Hrvatski filmski ljetopis, broj 26 (2001) - Hrvatski filmski savez
Hrvatski filmski ljetopis, broj 26 (2001) - Hrvatski filmski savez
Hrvatski filmski ljetopis, broj 26 (2001) - Hrvatski filmski savez
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The basis for computer digital nonlinear editing is the concept<br />
of true random access. In other words, any frame of<br />
film can be accessed in any time and order. Practical implications<br />
of this concept on the creative process and its final<br />
result are immeasurable.<br />
The computer digital nonlinear editing obviously brought<br />
many improvements in the process of editing. Much of the<br />
time spent on manual work is now free for creative work.<br />
Instant reviewing on the set enables the author to find the<br />
best solutions on the spot, to make quick changes as well as<br />
easily preserve several versions of the same sequence.<br />
Multilayered editing enables the author to work directly on<br />
the visual structure of the frame, that is to say, in-frame editing,<br />
which created a completely new form of editing expression<br />
while also opening new creative possibilities in the field<br />
of sound. Simplified communication resulted in a much better<br />
interaction with other postproduction departments consequently<br />
resulting in more creativity and smaller editing<br />
and production costs.<br />
Digital technology, computers particularly, in the editing<br />
process and the production as a whole represent an ideal<br />
mixture of traditional and contemporary trends. The best of<br />
traditional film editing, i. e. the concept of nonlinear editing,<br />
was merged with all the advantages of digital technolgy.<br />
The result was a much more pleasant and effective working<br />
atmosphere and a technical base for the evolution of the<br />
process of editing, especially the evolution of its creativity.<br />
Judging by what we know now, these changes are only the<br />
beginning. Next step is the transformation of the medium<br />
itself. First major development in that sense was already<br />
achieved by the replacement of the film negative (35mm)<br />
with the video format of the same or higher quality (High<br />
Definition TV format). At present a yet newer format is<br />
being introduced, 24p, Sony’s new format also called digital<br />
cinema. Its resolution of 1920x1080 pixels is very close to<br />
the film 2K resolution (2000 lines). By its technical characteristics<br />
(16: 9 format, 2K resolution; 24 frames per second)<br />
this digital standard is the closest to the 35mm film.<br />
At the same time, various experiments are being carried out<br />
all around the world, which do not necessarily have anything<br />
to do with film industry, nevertheless, could soon<br />
make a significant impact on it. Experts are working on the<br />
techniques of picture presentation (2D and 3D) directly on<br />
the retina. They are trying to incite the brain to receive outside<br />
information directly via radio waves, avoiding sight and<br />
hearing. Another type of experiments concerns the presentation<br />
of film picture and surround sound in its full quality<br />
over the Internet. One should not forget the experiments<br />
with virtual reality.<br />
The consequences of these new developments will undoubtedly<br />
be grand. Any time soon, we will most probably edit a<br />
virtual 3D action in real space. Nevertheless, no matter how<br />
dramatic these changes may be on the level of editing<br />
expression, the editing process, in its foundations, remains<br />
the same. The work will still consist of shortening material<br />
to a needed length, creating adequate temporal and spatial<br />
202<br />
<strong>Hrvatski</strong> <strong>filmski</strong> <strong>ljetopis</strong> <strong>26</strong>/<strong>2001</strong>.<br />
relationships, dynamics and the dramaturgical structure of<br />
the story. However, technical changes and new working<br />
methods are opening doors to creativity and enable us to<br />
travel in a number of new directions where the only limitation<br />
is — our own imagination.<br />
UDC: 791. 44. 071. 1 (438) Dumala P.<br />
781. 43 — 252 (438)<br />
Midhat Ajanovi}<br />
Brilliant Nuances of Darkness —<br />
Piotr Dumala’s Animations<br />
Polish animated film belongs to the leading film industries<br />
in the world when we take into consideration its creative<br />
achievements and a number of minutes of animation produced<br />
in one year. The pioneers of Polish cinema viewed<br />
animation as a very important genre from the very beginnings,<br />
if not the most important. In practice, animation<br />
started to develop in Poland after 1916 when Felyks<br />
Kuczkowski made his first animated film, while Zenon<br />
Wasilewski founded the first studio for animated film<br />
Triofilm at the end of 1930’s. Until the end of World War II<br />
nothing much was happening, but then in 1950’s started the<br />
golden age of animation in Poland. Four different studios<br />
for animation were founded, in Bielsko-Bialama, Krakow,<br />
Lodz and Warsaw creating a precious and unique cinematic<br />
and historical phenomenon. At the same time, with a number<br />
of over 2000 animated films produced Poland is one of<br />
ten countries with the richest production of animation.<br />
Polish animation is characterized by absurd, macabre films,<br />
films with nightmarish atmosphere achieved through brave<br />
and original experimenting with unique graphics techniques<br />
and audiovisual processing of the film form. Polish animators<br />
Jan Lenica, Walerian Borowczyck, Witold Giersz,<br />
Miroslav Kijowitcz, Ryszard Czekala, Daniel Szczechura,<br />
Zdislav Kudla, Jerzy Kucia or Zbigniew Rybczynski preferred<br />
working with unusual forms of expression; using<br />
methods of model animation, collage and flicker rather than<br />
those of classical animated film.<br />
Sophisticated artistic and animation forms were combined<br />
with a literary content and typically middle European characters,<br />
pessimists making fun at their own expense, laughing<br />
at the hopelessness of their situation in the world resembling<br />
a gigantic trap they are caught in. Totalitarianism of the<br />
modern age, which has left deep scars on Poland, was best<br />
portrayed in the animated medium.<br />
These films superbly developed a certain surreal visual language<br />
that described the subconsciousness and dark nightmares<br />
of lonesome losers, their anguish in the ambiance of<br />
entrapment they were born into. Painting absurd, often<br />
morbid dreams of these pessimists who have lost all their<br />
illusions, human caricatures that wander through the tunnel<br />
with no entrance nor exit, Polish animators spoke about<br />
their reality, political system and the society they grew up in<br />
and harshly criticized it.