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Why use linear work flows with non linear tools?
Stockholm University of the Arts, The Film and Media Department.
2016 (English)In: The New Soundtrack 6.1 2016, ISSN 2042-8855, Vol. 6, no 1Article in journal (Refereed) [Artistic work] Published
Abstract [en]

Although the technologies used to make films have changed completely during the 90-year life of sound film, the film making workflow has remained strangely unaffected. We still make films as if they are shot on film that has to be developed and printed by a lab, mechanically cut and spliced by a film editor and sound edited on mag tape. The transition to digital cameras and sound recorders and digital non-linear editing machines and audio work-stations, has had very little impact on the working practices of the film industry.

This article proposes to change that. The transition in to a non-linear workflow would enable everyone involved in film post-production to collaborate in a more dynamic and creative way. By allowing more time for the sound editor and picture editor to experiment with sound in the editing process, more informed choices can be made in this critical phase. It would also enable the sound editors to have creative collaborations not only with the editor and the director, but also with the composer.

Place, publisher, year, edition, pages
Edinburgh, 2016. Vol. 6, no 1
Keyword [en]
sound editing, non-linear workflow, creative collaboration, sound design, theatrical practice, film editing, film music, computer games
National Category
Arts
Research subject
Artistic practices
Identifiers
URN: urn:nbn:se:uniarts:diva-208OAI: oai:DiVA.org:uniarts-208DiVA: diva2:1086777
Available from: 2017-04-04 Created: 2017-04-04 Last updated: 2017-04-04

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CiteExportLink to record
Permanent link

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Citation style
  • apa
  • harvard1
  • ieee
  • modern-language-association-8th-edition
  • vancouver
  • Other style
More styles
Language
  • de-DE
  • en-GB
  • en-US
  • fi-FI
  • nn-NO
  • nn-NB
  • sv-SE
  • Other locale
More languages
Output format
  • html
  • text
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