Editing has evolved significantly over time from early films with no editing to modern techniques. Early films had no editing and were single shots showing activity. The Lumiere brothers developed the first motion picture camera and projector. Edwin Porter introduced dissolves between shots in 1903. D.W. Griffith developed continuity editing to seamlessly match shots. Soviet montage editing used collision of shots to convey ideas. Sound editing began with recordings and The Jazz Singer in 1927 introduced synchronized dialogue. Modern editing is done digitally on computers with advanced software.

1. How Editing Has
Changed Over Time

2. What Is Editing?
 Editing is the process of selecting and preparing
written, visual, audible and film media used to convey
information. 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.

4. The Lumiere Brothers
 The Lumière brothers were born in Besançon, France, in 1866 and 1867, and
moved to Lyon in 1870, where both attended La Martiniere, the largest
technical school in Lyon. 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. They patented a number of significant processes leading up
to their film camera, most notably film perforations (originally implemented by
Emile Reynaud) as a means of advancing the film through the camera and
projector. The original cinématographe had been patented by Léon Guillaume
Bouly on 12 February 1892. The brothers patented their own version on 13
February 1895. The first footage ever to be recorded using it was recorded on
March 19, 1895. This first film shows workers leaving the Lumière factory.

5. Edwin S Porter
 Edwin Stanton Porter (April 21, 1870 – April 30, 1941) was an American early film
pioneer, most famous as a director with Thomas Edison's company. Of over 250 films
created by Porter, the most important films include Life of an American Fireman (1903)
and The Great Train Robbery (1903).
 In 1899 Porter joined the Edison Manufacturing Company. Soon afterward he took
charge of motion picture production at Edison's New York studios, operating the camera,
directing the actors, and assembling the final print. He collaborated with several other
filmmakers, including George S. Fleming. During the next decade Porter became the
most influential filmmaker in the United States. From his experience as a touring
projectionist Porter knew what pleased crowds, and he began by making trick films and
comedies for Edison. One of his early films was Terrible Teddy, the Grizzly King, a satire
made in February 1901 about the then Vice President-elect, Theodore Roosevelt. Like
all early filmmakers, he took ideas from others, but rather than simply copying films he
tried to improve on what he borrowed. In his Jack and the Beanstalk (1902) and Life of
an American Fireman (1903) he followed earlier films by France's Georges Méliès and
members of England's Brighton School, such as James Williamson. Instead of using
abrupt splices or cuts between shots, however, Porter created dissolves, gradual
transitions from one image to another. In Life of an American Fireman particularly, the
technique helped audiences follow complex outdoor movement.

6. D.W. Griffith
 David Llewelyn Wark "D. W." Griffith (January 22, 1875 – July 23,
1948) was an American film director, mostly remembered as the
director of the 1915 film the birth of a nation and the subsequent film
Intolerance.
 The Birth of a Nation (originally called The Clansman) is a 1915
American silent drama film directed by D. W. Griffith and based on the
novel and play The Clansman, both by Thomas Dixon, Jr. Griffith co-
wrote the screenplay (with Frank E. Woods), and co-produced the film
(with Harry Aitken). It was released on February 8, 1915. The film was
originally presented in two parts, separated by an intermission.
 The film chronicles the relationship of two families in Civil War and
Reconstruction-era America: the pro-Union Northern Stonemans and
the pro-Confederacy Southern Camerons over the course of several
years. The assassination of President Abraham Lincoln by John
Wilkes Booth is dramatized.

7. Development Of Continuity
Editing
 Seamless/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.

8. Montage Editing

9. Soviet Montage Editing
 Soviet montage theory is an approach to understanding and
creating cinema that relies heavily upon editing (montage is
French for 'assembly' or 'editing'). Although Soviet filmmakers in
the 1920s disagreed about how exactly to view montage, Sergei
Eisenstein marked a note of accord in "A Dialectic Approach to
Film Form" when he noted that montage is "the nerve of cinema",
and that "to determine the nature of montage is to solve the
specific problem of cinema".
 While several Soviet filmmakers, such as Lev Kuleshov, Dziga
Vertov, and Vsevolod Pudovkin put forth explanations of what
constitutes the montage effect, Eisenstein's view that "montage is
an idea that arises from the collision of independent shots"
wherein "each sequential element is perceived not next to the
other, but on top of the other" has become most widely accepted.

