
Corporations. 
Limited Partnerships. 
Public Offerings. 
Conclusions.