August 2016

Videos convinced him to become a terrorist, then a traitor

For 27-year-old Harry Sarfo from Germany, ISIS propaganda videos were part of what initially attracted him to join the terror group. But as he witnessed one of their propaganda videos being made, he realized it was not the scenario he had imagined and decided to desert. [...]

Why subjective perception in film and video really matters

Films and videos are filmed by cameras or generated on computers. Either way, it’s always about working with image sections. The term image section already says it all: with a detail, or a part of the whole. With that and that alone, films and videos already have a perspective, whether intentional or not. Just like photographs, a film or video is not and never able to reveal objective reality. [...]

Editing video and film correctly (4/4)

If we believe the demagogues and the theory of film, the moving image is the very most dangerous of all media. The killer argument why this is true: a film or a video has no final form before a large number of different settings have not been interlinked. As opposed to a photograph (at least before Photoshop existed), this link, incurred during editing, offers hardly controllable options of manipulation. [...]

Editing videos and films correctly (3/4)

Irrespective of the type of definition and independent of genre, talent and the cutter’s know-how: film-related rhythm cannot be equated with mathematical precision. The rhythm of a film is shown by its cut, but not exclusively so. A film’s rhythm is also determined by the way the camera is guided, the actors’ movements, the director’s orchestration, yes, even the language tempo of the voice-over commentary or the means of interpretation of the dialogues and naturally, also the music. They all contribute to the rhythm of a film being more than the mere total of its individual components. [...]

Editing film and video correctly (2/4)

Editing and parallel editing can only be applied successfully when the cutter or the editor observe the dramaturgical film requirements. The hereby assumed artistic talent, combined with experience and deep knowledge, is one good reason why films are not cut, but edited. [...]