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Editing After the Linear Medium A Job Talk at YOUR UNIVERSITY Dan Faltesek TODAY’S DATE.

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Presentation on theme: "Editing After the Linear Medium A Job Talk at YOUR UNIVERSITY Dan Faltesek TODAY’S DATE."— Presentation transcript:

1 Editing After the Linear Medium A Job Talk at YOUR UNIVERSITY Dan Faltesek TODAY’S DATE

2 Why Study the Digital Transition? Digital signal processing is central to a host of emerging media platforms The Digital is one of several stand-ins for technological change in public discourse Digitality means changes for labor practices, production, distribution, domestic design, legal regulation, and media and rhetorical theory.

3 The Storage-Transmission Dialectic Editing at the intersection of paradigms Carey – Communication as Culture Kittler – Communication as Storage Process Strength: Transmission opens inter-subjective space for understanding communication as a ritual that builds affective bonds. Weakness: Underplays the power of technological change Strength: Media determines our situation. Weakness: Determinism can be perceived as anti-human. Brief Aside: In my dissertation research I address this break through Benjamin, Habermas, and the idea of the Public. Unfortunately, my time is limited.

4 The Importance of Time-Axis Manipulation StorageTransmission SpaceLinear MediumLinear Transmission TimeTransmissionStorage Digital technology challenges the linear presumption – No More Film Strip Digital Non-Linear Editing goes beyond inverting the categories: it plasticizes them

5 Difficult Historiography Few academic histories of the technology, most are in film production textbooks, (Ohanian, 1993) is a fine example. Hollywood Histories attribute industrial efforts to single geniuses, even if those geniuses credit others. Walter Murch and Steve Jobs are often the protagonists. See: (Koppelman, 2005). The best academic works focus on DNLE in the context of labor practices, John Caldwell’s (2008) ethnographic study of below the line workers is a key book. Trade journals have fascinating detail but are disjointed. (Optical Information Systems 1982-1986).

6 A Short History of Editing Moviola (1924) KEM Flatbed/Steenbeck (1931) Tape-to-Tape (Circa World War 2)

7 A Short History of Editing CMX-600 (1970)EditDroid (1982)Commodore and Friends (1985-)AVID (1987)

8 The Big Three AVID Adobe Premier Final Cut Pro Enterprise Level Software – Expensive Makes Claims to the Professional Market Rapid Vertical and Horizontal Integration Inexpensive to start, regular updates at around $500 Part of Adobe Creative Suite Stability is at a premium/Adobe has other priorities Opening Price Point Makes claim to be the most heavily used, opens the professional question Ubiquity based strategy

9 The Bin The bin allows an editor or a team of editors to manipulate footage. In the past the bin was a canvas box on wheels that was used to move footage around the editing space.

10 The Time Line This is the nexus for time-axis manipulation. Video can be slowed down, sped up, reversed, plied with artificial lens flare and many other effects.

11 Codecs/After sprocket holes The H.264 codec has replaced the sprocket hole. H.264 is essential in the operation of iTunes, Amazon, DSLR cameras, and almost everything else. The draw back to H.264 is limited color information depth. Professional cameras use professional codecs, which are integrated into the DNLE software.

12 What does this all mean? DNLE is the key tool for democratizing production. Reality TV would be much more difficult to produce. This is the heart of YouTube. Collapse of the enterprise video software market. Video software is either closed source or cheap. Concordantly, the end of the spatial fix in video editing. The Plastic Aesthetic. Jump cut laced expressive videos, artificial lens flare, auto-tune artefacting. Transmission and storage are not stable starting points.

13 Thank you for listening. I would enjoy answering your questions.

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