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JUMPCUT CAREERS MOVIE
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This study provides information on the kinematic discrepancies between OMC and biplanar videoradiography that can be used to optimize methods employing both technologies for studying dynamic in vivo knee kinematics and kinetics during a jump-cut maneuver.Īctivities involving jumping, landing, and cutting are commonly associated with non-contact anterior cruciate ligament (ACL) injuries ( Griffin et al., 2006 Gianotti et al., 2009). Kinematic deviations between the two techniques increased significantly after contact. The OMC and biplanar videoradiography knee joint kinematics were in best agreement before landing. Over the entire activity, the within-bone motion differences between the two motion capture techniques were significantly lower for the tibia than the femur for two of the rotational axes (flexion/extension, internal/external) and the origin. The knee joint kinematic measurements were compared during two periods: before and after ground contact.

The within-bone motion differences were compared using anatomical coordinate systems for the femur and tibia, respectively. Ten volunteers performed a jump-cut maneuver while their landing leg was imaged using optical motion capture (OMC) and biplanar videoradiography. The goal of this study was to compare how STA affects the six-degree-of-freedom motion of the femur and tibia during a jump-cut maneuver associated with non-contact ACL injury. Biplanar videoradiography offers a unique approach to collecting skeletal motion without STA. Optical motion capture is widely used however, it is subject to soft tissue artifact (STA).

How technology has changed over the last 50 years and how Jon thinks it will evolve in the future.Jumping and cutting activities are investigated in many laboratories attempting to better understand the biomechanics associated with non-contact ACL injury.

The three key things that Jon looks for in a movie.

Times when Jon has had to choose between performance and visuals when making a cut.

How editing influences the ways a film elicits feelings in an audience.

Why Jon believes that a film is a communication device between filmmakers and their audience.

JUMPCUT CAREERS MOVIE

The differences between editing a big-budget movie and an independent movie.

The moment when Jon realized that he needed to trust his instincts when cutting a film.

“When you make mo vies, one of the most interesting parts is your preview which means you go to a real live movie theater and you get real – life people who want to see a movie, and they watch it, and you screen it, and your heart is in your stomach. “Movies need a lot of love … And sometimes some movies need more love than others.” – Jon Poll It’s a little bit of black magic.” – Jon Poll “Editing is a very, very much of a hidden art. Jon also gives his advice and insight to an emerging editor moving up in the business and highlights the pros and cons of niching down as an editor. He shares the differences between what an editor looks for and what a director looks for in a cut and why that difference in perspective can lift a film to the next level. On the My Creative Careers show this week, Jon explores what it means to be a film editor and describes his role in the movie-making process.

JUMPCUT CAREERS SERIES

He was also executive producer for The 40 Year Old Virgin and co-producer for Brüno and the television series TV 101 and Eerie, Indiana.

Jon made his directorial debut in 2007 with the comedy-drama Charlie Bartlett. As an editor, Jon worked on 18 films between 19, including Weeds, Austin Powers: The Spy Who Shagged Me, Mystery, Alaska, Meet the Parents, Scary Movie 3, Forever Young, and Death to Smoochy.

He attended the University of Southern California’s School of Cinematic Arts and graduated in 1981 with a major in film production. Jon Poll is a director, film editor, and producer.