DOCSLIB.ORG

The 'Art of Editing': Creative Practice and Pedagogy

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The 'Art of Editing': Creative Practice and Pedagogy The ‘Art of Editing’: Creative Practice and Pedagogy By Jillian Holt Submitted in fulfillment for the degree of Doctorate of Philosophy, Swinburne University of Technology, 2015 Abstract The topic of my doctorate studies, The ‘Art of Editing’: creative practice and pedagogy, has been undertaken as practice-led/practice-based research, and leads to new insights into creativity in editing and the teaching of editing practice. The artifact is designed as an educational resource, structured around a series of interviews with prominent Australian screen editors who discuss the creative attributes of editing in reference to their practice, and in terms of defining editing as a craft or an art. The exegesis supports the artifact in reflecting on my practice as a film editor, and also opens up a scholarly debate on theoretical, historical and contemporary notions of the creative editing practice through investigating integrated theory and praxis pedagogy, contemporary teaching practice and strategies including studio-based learning and visual-aided learning in teaching creativity. i Acknowledgements Firstly I would like to acknowledge my primary supervisor Dr Josie Arnold and sincerely thank her for her ongoing academic support, encouragement and positive affirmation for my project throughout the tenure of my doctoral studies. I would also like to acknowledge my secondary supervisor Dr Jason Bainbridge, and scholarly film-editing advisor Dr Karen Pearlman, for their support and in acknowledging my topic as significant in terms of current industry practice and the pedagogy of editing practice. I would like to thank my academic editors Joan Howard and Carol Goudie for casting a discerning eye over my exegesis. In reference to the production of the artifact, I would like to thank the cinematographers Edward Goldner and Andrew Hickinbotham for recording the interviews, designer Sarah Davies for the DVD cover, and editor Sioux Currie for DVD authoring. Most importantly I would like to acknowledge and thank the editors I interviewed for the artifact – Mark Atkin, Jason Ballantine, Jill Bilcock, Dany Cooper, Luke Doolan, Jack Hutchings, Ken Sallows – who were so generous in offering me their time, enthusiasm for the project, and their illustrious knowledge and experience in speaking so passionately about their practice and all things related to creativity in editing. Finally I would like to thank my family for all their support throughout my years of study and most notably my sons Morgan and Sacha for their patience and companionship. ii Declaration by Candidate I declare that the content for examinable outcome submitted as a PhD by artifact and dissertation contains: no material which has been accepted for the award to the candidate of any other degree or diploma, except where due reference is made in the text of the examinable outcome; to the best of my knowledge contains no material previously published or written by another person except where due reference is made in the text of the examinable outcome; where the work is based on joint research or publications, discloses the relative contributions of the respective workers or authors. The content of the exegesis was proof-read by professional editors Joan Howard and Carol Goudie. The work undertaken was in accordance with Current Australian Standards for Editing Practice and restricted to Standard D (Language and Illustrations) and Standard E (Completeness and Consistency). No advice was given on Standard C (Substance and Structure). Signed: Dated: iii Table of Contents Contents Section 1: An introduction to the project and the development of the artifact ................. 1 The Artifact .................................................................................................................. 1 Background for the project .......................................................................................... 2 The production of the artifact ....................................................................................... 6 Creative challenges in shooting and editing the interviews ......................................... 7 The Exegesis ............................................................................................................. 14 In Summary ............................................................................................................... 16 Section 2: Practice-Led/ Based Research: a reflection on practice based learning, practice theory and intuition .......................................................................................... 17 What Practice Led/ Based Research it offers me as a practitioner/ researcher? ...... 18 Autoethnography and self as research ...................................................................... 20 Making a research film .............................................................................................. 22 Reflective practice, practice theory and intuition ....................................................... 24 Intuition in editing ...................................................................................................... 26 In Summary: a reflection on practice-based learning and teaching creativity……….30 Section 3: The Art of Editing ......................................................................................... 31 Editing - the hidden art .............................................................................................. 31 A Brief History of Editing ........................................................................................... 33 Montage and mis-en-scene ....................................................................................... 40 The rise of the auteur and the impact on filmmaking today ....................................... 42 Film editing today ...................................................................................................... 44 How editors view their work in terms of art or craft ................................................... 46 In summary: good film, good editing ......................................................................... 50 Section 4: Looking at film editing through the prism of film theory ................................ 51 Where does editing sit as a ‘concept’ in terms of film theory? .................................. 