Film editing has evolved significantly from early films consisting of single static shots to complex techniques used today. Early editing established continuity by cutting between shots, while montage editing used techniques like jump cuts and superimposition. Soviet montage editing, pioneered by Eisenstein, used rapid cutting to imply meanings not literally shown. Hollywood developed continuity editing to seamlessly advance narratives. The French New Wave introduced long takes and existential themes. Sound editing began with The Jazz Singer, and technology advanced from flatbeds and Moviolas to non-linear digital systems.

1. THE HISTORY OF EDITING ADAM CROOKS

2. WHAT IS EDITING?
Film editing is the post production technique of putting footage
together.
The editing process can involve correction, condensation,
organization, and many other modifications performed with an
intention of producing a correct, consistent, accurate and complete
work.
The editing process often begins with the author's idea for the work
itself, continuing as a collaboration between the author and the editor
as the work is created. As such, editing can involve creative skills,
human relations and a precise set of methods

3. EARLY EDITING
Early films were short films that were one long, static, and locked-
down shot. Motion in the shot was all that was necessary to amuse an
audience, so the first films simply showed activity such as traffic
moving on a city street. There was no story and no editing. Each film
ran as long as there was film in the camera.
The use of film editing to establish continuity, involving action
moving from one sequence into another, is attributed to British film
pioneer Robert W. Paul's Come Along, Do!, made in 1898 and one of
the first films to feature more than one shot.

4. THE LUMIERE BROTHERS
 Auguste and Louis Lumière were born in France and were the earliest
filmmakers in history.
 Their father, Claude-Antoine Lumière (1840–1911), ran a photographic
firm and both brothers worked for him: Louis as a physicist and Auguste as
a manager. Louis had made some improvements to the still-photograph
process, the most notable being the dry-plate process, which was a major
step towards moving images.
 It was not until their father retired in 1892 that the brothers began to
create moving pictures.
 Louis and Auguste design a camera which serves as both a recording
device and a projecting device. They call it the Cinématographe.
 The Cinématographe uses flexible film cut into 35mm wide strips and used
an intermittent mechanism modelled on the sewing machine.
 The camera shot films at sixteen frames per second which became the
standard film rate for nearly 25 years.

5. THE LUMIERE BROTHERS
 The brothers began to open theatres to show their films (which
became known as cinemas). In the first four months of 1896 they had
opened Cinématographe theatres in London, Brussels, Belgium and
New York.
 The first footage ever to be recorded using it was recorded on
March 19, 1895. This first film shows workers leaving the Lumière
factory.

6. EDWIN S PORTER
Edwin Stanton Porter was an American early film pioneer.
He was most famous as a director with Thomas Edison's company.
Over 250 films were created by Porter, the most important films
include Life of an American Fireman and The Great Train Robbery.

7. D.W. GRIFFITHS
 David Llewelyn Wark "D. W." Griffith was an American film director,
mostly remembered as the director of the 1915 film The Birth of a
Nation and the subsequent film Intolerance.
 His film The Birth of a Nation made pioneering use of advanced
camera and narrative techniques, and its immense popularity set the
stage for the dominance of the feature-length film in the United
States.

8. DEVELOPMENT OF CONTINUITY
EDITING
Seamless editing that was used was also known as invisible editing.
This meant that the cuts between the shots were matched to the
action, this technique was usually used by DW Griffiths, with the
seamless editing it makes you watch something and not even realise
that it’s been edited. Continuity editing is a system that focuses on
creating a clear continuity for the final piece that you have created.
The idea of this style of editing is to create a smooth flow between all
of the clips so the narrative of the story will be obvious without
interruptions. With community editing you make sure that there isn’t
and jump cuts and to make sure that people don’t jump around the
room through the different shots that have been used. The main
focus of this type of editing is to be seamless and to make sure that
the audience stays focused on the story instead of the techniques
that are used.

9. MONTAGE EDITING
Montage editing is the process of cutting up the film and editing it
into the screened sequence. Unlike invisible editing, montage editing
uses close-ups, relatively frequent cuts, dissolves, superimposition,
fades and jump cuts.

10. SOVIET MONTAGE EDITING
The Kuleshov Experiment
In his experiment, Kuleshov cut an actor with shots of three different
subjects: a hot plate of soup, a girl in a coffin, and a pretty woman lying in a
couch. The footage of the actor was the same expressionless gaze. Yet the
audience raved his performance, saying first he looked hungry, then sad,
then lustful.
Sergei Eisenstein- Battleship Potemkin 1925
Battleship Potemkin, is a 1925 silent film directed by Sergei Eisenstein and
produced by Mosfilm. It presents a dramatized version of the mutiny that
occurred in 1905 when the crew of the Russian battleship Potemkin rebelled
against their officers of the Tsarist regime.
Battleship Potemkin has been called one of the most influential propaganda
films of all time, and was named the greatest film of all time at the Brussels
World's Fair in 1958.

11. CLASSIC HOLLYWOOD MONTAGE
EDITING
Battleship Potemkin is very important in Soviet formalism beause it is
the best example of it. That film is nothing of which we are used to.
We are used to Hollywood aka. classic realism which uses continuity
editing.
Hollywood realism which uses continuity editing is easier for the
audience to watch.

12. DEVELOPMENT OF ALTERNATIVE
EDITING METHODS
FRENCH NEW WAVE-The New Wave is a blanket term coined by critics
for a group of French filmmakers of the late 1950s and 1960s. The
movies featured unprecedented methods of expression, such as long
tracking. Also, these movies featured existential themes, such as
stressing the individual and the acceptance of the absurdity of human
existence. Filled with irony and sarcasm, the films also tend to
reference other films.
JUMP CUTS- A jump cut is a cut in film editing in which two
sequential shots of the same subject are taken from camera positions
that vary only slightly. This type of edit gives the effect of jumping
forwards in time. It is a manipulation of temporal space using the
duration of a single shot, and fracturing the duration to move the
audience ahead.

13. DEVELOPMENT OF SOUND EDITING
The Jazz Singer is a 1927 American musical film. The first feature-
length motion picture with synchronized dialogue sequences, its
release heralded the commercial ascendance of the "talkies" and the
decline of the silent film era. Directed by Alan Crosland and produced
by Warner Bros. with its Vitaphone sound-on-disc system.
The film is based on The Day of Atonement, a play by Samson
Raphaelson.

14. FILM EDITING TECHNOLOGY
NON LINEAR EDITING SYSTEMS- A non-linear editing system is a
video or audio editing digital audio workstation system that performs
non-destructive editing on source material. The name is in contrast
to 20th century methods of linear video editing and film editing.
MOVIOLA- A Moviola is a device that allows a film editor to view film
while editing. It was the first machine for motion picture editing when
it was invented by Iwan Serrurier in 1924

15. FILMING EDITING TECHNOLOGY
FLAT BEDS- A flatbed editor is a type of machine used to edit film for
a motion picture. Picture and sound rolls load onto separate
motorized disks, called "plates." Each set of plates moves forward or
backward separately, or locked together to maintain synchronization
between picture and sound. A prism reflects the film image onto a
viewing screen, while a magnetic playback head reads the magnetic
audio tracks.
MODERN/DIGITAL EDITING- The move from SD to HD video is just
one of the major challenges that video editors have faced in the past
few years. Audio has gone from two-channel stereo to 5.1 surround,
and all kinds of new applications and products have pushed the
envelope of editor knowledge.