Hrvatski filmski ljetopis, broj 26 (2001) - Hrvatski filmski savez

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