52 There is no one predominant film theory ................................................................... 54 iv Where does film theory sit in terms of filmic investigation and analysis in practice- based studies? .......................................................................................................... 57 What insights did the early film theorist-practitioners bring to academic discourse as relevant to the practice of editing today? ................................................................... 60 Film Theory opens up the scholarly discussion on filmic investigation and representation of space, time, vision and meaning in cinematic text. ....................... 62 In summary: investigating editing through the prism of film theory ........................... 67 Section 5: Insights into teaching creative editing practice ............................................ 71 Creativity, can it be taught? ....................................................................................... 74 How editors learn their craft ...................................................................................... 79 Film schools are not a new concept .......................................................................... 82 The new film school ................................................................................................... 86 Film schools in Australia ............................................................................................ 87 In Summary: the challenge of teaching creative editing ............................................ 88 Section 6: The nexus of theory and practice in teaching creativity in editing ................ 91 The nexus of theory and practice .............................................................................. 91 Studio-based learning and collaboration in creativity ................................................ 93 Visual Aided Learning ............................................................................................... 96 In Summary: teaching creativity in editing ................................................................. 99 Section 7: In conclusion - The Art of Editing: creative practice and pedagogy ........... 100 References / Bibliography………………………………………………………………….104 Appendices ................................................................................................................. 110 Interview 1 – Ken Sallows ....................................................................................... 110 Interview 2 – Mark Atkin .......................................................................................... 121 Interview 3 – Dany Cooper ...................................................................................... 137 Interview 4 – Luke Doolan ....................................................................................... 145 Interview 5 – Jack Hutchings ................................................................................... 157 Interview 6 – Jill Bilcock .......................................................................................... 174 Interview 7 – Jason Ballantine ................................................................................
Load more

Recommended publications
  • In the Blink of an Eye Why
    Why Do Cuts Work? ell, the fact is that Apocalypse Now, as well as W every other theatrical film (except perhaps Hitchcock's Rope 3 ), is made up of many different pieces of film joined together into a mosaic of im­ ages. The mysterious part of it, though, is that the joining of those pieces-the "cut" in American termi­ nology 4-actually does seem to work, even though it represents a total and instantaneous displacement of one field of vision with another, a displacement that sometimes also entails a jump forward or backward in time as well as space. It works; but it could easily have been otherwise, since nothing in our day-to-day experience seems to prepare us for such a thing. Instead, from the moment we get up in the morning until we close our eyes at night, the visual reality we perceive is a continuous 3 A film composed of only ten shots, each ten minutes long, invis­ ibly joined together, so that the impression is of a complete lack of editing. 4 I was aware, talking to an Australian audience, of the bias inherent in our respective languages. In the States, film is "cut," which puts the emphasis on separation. In Australia (and in Great Britain), film is "joined," with the emphasis on bringing together. 5 6 IN THE BLINK OF AN EYE WHY stream of linked images: In fact, for millions of years­ context: The displacement of tl tens, hundreds of millions of years-life on Earth has motion nor change of context, ; experienced the world this way.
    [Show full text]
  • Runaway Production Problem? the Phenomenon of “Runaway” Film and Television Production from the U.S
    U.S. RUNAWAY FILM AND TELEVISION PRODUCTION STUDY REPORT TABLE OF CONTENTS I. Executive Summary Page 2 II. The U.S. Runaway Film and Television Production Problem – A. Runaway Activity/Trends Page 6 – B. Total Economic Impact Page 11 – C. U.S. Regional Impact Page 15 – D. Direct Labor Impact Page 16 – E. Future Impact Page 17 III. The Causes – A. Production Location Decision Drivers Page 18 – B. Exchange Rates and Factor Costs Page 19 – C. Foreign Tax Incentives Page 20 – D. Total Cost Differences Page 23 – E. Foreign Infrastructure Page 23 – F. The Integrated Approach and Canada Page 24 IV. Study Methodology and Key Terms Page 27 V. About Monitor Company Page 29 1 I. EXECUTIVE SUMMARY “economic” runaways. Note that the study’s scope included theatrical films, films for television, Background television mini-series, and thirty and sixty minute television series. Other types of productions such as In January 1999, the Directors Guild of America commercials, and news and sports programming (DGA) and Screen Actors Guild (SAG) retained were not included. Monitor Company, a leading management consulting firm, to conduct an investigation into What Is The U.S. Runaway Production Problem? the phenomenon of “runaway” film and television production from the U.S. The Guilds (on an The study results show that economic runaway film anecdotal basis) had been noting an accelerating and television productions are a persistent, growing, runaway phenomenon, and the need to create an and very significant issue for the U.S. In 1998, of objective quantitative analysis led to the study being the 1,075 U.S.-developed film and television commissioned.
