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Though it has spawned four sequels, two TV spin-offs, and a pending remake, Highlander was not initially a commercial or critical success. Interesting, I would have thought that Richard Donner’s version of Superman II would be included on the list.
However it is nearly unique that the original footage is recovered and given back to the director after 30 years to edit into a final, almost new movie with unseen scenes starring heavyweights like Marlon Brando and Gene Hackman. Given StyleBlazer’s questionable expertise with films, I can see why this was omitted.
The Donnor cut had a better direction than the released version, the only thing that makes it bad in any way is the unfinished state of the scenes. Am I one of the few people who actually preferred Harrison Ford’s voiceover in Blade Runner?
There’s a lot of great recuts on this list, but how could forget James Cameron’s The Abyss? When adding more and more state frames to a movie, it becomes increasingly important to have an overview about the defined states, and to quickly allow changing the content of a state. When adding a state, a number of inter-state frames is added for interpolation between states. Why take mediocre home movies when you can take videos that truly dazzle friends and family for a lifetime? I probably don’t need to tell you not to shoot videos with your smartphone held vertically. The amount of money used to create the effects-filled and dramatic The London Project movie was shockingly low as its producers used a crowdsourced platform for the editing of the film.
Filled with more than 780 advanced computer-generated effects throughout, The London Project was created through the work of individuals in the Blender Community, one which was created under the Blender website, a crowd-coded 3D package. It is a testament to the new age of collaborative film-making, showing how although the Internet initially is viewed largely as a negative for independent film-makers, it does still have a positive aspect.
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Now the film needs to do image editing processing, but the below images using software Photoshop are just for funny.
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Editing is one of the most important steps in any filmmaking process, and yet, if it is done well, it will often be ignored.
These 20 examples defied the idea of montage as a passive construction and instead developed techniques to make this aspect not only visible, but emotionally impactful. Cross-cutting means to intercut actions on different locations, essentially enabling the film to show two different actions at the same time. Some of the themes in “Battleship Potemkin” have aged, but its editing techniques certainly have not.
At a time in which it was uncommon to move the camera, Gance’s inventiveness is hard to believe.
Gance wasn’t shy about moving the camera, and there are a lot of innovative angles in the film, including some subjective shots from a horse, or from the point-of-view of a snowball falling.
In Vertov’s film there is no narrative, but instead, the film is an enormous, abstract portrait of a city told through a montage of images of Soviet people working and performing routine activities. The film also used several special montage techniques, such as the use of double exposure, fast and slow motion, picture-in-picture, re-framing, stop motion, and backwards footage, among others. The film bombed everywhere but overseas, causing audiences in America to discover it through home video.


The original cut made it seem like a slow, dull movie about a crazy guy and a bunch of Nosferatu wannabes. Limited browsing through states is possible when using the State spin box in the Player or the Edit state spin box in the Edit States tab in the Movie Studio window.
The first column, Frame, of each row shows the frame number after which the respective state will be reached (see below on how to change the number of frames between states).
There may be more than one person in the family who is taking video shots the holiday table, singing or snow fights. If you're waiting on The London Project to make its debut, you'll have to wait until midsummer. From mastering old techniques to bringing “mistakes” purposely to a scene, editing has developed and enlarged its codes through time. These films didn’t have the knowledge or consciousness of a wide variety of shots and angles and were, in fact, shot in studios, which necessitated minimal camera movement and virtually no close-ups. A mandatory film for anyone studying montage, the great thing about the editing is how much Eisenstein himself wrote about his techniques.
The film itself had many problems, largely because its length made it a difficult sell, but the issue was never resolved and there are now several versions of “Napoleon” available. Fiction was the new “opium of the people”, and, according to them, their new “kino-eye” project was the only way to make real socialist cinema. A lot of these techniques would later be credited as novella vague or praised in avant-garde cinema, but they were already here in the late 20’s. In another scene, a mirror breaks inside a house, and in the next shot its pieces are falling on a beach.
She used the rough cut at strategic moments to change the background or character, but she also made thoughtful use of the swish pan to jump from one place to another. Consisting of only 10 shots and 10 cuts, the film was intended as something similar to a continuous long-shot. He established a new approach to editing: choosing not to cut is just as important as choosing when or how to cut.
Though considered a cult classic for years, critics only began re-appraising Highlander as a serious work after the director’s cut was released. It made it more noir for me and Scott deciding to make Deckard a replicant screwed up the entire humanity theme of the film. That was one of the only movies I ever went to see in theaters where people actually walked out and never came back.
For a more global overview, Movie Studio provides the States Timeline pane containing a table listing all defined states with associated information.
At the time, the act of cutting was a utilitarian narrative transition, merely a way to get from one scenario to another.
He was a theorist as well as a filmmaker, and in his films, he put his theories into practice. Multiple exposure, split-screen, or even mosaic screen are first seen in Gance’s masterpiece. Although he learned from Eisenstein’s theories, Vertov had one major issue with his films: the notion of narrative as the backbone of a film. Deren’s work has enough bravery and experimentation to prove its own worth, even if this extremely psychological approach didn’t have a lot of respect for space or character continuity. There is also some pixilation animation, and Deren plays games with subjective camera angles. Most of the cuts in “Rope” are hidden: putting the camera in front of a black coat to block the lens, or going behind a piece of black furniture to make the cut unnoticeable, thereby tricking the audience.


When the editing doesn’t come from the cuts, the viewer has to force himself or herself to complete the editing with his or her eyes. To give a sate a more expressive name, simply override it by double-clicking the respective cell in the table.
The number of inter-state frames can be changed also later by pressing the Multiply button.
This version let’s you edit scenes of the same event captured from different cameras in an easy and friendly interface.
In these early films, all the action occurring in a scene was shot in that same scene: if the protagonist was running from a train, that “train” was in the same shot with him. Even if filmmakers do not directly credit him, his techniques are now so well-ingrained into filmmaking that they are impossible to avoid.
Polyvision, for instance, was one of Gance’s inventions and it consists of three images from the same scene projected on three different screens. All these elements were combined with different levels of success, but the braveness of Gance’s decisions is still visible. Instead of a run-through of random images, we have an intellectual exercise about a city and its political future told in the way the film was cut. All of these techniques (and more) are displayed in 13 minutes in a short cut made in 1943, so it is easy to understand why her work is still so important. Depth of field becomes more prominent and requires an active eye to understand what is going on. The third column, Meshes, list the names of the meshes, which were present when a state had been defined and which will be reloaded from disk if necessary. As described earlier, a new state can be added at the end of the current movie by clicking the Add State button.
This will multiply the frame number of each state by the number specified in the Scale inter-frame by spin box. Then, plan to shoot a lot of close-ups and wide angle shots because these make good cut-aways when you have long footage that needs to be broken up. Porter is the first registered case of dispensing with this traditional wisdom and employing cross-cuts. Marxist dialectic contributed to new editing techniques, which consisted of clashing two disparate images together to generate a new mental idea.
This idea was taken to the extreme on Sokurov’s “Russian Ark” (2002), and the influence is actually visible in the hidden cuts of “Birdman” (Alejandro Gonzalez Inarritu, 2014). The fourth column, Bitmaps, lists one or more bitmaps, which have been associated with a state (for details, see topic Adding Bitmaps). If the Copy bitmaps when adding new states option is turned on, the bitmaps from the previous state will be copied over to the new state. The content of a state can also be replaced by the content of the current render window by clicking the Replace State button.
This is an important option for defining the final "smoothness" of a movie and for determining the speed of the movie when exporting it to a standard movie.



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