The editor as animation inbetweener

Torre, Dan and Torre, Lienors 2004, The editor as animation inbetweener, in Image, text and sound 2004 : the yet unseen : rendering stories, RMIT Publishing, Melbourne, Vic..

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Title The editor as animation inbetweener
Author(s) Torre, Dan
Torre, LienorsORCID iD for Torre, Lienors
Conference name Image, Text & Sound Conference (2004 : Melbourne, Vic.)
Conference location Melbourne, Vic.
Conference dates 2004
Title of proceedings Image, text and sound 2004 : the yet unseen : rendering stories
Editor(s) Anastasiou, Pauline
Trist, Karen
Publication date 2004
Publisher RMIT Publishing
Place of publication Melbourne, Vic.
Keyword(s) Editing
Special effects
Cinematic language
Summary With digital compositing and digital special effects, the traditional edits of cut, dissolve and wipe, are being augmented by a more complex, yet liberating, creative process. This paper will explore how the language of film editing may be shifting and evolving due to new tools at the filmmakers disposal (and the ease with which to use them).

With the convergence of all media into the digital realm, the distinctions between animation and live-action filmmaking are continuing to blur. In fact, editing live-action film is now often similar to the process of animation. In many ways, the film editor is becoming like an “animation-inbetweener, ” of the “key posses” that have been “drawn” by the cinematographer.

This new animator/compositor/editor uses a variety of methods for creating inbetweens in order to connect two distinctly different scenes. These can include the use of; morphing, animated mattes, digital animation, and controlled complex dissolves. Not only can this process create a unique visual style, but in addition, new languages can also be explored.

Eisenstein was very interested in how new meanings can be created by the linear juxtaposition of distinctly different scenes. But what does it mean when these two scenes are allowed to evolve into each other?

Furthermore, the editor, can now easily allow selected elements to transcend between shots. It is now possible for the editor to decide what portions of the scene are most important, and what the viewer should take with them into the next scene. What should be highlighted, or what elements should be suppressed.

In order to illustrate these ideas, this paper will look at the earlier film editing theories of, Eisenstein, Pudovkin and G.W. Pabst, and the traditions and theories of animation. It will also showcase contemporary compositing/editing examples.
ISBN 0864593546
Language eng
Field of Research 190299 Film, Television and Digital Media not elsewhere classified
Socio Economic Objective 950104 The Creative Arts (incl. Graphics and Craft)
HERDC Research category EN.1 Other conference paper
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Document type: Conference Paper
Collections: Faculty of Arts and Education
School of Communication and Creative Arts
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