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VJ Vertov: from the compositing interface to the use of the projection space

机译:VJ Vertov:从合成接口到使用投影空间

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摘要

Once digitization had been standardized in the process of audiovisual creation, there has been an improvement over the last decades in the efficiency of storage, coding and transfer systems, an integration of editing and compositing procedures, an increased potential for real-time image and sound manipulation and an increase in the mediation of software and its interface in creative processes. On the basis of both a representative work - Chelovek S Kino-Apparatom (Man with a Movie Camera, Dziga Vertov, 1929) - and the considerations of Lev Manovich, one of the leading theorists on the subject, this essay is intended as a starting point for addressing issues related to the mutations produced in the traditional concept of film editing as a consequence of the digitization process described above. For this purpose, the authors summarize the results of practical research based on the real-time filmic reinterpretation of the film's editing.
机译:一旦在视听创作过程中,数字化就标准化了,在过去几十年中,在储存,编码和转移系统的效率,编辑和合成程序的集成方面,已经有所改善,实时图像和声音的潜力增加 制衡与创新过程中软件调解的增加。 在代表性工作的基础上 - Chelovek S Kino-Agantom(带有电影摄像头的人,Dziga Vertov,1929) - 以及Lev Manovich的考虑因素的领先理论家之一,这篇文章旨在作为一个起始 解决与上述数字化过程的传统薄膜编辑概念中产生的突变相关的问题。 为此,提交人总结了基于电影编辑的实时胶片再诠释的实践研究结果。

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