… is an award winning Brooklyn-based filmmaker and writer whose first celluloid love was “Godzilla.” Since age 9, he’s been chasing monsters and men, camera in hand. His chief inspirations are classic German Expressionist cinema, the free-wheeling creativity of Terry Gilliam, and the fog-shrouded forests of his New Hampshire birthplace. Through his films, Peter strives to unlock the experience of “ecstatic cinema” — a viewing experience that challenges, delights, and sweeps up the audience in equal measures. His work has appeared in American Cinematographer, Red Shark News, various broadcast networks, and various festivals around the world.
His most recent film “Working Horses” premieres this fall.
You must have come across FilmakerIQ. If you haven’t, what have you been up to? Watching more films? The time has come to do a petit Godard*, take your iPhone iPad or Android and get out there to make a film. Well, don’t stop watching films, of course, but try a little something even if it is to prove film-making is not your forte. A film mind you is not a wobbly bit of video of a disemheaded body. It’s lots of wobbly bits editing together. Even a soundtrack. Apparently the young folk tell me you can do this all from a mobile nowadays which leaves me impressed but well behind. For me it’s editing software on a PC because I can’t see a keypad very well …(when is software an app? Is everything an app nowadays?)
Strangely since making and particularly editing film is a big preoccupation of mine (more a preoccupation than praxis mid you..), I don’t seem to to have either highlighted FilmmakerIQ yet or put up a video. Unless that is as well as not being able to see tiny keypads I’m losing my memory as well.
A very informative and personable video by John P. Hess. There are lots of others equally informative and interesting. A pairing with this one, perhaps, The History of Cutting – The Birth of cinema and Continuity editing.
Why is it that crusty academics (all over the web nowadays..) come to mind droning on about their considerable knowledge of film, to little effect, when a dynamic presentation like this wants to make you learn? It’s in a nutshell, but some nutshell, some nut, as Winston Churchill might have said if he used the words nutshell or even nut.
*Godard mention – aah, so satisfying to have got one in another post….he recommends in his latest interviews qua his new film wot he did in 3D but thinks 3D a waste of time, you all get out there with your iPhones alors recherche la femme et le pistol – or is it revolver with the accent on the -ver – et bien aussi le chien which might be a dog or a bitch and have some significance to the overall message of the film.
Leni Riefenstahl in the cutting room
Becoming a Professional Film & Video Editor -5 Tips to Think About When Getting Started as an Editor
By Lawrence Jordan
in Hollywood Reinvented
“The basic rules of film editing, first established in the silent era, still govern the industry today: maintain your eye lines, preserve continuity, respect planarity (the rules governing the transposition of three dimensions onto a two-dimensional plane), find a good rhythm, and, most important, always advance the story.”
This post by Nick Lacey
in The Case for Global Film film blog, has illustrative stills and did have a YouTube extract of the film till it was removed under ‘copyright claim by  Optimum Releasing . Are they mad? Surely it is good advertising for new generations to watch the film?
The link could have gone in COTA post
But it seems a good idea to put it separate for search purposes. So if you type ‘editing’ in the search box top right, you’ll get this but ‘editing Godard’ (par example) you will give this. Though not ever post has the correct category and tag labels, so you might miss. Though from my experience, search in wordpress seems to search on body of text as well.
The Top 10 according to Josh Timmermann in Stylus Magazine.
According to the wiki: cinematographer:
The term cinematographer has been a point of contention for some time now; some professionals insist that it only applies when the director of photography and camera operator are the same person.
Perhaps the director of photography (film or digital) should be called The Lilac Chaser, after the well-known visual illusion. In other words, he or she’s the one who knows how to produce a good visual effect in the completed film – which thereby enhances a good script – but also has the knowledge to avoid unintended visual consequences which might wreck a good script.
Josh talks about the opposite, where great cinematography props up an initially weak film idea.
I’ll put a link to Jim Emerson’s cinematography post here:
Read the comments as well which debate cinematographer/Director of photography.
Jim himself writes in reponse to a commenter:
The cameraman on set or on location must understand not only the sequence of shots, but the time of day, the temperature of the lights, how the film reacts in a multitude of situations, and even what time the sun will rise and set. Then there are the happy accidents that only the trained eye will catch, like the way the heat waves will play with the light in a telephoto shot. The cinematographer with experience will in many cases give the director the benefits of his or her knowledge.
(Which reminds me of the work of the location manager and the scouts, who themselves are the beginning of the the cinematographer’s work. It is they who will begin the work of noting where the sun sets and rises in relation to a building, say, and when, because they will be working from a script, will be able to see such things as whether it will be easy or diffcult to lay tracking down, which will effect how the film can look.)
No one has mentioned that a film (film or digital) is edited after it is made. So it is quite posible that much of a cinematographers work can be removed afterwards for non-cinematographic reasons, such as length of final film.
The more one looks at film the more the collaborative nature of film-making is highlighted. A professional editor (unless that means the director) works with the director and all the other major players on the film. Who can imagine the director of photography not being allowed in to see how the editing is going, and to perhaps have some say in how the editing is altering (for good or bad) the look he has set out to achieve?