    [Show full text]
  • Dance Design & Production Drama Filmmaking Music
    Dance Design & Production Drama Filmmaking Music Powering Creativity Filmmaking CONCENTRATIONS Bachelor of Master of Fine Arts Fine Arts The School of Filmmaking is top ranked in the nation. Animation Cinematography Creative Producing Directing Film Music Composition Picture Editing & Sound Design No.6 of Top 50 Film Schools by TheWrap Producing BECOME A SKILLED STORYTELLER Production Design & Visual Effects Undergraduates take courses in every aspect of the moving image arts, from movies, series and documentaries to augmented and virtual reality. Screenwriting You’ll immediately work on sets and experience firsthand the full arc of film production, including marketing and distribution. You’ll understand the many different creative leadership roles that contribute to the process and discover your strengths and interests. After learning the fundamentals, you’ll work with faculty and focus on a concentration — animation, cinematography, directing, picture editing No.10 of Top 25 American and sound design, producing, production design and visual effects, or Film Schools by The screenwriting. Then you’ll pursue an advanced curriculum focused on your Hollywood Reporter craft’s intricacies as you hone your leadership skills and collaborate with artists in the other concentrations to earn your degree. No.16 of Top 25 Schools for Composing for Film and TV by The Hollywood Reporter Filmmaking Ranked among the best film schools in the country, the School of Filmmaking produces GRADUATE PROGRAM experienced storytellers skilled in all aspects of the cinematic arts and new media. Students Top 50 Best Film Schools direct and shoot numerous projects alongside hands-on courses in every aspect of modern film Graduate students earn their M.F.A.
    [Show full text]
  • Filmmaking High School 1AB High School
    Filmmaking High School 1AB High School Course Title Filmmaking High School 1A/B Course Abbreviation FILMMAKING 1 A/B Course Code Number 200511/200512 Special Notes Course Description The purpose of this course is to provide a balanced visual arts program, which guides students to achieve the standards in the visual arts. In Filmmaking, students experience both the creative and technical aspects of filmmaking in conjunction with learning about historical and contemporary traditions. Story writing, story-based display, basic visual composition, and general reproduction skills will be included with camera techniques, animation, and line action planning. Traditional filmmaking traditions may be extended with video and multimedia technologies. Interdisciplinary experiences and arts activities lead to refining a personal aesthetic, and a heightened understanding of career opportunities in art and arts-related fields. Instructional Topics Historical Foundations of Cinema Aesthetic Decisions and Personal Judgment Introduction to Filmmaking and Multimedia Preproduction Planning Establishing a Theme Storyboarding and Scriptwriting Set, Prop and Costume Design Camera Techniques Design Elements in Cinema Sound, Lighting, Editing Live Action Filming Animation Techniques Documentation and Portfolio Preparation Careers in Cinema and Multimedia *Topics should be presented in an integrated manner where possible; time spent on each topic is to be based upon the needs of the student, the instructional program, and the scheduling needs of the school. California Visual Arts Content knowledge and skills gained during this course will support student achievement of Content Standards grade level Student Learning Standards in the Visual Arts. High School Proficient Upon graduation from the LAUSD, students will be able to: 1. Process, analyze, and respond to sensory information through the language and skills unique to the visual arts.