10. Classic Hollywood Montage
Editing
 Montage is a technique in film editing in which a series of short
shots are edited into a sequence to condense space, time, and
information. The term has been used in various contexts. It was
introduced to cinema primarily by Eisenstein, and early Soviet
directors used it as a synonym for creative editing. In France the
word "montage" simply denotes cutting. The term "montage
sequence" has been used primarily by British and American
studios, which refers to the common technique as outlined in this
article.
 The montage sequence is usually used to suggest the passage of
time, rather than to create symbolic meaning as it does in Soviet
montage theory.
 From the 1930s to the 1950s, montage sequences often combined
numerous short shots with special optical effects (fades, dissolves,
split screens, double and triple exposures) dance and music. They
were usually assembled by someone other than the director or the
editor of the movie.

11. Development Of Alternative
Editing Methods
 The New Wave (French: La Nouvelle Vague) 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 shots (like the famous traffic jam sequence in Godard's 1967 film
Week End). 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.
 Many of the French New Wave films were produced on tight budgets; often
shot in a friend's apartment or yard, using the director's friends as the cast and
crew. Directors were also forced to improvise with equipment (for example,
using a shopping cart for tracking shots). The cost of film was also a major
concern; thus, efforts to save film turned into stylistic innovations. For
example, in Jean-Luc Godard's Breathless (À bout de soufflé), after being told
the film was too long and he must cut it down to one hour and a half he
decided (on the suggestion of Jean-Pierre Melville) to remove several scenes
from the feature using jump cuts, as they were filmed in one long take. Parts
that did not work were simply cut from the middle of the take, a practical
decision and also a purposeful stylistic one.

12. Development Of Sound
Editing
 Sound design is the process of specifying, acquiring, manipulating or generating audio elements. It is
employed in a variety of disciplines including filmmaking, television production, theatre, sound
recording and reproduction, live performance, sound art, post-production, and video game software
development. Sound design most commonly involves the manipulation of previously composed or
recorded audio, such as sound effects and dialogue. In some instances it may also involve the
composition or manipulation of audio to create a desired effect or mood. A sound designer is one who
practices the art of sound design.
 Possibly the first use of recorded sound in the theatre was a phonograph playing a baby’s cry in a
London theatre in 1890. Sixteen years later, Herbert Beerbohm Tree used recordings in his London
production of Stephen Phillips’ tragedy NERO. The event is marked in the Theatre Magazine (1906)
with two photographs; one showing a musician blowing a bugle into a large horn attached to a disc
recorder, the other with an actor recording the agonizing shrieks and groans of the tortured martyrs.
The article states: “these sounds are all realistically reproduced by the gramophone”.
 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 movie stars Al Jolson, who performs six songs. The film is based
on The Day of Atonement, a play by Samson Raphaelson.

13. Diegetic sound and non-
diegetic sound.
 Both diegetic sounds and non-diegetic sounds are
used in practically every movie being made today.
 Diegetic sounds are from noises that are happening in
the scene that haven’t been edited in, this means
sounds like people talking or things like footsteps.
People can usually tell which sound is diegetic from
what they can see on the screen.
 Non-diegetic sounds are sounds that have been added
in, this can include things like music, a narration and
sound effects. Non-diegetic sounds are often used to
add drama to moments that would be silent without it.

14. Film Editing Technology
 Non-linear editing is the most natural approach when all assets are available
as files on video servers or hard disks, rather than recordings on reels or
tapes—while linear editing is tied to the need to sequentially view film or hear
tape.
 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. Moviola the company is still in existence and is located in
Hollywood where part of the facility is located on one of the original Moviola
factory floors.
 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. The two most common configurations are the "six-
plate" (one picture transport and two sound transports) and the "eight-plate"
(two picture and two sound transport) models. (You can see the edges of two
of the plates on the six-plate model pictured at the right.)

15. Modern Editing
 Editing Film can now be done by anyone and it’s pretty simple to
do basic editing, I myself use Adobe Premier Pro with my college
work, obviously if you’re in the film industry and edit films you
would much more sophisticated and complicated technology to
edit film.
 In the past editing would be done by hand and only a few
machines existed in the world that could show film, and now we
have the technology to edit film easily with a few clicks, we can
crop film, add sound effects and add smart transitions that can
make your film clips mesh seamlessly together.
 There are many different editing software that you can use to edit
film but they all pretty much do the same thing, here is a list of a
few of them: Pinnacle Studio, AVS Video Editor, Adobe Premiere
Pro, Final Cut Pro, iMovie 11, Corel Video Studio Pro, Adobe
Premier Elements.