Iwan, who created the Moviola in 1924, and Mark, who took
over in 1946, were humble men who derived satisfaction from work itself, not
from public acclaim. They shared a deep sense of obligation toward their
product and customers--an attitude that never brought fame or fortune during
their lifetimes, but won them the respect of the film industry worldwide.
Prior to its near-ubiquitous presence, up-right editing
machines like the Moviola were predominately used. However, as noted in a New
York Times article from 1970, this changed significantly as Steenbeck editing
tables [made] “the standard Moviola film-editing machines seem as outdated as a
pinhole camera” (Gussow 1). The Steenbeck surpassed its vertical predecessor in
speed, sound quality, and it operated more quietly, with larger viewing
monitors (Encyclopedia Britannica). And while the American-manufactured KEM
editing table posed some competition within the flatbed market, the high
engineering standards of the Steenbeck allowed it to excel as the
principle-editing tool employed for nearly forty years.
The Steenbeck is a flat, table-based machine on which film
and soundtracks lie on their sides on flat rotating plates (Fairservice 333).
There is a take-up plate for each supply plate, and each pair is responsible
for transporting one image or soundtrack. Via a series of mirrors, the film is
then clearly projected onto a screen after passing in front of a multi-sided,
“rotating prism illuminated from behind” (Fairservice 333). The picture could
be paused, or played forward and backward at any speed to allow for very close
and precise examination of each frame.
The
Steenbeck was built to handle both 16mm and 35mm film of which hundreds of
thousands of feet were used for each production. The editor would make his/her
desired cuts in grease pencil, and splice with cement or tape. But it was
generally the assistants to the editor who were responsible for “manually
enter[ing] scene numbers, take numbers, and roll numbers into notebooks”