    [Show full text]
  • The General Idea Behind Editing in Narrative Film Is the Coordination of One Shot with Another in Order to Create a Coherent, Artistically Pleasing, Meaningful Whole
    Chapter 4: Editing Film 125: The Textbook © Lynne Lerych The general idea behind editing in narrative film is the coordination of one shot with another in order to create a coherent, artistically pleasing, meaningful whole. The system of editing employed in narrative film is called continuity editing – its purpose is to create and provide efficient, functional transitions. Sounds simple enough, right?1 Yeah, no. It’s not really that simple. These three desired qualities of narrative film editing – coherence, artistry, and meaning – are not easy to achieve, especially when you consider what the film editor begins with. The typical shooting phase of a typical two-hour narrative feature film lasts about eight weeks. During that time, the cinematography team may record anywhere from 20 or 30 hours of film on the relatively low end – up to the 240 hours of film that James Cameron and his cinematographer, Russell Carpenter, shot for Titanic – which eventually weighed in at 3 hours and 14 minutes by the time it reached theatres. Most filmmakers will shoot somewhere in between these extremes. No matter how you look at it, though, the editor knows from the outset that in all likelihood less than ten percent of the film shot will make its way into the final product. As if the sheer weight of the available footage weren’t enough, there is the reality that most scenes in feature films are shot out of sequence – in other words, they are typically shot in neither the chronological order of the story nor the temporal order of the film.
    [Show full text]
  • A French Impressionist Critical Approach to Terrence Malick's
    Life in Movement: A French Impressionist Critical Approach to Terrence Malick’s Films By Matthew Sellers Johnson A thesis submitted to the Victoria University of Wellington in fulfilment of the requirements of the degree Master of Arts in Film Victoria University of Wellington 2021 i ii Abstract Terrence Malick’s films from Badlands (1973) to The Tree of Life (2011) have generally received critical praise, as well as being the focus of detailed scholarly work. By contrast, his more recent films, what Robert Sinnerbrink refers to as the “Weightless trilogy” with To the Wonder (2012), Knight of Cups (2015) and Song to Song (2017), have been widely criticised and have been largely neglected academically. This thesis endeavours to situate the aesthetic features of these three films within a conceptual framework based in French Impressionist film theory and criticism. I will argue the ways in which these three films use natural light, gestures, close- ups, kinetic images and complex editing in relation to Germaine Dulac’s notions of pure cinema and Jean Epstein’s concept of photogénie. Moreover, these ideas can also be applied to films such as Days of Heaven (1978), The Thin Red Line (1998) and The Tree of Life. Thus, it is my contention that despite the significant changes to his filmmaking style evident in the Weightless trilogy, he remains a highly poetic director interested in the interior lives of his characters and the rhythms of life. iii Acknowledgements The following thesis would not be possible without the academic and personal support of the following people. First and foremost, I would like to thank Dr.
    [Show full text]
  • Great Expectations on Screen
    UNIVERSIDAD AUTÓNOMA DE MADRID FACULTAD DE FILOSOFÍA Y LETRAS DEPARTAMENTO DE HISTORIA Y TEORÍA DEL ARTE TESIS DOCTORAL GREAT EXPECTATIONS ON SCREEN A Critical Study of Film Adaptation Violeta Martínez-Alcañiz Directoras de la Tesis Doctoral: Prof. Dra. Valeria Camporesi y Prof. Dra. Julia Salmerón Madrid, 2018 UNIVERSIDAD AUTÓNOMA DE MADRID FACULTAD DE FILOSOFÍA Y LETRAS DEPARTAMENTO DE HISTORIA Y TEORÍA DEL ARTE TESIS DOCTORAL GREAT EXPECTATIONS ON SCREEN A Critical Study of Film Adaptation Tesis presentada por Violeta Martínez-Alcañiz Licenciada en Periodismo y en Comunicación Audiovisual para la obtención del grado de Doctor Directoras de la Tesis Doctoral: Prof. Dra. Valeria Camporesi y Prof. Dra. Julia Salmerón Madrid, 2018 “It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of light, it was the season of darkness, it was the spring of hope, it was the winter of despair” (Charles Dickens, A Tale of Two Cities) “Now why should the cinema follow the forms of theater and painting rather than the methodology of language, which allows wholly new concepts of ideas to arise from the combination of two concrete denotations of two concrete objects?” (Sergei Eisenstein, “A dialectic approach to film form”) “An honest adaptation is a betrayal” (Carlo Rim) Table of contents ACKNOWLEDGMENTS 13 CHAPTER 1. INTRODUCTION 15 CHAPTER 2. LITERATURE REVIEW 21 Early expressions: between hostility and passion 22 Towards a theory on film adaptation 24 Story and discourse: semiotics and structuralism 25 New perspectives 30 CHAPTER 3.
