Edit decision list

0.00 - 0.09 ; Straight cut / Close up into a tracking shot walking into house
0.09 - 0.10 ; Straight cut / High angle shot walking up stairs
0.10 - 0.12 ; Straight cut / Tracking shot mid shot, climbing stairs
0.12 - 0.14 ; Straight cut / Close up of texting on a phone
0.14 - 0.16 ; Straight cut / Over the shoulder shot, texting on a phone
0.16 - 0.18 ; Straight cut / Mid shot going up escalators
0.18 - 0.20 ; Straight cut / Over the shoulder shot, going up escalators
0.20 - 0.22 ; Straight cut / Rising up the escalator shot
0.22 - 0.23 ; Straight cut / Mid shot shoes
0.24 - 0.28 ; Straight cut / Symmetry shot walking up escalators
0.28 - 0.31 ; Straight cut / Establishing shot of stairs
0.31 - 0.32 ; Straight cut / Sam walking past camera on stairs
0.33 - 0.34 ; Straight cut / Back to the establishing shot but Sam closer to the camera
0.34 - 0.35 ; Straight cut / Mid shot of couple and Sam walking past
0.35 - 0.37 ; Straight cut / Sam looking at couple and walking past

Summer Task Three - Development of editing

Primary methods of editing were very simple, for example the editor’s had to physically cut and glue parts of the film together in order to create continuous film. This was made possible by holding the film up to a light source and correctly identifying the desired frame to cut and/or join together. This method of work was very much dull and time consuming, however this method formed the under-structure of editing techniques.

The 'Moviola’ was introduced into the world of film in the year 1924. The 'Moviola' was a piece of editing technology. This particukpiece of editing equipment allowed editing within film to become much easier and allowed the editor to have a more precise method of editing film. It also brought about 'Edge Numbering’which allowed audio and visual to be edited in synchronisation.

In 1953, Steenbeck released their first Flatbed 16mm 4 Plate, ‘The ST200’ was born. ‘The ST200’ editor included optical sound and playback of 16mm perforated magnetic tape. The prime editing methods were still very practical and require the use of trim bins, guillotine’s and the use of a light table. ‘The ST100’ then followed, which was a 4 plate 35mm editor released in 1954. Following ‘The ST100’ was the first editor with back projection on a ground glass was the 35mm ‘The ST400’ which was later followed by ‘The ST500’ a switchable for standard film and Cinemascope.


Live television editing became the pioneering form of editing, which began in the early of the mid 40’s which led to ‘Kinescope Recordings’, which consisted of a camera recording a video screen of a live broadcast. This later proven to not be a very successful method as it led to various issues such as ghosting and banding, nonetheless TV Studios were using more ‘Raw Film’ in their ‘Kinescopes’, than most Hollywood film studios combined.

Non-linear editing is a form of offline editing, where raw footage is copied and edited without affecting the original tape, and the offline approach has been in film editing since the start. Offline editing is essentially the whole editing process, where editors cut and piece clips together in order to tell a story. However, online editing is a process that is performed in the final stages of the production, and is the fine-tuning of the project. This focuses on aspects such as the quality of the picture, colour correction, visual effects, and other fine details of the project. The online editor will also ensure that the production is broadcast safe by ensuring certain aspect ratios and video levels.

This method of editing is called Linear editing, the process of selecting, modifying, and arranging images and sound in a predetermined sequence. The simple hardware such as the moviola means that this method of editing is inexpensive and quicker for smaller editing jobs. However, in 1971 the first non-linear editor was introduced. The CMX-600 was a digital console consisting of two monitors. The right monitor played the preview video, and was used by the editor to make cuts and edits; the monitor on the left was used to display the edited video. It wasn't until 1991 that the term 'non-linear editing' became officially formalized, when companies such as 'Avid' publicly introduced their device: the Avid 1. At this point digital products began to replace the classic editing tools such as the moviola. This form of editing was largely computerized and operated in a way the the original content isn't modified during the editing, therefore editors didn't have to start over if a mistake was made. This was a huge development it allowed editors to access any frame in a digital video clip and 'cut-and-paste' that clip to a different part of the sequence.

• Non-Linear Editing System: https://en.wikipedia.org/wiki/Non-linear_editing_system
• https://www.britannica.com/biography/Edwin-S-Porter

Research Methods evaluation

What went well during my research was that I found some of the stuff I needed however I didn't find out everything that I was looking for. This is because when I was doing my questionnaire I didn't really know what I was looking for. This lead to questions that were irrelevant for my music video. What I would do next time is create a second questionnaire based on my genre and narrative techniques to further knowledge. An example of this is the question about what genre should my music video be. The answers to the question were useless to me as I already chose the song I was going to be producing a music video for.
The research which was the most useful was the textual analysis, as I relied on the different genres of music videos I analysed to help influence me in the way I edited my own music video. This is because the genre of song I chose is under dance/electronic however I don't feel that all the way through the song. As the song goes through the verses it slows down, quite like the indie genre but as it gets to the chorus it then seems more dance and electronic. This is why I analysed different music videos to help me understand the way the genres are edited together.
What could've better was my questionnaire