Maybe some not tech-savvy editors are afraid that these techniques are difficult, or that the “classic-NLE” means of editing will become obsolete. Where do you think this perception might come from? Is it the unfamiliarity with the technique, a misunderstanding, or is there something more to it?Įxperienced editors might think that PEVs will replace basic skills and techniques of storytelling in film editing. I too have heard of PEVs referred to as “tricks” not related to storytelling even by experienced editors. It looked acceptable, so I left it in the movie. I did a split screen with slowdown on this moving character, so the two of them sat together a little longer. I wanted to hold a shot of them sitting for a little longer, but one of the characters got up and walked away. I guess it was one of the films in film school. PEVs create what was intended on set but never happened there.Ĭan you recall the first time you used these effects, and can you tell us what your thought process was at that time? It’s the synthesis of what was shot on set but not at the same time. It’s mainly visual elements, but I extend that to audio, with all the ways that sound can help “sell” a shot or a scene. PEVs are techniques of merging audiovisual elements of film that are at editor’s disposal. I think using PEVs gets editing even closer to directing.Ĭould you describe PEVs in your own words? When I learned about PEVs I was relieved, that maybe it’s not cheating – that it is the evolution of editing techniques. I was taught to always find a way using a simple cut, not to resort to “tricks”. I thought it was cheating – and I was ashamed that I couldn’t find a “proper” editing solution to a problem in the movie. But I used these kind of effects intuitively before. I read and watched various interviews and videos with them, where they described the process. I guess Kirk Baxter, Angus Wall and Alan Edward Bell got me inspired.
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How did you first learn about Performance Enhancing Visual Effects (PEVs)? During recent years I focused on various 3D stereoscopic projects. I graduated from the Polish National Film, Television and Theatre School in Łódź (specialization in film editing), I have cut documentaries, music videos and ads. He worked on recently released No Panic, With A Hint of Histeria, and Czułość, which is going to arrive to the cinemas somewhere in the first quarter of 2016.
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Zbigniew Stencel is a Polish film editor.
#FXPHD REVIEW SERIES#
This interview is part of the larger series about Performance Enhancing Visual Effects.