    [Show full text]
  • Wmc Investigation: 10-Year Analysis of Gender & Oscar
    WMC INVESTIGATION: 10-YEAR ANALYSIS OF GENDER & OSCAR NOMINATIONS womensmediacenter.com @womensmediacntr WOMEN’S MEDIA CENTER ABOUT THE WOMEN’S MEDIA CENTER In 2005, Jane Fonda, Robin Morgan, and Gloria Steinem founded the Women’s Media Center (WMC), a progressive, nonpartisan, nonproft organization endeav- oring to raise the visibility, viability, and decision-making power of women and girls in media and thereby ensuring that their stories get told and their voices are heard. To reach those necessary goals, we strategically use an array of interconnected channels and platforms to transform not only the media landscape but also a cul- ture in which women’s and girls’ voices, stories, experiences, and images are nei- ther suffciently amplifed nor placed on par with the voices, stories, experiences, and images of men and boys. Our strategic tools include monitoring the media; commissioning and conducting research; and undertaking other special initiatives to spotlight gender and racial bias in news coverage, entertainment flm and television, social media, and other key sectors. Our publications include the book “Unspinning the Spin: The Women’s Media Center Guide to Fair and Accurate Language”; “The Women’s Media Center’s Media Guide to Gender Neutral Coverage of Women Candidates + Politicians”; “The Women’s Media Center Media Guide to Covering Reproductive Issues”; “WMC Media Watch: The Gender Gap in Coverage of Reproductive Issues”; “Writing Rape: How U.S. Media Cover Campus Rape and Sexual Assault”; “WMC Investigation: 10-Year Review of Gender & Emmy Nominations”; and the Women’s Media Center’s annual WMC Status of Women in the U.S.
    [Show full text]
  • 10700990.Pdf
    The Dolby era: Sound in Hollywood cinema 1970-1995. SERGI, Gianluca. Available from the Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/20344/ A Sheffield Hallam University thesis This thesis is protected by copyright which belongs to the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Please visit http://shura.shu.ac.uk/20344/ and http://shura.shu.ac.uk/information.html for further details about copyright and re-use permissions. Sheffield Hallam University jj Learning and IT Services j O U x r- U u II I Adsetts Centre City Campus j Sheffield Hallam 1 Sheffield si-iwe Author: ‘3£fsC j> / j Title: ^ D o ltiu £ r a ' o UJTvd 4 c\ ^ £5ori CuCN^YTNCa IQ IO - Degree: p p / D - Year: Q^OO2- Copyright Declaration I recognise that the copyright in this thesis belongs to the author. I undertake not to publish either the whole or any part of it, or make a copy of the whole or any substantial part of it, without the consent of the author. I also undertake not to quote or make use of any information from this thesis without making acknowledgement to the author. Readers consulting this thesis are required to sign their name below to show they recognise the copyright declaration. They are also required to give their permanent address and date.
    [Show full text]
  • Course Syllabus
    DMA 325 EFP Videography (TTh 9:30am-12:00pm) Dr. George Vinovich, Professor & Chair, Digital Media Arts Office Hours: TTh 12-3pm in LCH A215 (310) 243-3945 [email protected] Mario Congreve, Lecturer, Digital Media Arts Office Hours: TTh 12-1pm in LIB B108 (310) 243-2053 Cell (310) 704-7635 [email protected] COURSE OBJECTIVE : Technical and theoretical aspects of shooting professional video on location using electronic field production techniques and equipment. Technical emphasis on proper staging, lighting, framing, shot composition, miking, and camera movement. Producer/director emphasis on oral “project pitch” presentation, pre-interviewing, script writing, location scouting, production filming, and post production editing. Each student co-producer team is required to pitch, write, film and edit a 5-10 minute Documentary Production according to the Documentary Project requirements. MATERIALS: (2) SDHC cards for camera original source footage Sony SDXC 64GB and final edited sequence (1) Stereo Headphones with 1/8” Mini Plug and 20ft Extension (For monitoring boom audio) (1) Solid State Drive (no rotational drives) 500mbps USB 3 (For backup and finishing room) (*) Food and beverages for talent and crew on location shoots, rehearsals, and casting sessions. COURSE CONTENT 1. Camera Systems - setup and operation of cinema camcorder system; use of various prime lenses for master shot, OS, and CU; use of neutral density filters for achieving shallow depth of field; use of scene files and other related camera menu variables to achieve various effects. 2. System Peripherals - setup and operation of system peripherals such as fluid head tripod, gimbal, dolly, crane, slider, battery packs, and chargers.
