Ansen, David, and Sawhill, Ray. “The New Jump Cut: Digital Editing Is Revolutionizing the Way Films Are Made and Look. It’s Also Creating Havoc.” Newsweek 128.10 (1996): 64. Web.
One thought on “Ansen, David, and Sawhill, Ray. “The New Jump Cut: Digital Editing Is Revolutionizing the Way Films Are Made and Look. It’s Also Creating Havoc.” Newsweek 128.10 (1996): 64. Web.”
This literature takes a stab at the new age of editing and uses big name director’s like Michael Bay to support the agenda. The article focuses on digital ending, and suggests that although it has allowed for incredible post-production scenes and work speeds to take place, it is at the cost of a somewhat genuine hand-made love for film. The article is an interesting look at modern day cinema and where it is headed, however it is intriguing to note it’s relevance some 20 years later. At the time, 1996, the digital age had only recently come into full form, however trials and errors over the past two decades would perhaps contrast this article’s view, and suggest that we are learning how to best deal with digital editing, and the larger and more sophisticated options it allows in post. The article provides a genuine concern for the direction of digital cinema in 1996, however looking at the current state of film, it seems as though we’ve listened and overcome these objections.
This literature takes a stab at the new age of editing and uses big name director’s like Michael Bay to support the agenda. The article focuses on digital ending, and suggests that although it has allowed for incredible post-production scenes and work speeds to take place, it is at the cost of a somewhat genuine hand-made love for film. The article is an interesting look at modern day cinema and where it is headed, however it is intriguing to note it’s relevance some 20 years later. At the time, 1996, the digital age had only recently come into full form, however trials and errors over the past two decades would perhaps contrast this article’s view, and suggest that we are learning how to best deal with digital editing, and the larger and more sophisticated options it allows in post. The article provides a genuine concern for the direction of digital cinema in 1996, however looking at the current state of film, it seems as though we’ve listened and overcome these objections.