Hi Editors:

                  With all of the bleeding edge, multi-media technology available to film & television editors today, are there any professionals out there who still cut film on a flatbed editor ? Is the film cut workprint proceedure now dead ? Do you folks know of any editor who actually cuts film ?

I've seen a few people cutting film L.A.  Usually have an Avid too but I've seen people with flat bed and Steinbecks in their editing rooms

I have a friend who's convinced that cutting on a flatbed gives a more "organic" feel, whatever that may mean.  As recently as two years ago he was cutting features on a flatbed.  I don't know whether he still is.

On the other hand I know another editor recently who was prepared to give away her 16/35 anamorphic six-plate to a good home.  I think it's now landfill.  Someone was also recently offering a pair of synchronisers for free on our local industry body's website.  I don't know what happened to them.  Another friend who hires portable optical benches is considering dropping out of that area of the market in favour of more NLEs.

Yesterday after a test screening of a reel of a digital to film project I'm working on there was a discussion of future trends.  It was stated that within five years the lab sees no further market for the film transfer process, because digital projection will have taken over.

It's always sad to see a technology die, but that's definitely what's happening.

jwrl:

It's always sad to see a technology die, but that's definitely what's happening.

 ....Yes. What hurts more is the sad death of 5 perf 65 mm film shooting. Most folks have never seen a 70 mm Super Panavision 70 print made from a 65 mm original neg, and it is by far superior to any current technology. Eventually, even 70 mm resolution will be reached by digital technology. When one watches Lawrence of Arabia here in Montreal projected on the huge screen from a restored 70 mm Super Panavision Print on an original Todd AO Philips 24/30 fps projector in six track THX mag stripe - Well, you just have to see it !

Laptopeditor:

When one watches Lawrence of Arabia here in Montreal projected on the huge screen from a restored 70 mm Super Panavision Print on an original Todd AO Philips 24/30 fps projector in six track THX mag stripe - Well, you just have to see it !

 

How does that play on an iPod? :-(

TCurren:

How does that play on an iPod? :-(

 ......70 mm can always be transferred to whatever .3gp or whatever video format is required, and it will look far superior to anything else converted from Super 16 or 35 mm. You cannot make an easy comparison between a large screen cinematic presentation and a minimal ipod presentation. I do agree this is the direction the market is going. I was referring to what we've gained versus what we've lost. There is a certain Grandeur which cannot be overstated that is inherent in a large screen Super Panavision 70 mm presentation.

But the point is made: Why bother with Super Panavision when your main market is a 1 inch ipod screen !

I suspect they'll still be editing 15/70 for IMAX for some time.

 

Yes for example I do.... only short films though, but still... the last feature I cut I had to take it to a flatbed for resons too long to list here. But hey, Spielberg only works with team of editors that cut on Steenbeck's, they have their own little jet and take the flatbed's with them everywhere. Muchen was shot in Hungary so they flew to Budapest with all the equipment, rented a whole floor at the Le Meridien and set up the 7 flatbeds there. No digital mumbo-jumbo just pure film editing... 

 

 

PS: down with digi projectors!!!

 

Cheers,

David

 All of Steven Spielberg's films are cut on film.

 

Michael

MichaelP:

 All of Steven Spielberg's films are cut on film.

 

But not all of Amblin's or Dreamworks films, the rest are cut on Avid. (Meridien systems to boot!)