    [Show full text]
  • The Young Victoria Production Notes
    THE YOUNG VICTORIA PRODUCTION NOTES GK Films Presents THE YOUNG VICTORIA Emily Blunt Rupert Friend Paul Bettany Miranda Richardson Jim Broadbent Thomas Kretschmann Mark Strong Jesper Christensen Harriet Walter Directed by Jean-Marc Vallée Screenplay By Julian Fellowes Produced by Graham King Martin Scorsese Tim Headington Sarah Ferguson, The Duchess of York 2 SHORT SYNOPSIS The Young Victoria chronicles Queen Victoria's ascension to the throne, focusing on the early turbulent years of her reign and her legendary romance and marriage to Prince Albert. SYNOPSIS 1837. VICTORIA (17) (Emily Blunt) is the object of a royal power struggle. Her uncle, KING WILLIAM (Jim Broadbent), is dying and Victoria is in line for the throne. Everyone is vying to win her favor. However Victoria is kept from the court by her overbearing mother, THE DUCHESS OF KENT (Miranda Richardson), and her ambitious advisor, CONROY (Mark Strong). Victoria hates them both. Her only friend is her doting governess, LEHZEN (Jeanette Hain), who is seemingly as untrustworthy as the rest. Victoria’s handsome cousin, ALBERT (Rupert Friend) is invited to visit by her mother. He's also the nephew of her Uncle, KING LEOPOLD OF BELGIUM (Thomas Kretschmann). It's obvious that Albert has been coached to win her hand. At first she's annoyed as she has no intention of being married. She never wants to be controlled again. However Albert is also tired of being manipulated by his relatives. Victoria and Albert talk openly and sincerely and become friends. When he returns home she grants him permission to write to her.
    [Show full text]
  • Efficient Camera Selection for Maximized Target Coverage In
    . EFFICIENT CAMERA SELECTION FOR MAXIMIZED TARGET COVERAGE IN UNDERWATER ACOUSTIC SENSOR NETWORKS by Abdullah Albuali B.S., King Faisal University, 2009 A Thesis Submitted in Partial Fulfillment of the Requirements for the Master of Science Degree Department of Computer Science in the Graduate School Southern Illinois University Carbondale December 2014 THESIS APPROVAL EFFICIENT CAMERA SELECTION FOR MAXIMIZED TARGET COVERAGE IN UNDERWATER ACOUSTIC SENSOR NETWORKS By Abdullah Albuali A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Science in the field of Computer Science Approved by: Kemal Akkaya, Chair Henry Hexmoor Michael Wainer Graduate School Southern Illinois University Carbondale October 31st, 2014 AN ABSTRACT OF THE THESIS OF ABDULLAH ALBUALI, for the Master of Science degree in Computer Science, presented on 31 October 2014, at Southern Illinois University Carbondale. TITLE: EFFICIENT CAMERA SELECTION FOR MAXIMIZED TARGET COVERAGE IN UNDERWATER ACOUSTIC SENSOR NETWORKS MAJOR PROFESSOR: Dr. Kemal Akkaya In Underwater Acoustic Sensor Networks (UWASNs), cameras have recently been deployed for enhanced monitoring. However, their use has faced several obstacles. Since video capturing and processing consume significant amounts of camera battery power, they are kept in sleep mode and activated only when ultrasonic sensors detect a target. The present study proposes a camera relocation structure in UWASNs to maximize the coverage of detected targets with the least possible vertical camera movement. This approach determines the coverage of each acoustic sensor in advance by getting the most applicable cameras in terms of orientation and frustum of camera in 3-D that are covered by such sensors. Whenever a target is exposed, this information is then used and shared with other sensors that detected the same target.
    [Show full text]