The idea that digital editing tools should be considered ethical for their own purposes is not new. In the United States, for example, “ethical” digital editing methods had been used by filmmakers for more than 25 years by the time Disney became interested in producing a film using Final Cut Pro X in 2006. In its ethics section, the company states:
While some ethical software contains content or content-related features that may be objectionable, others are simply tools that facilitate editing. They are designed to assist in the creation of film, rather than to violate any particular individual’s human rights or to promote any particular individual’s interests.
In 2006, the National Association of Broadcasters (NAB), an organization of U.S. cable industry members, published a statement explaining why it considers the use of digital editing tools as ethical. The letter cites the following as examples of “technological safeguards necessary to protect individual rights”:
The ability to pause, stop, and rewind film. The ability to control the length of the film if it becomes long enough. The ability to edit individual frames with a specific length or type of clip on a separate track. The ability to cut between scenes, instead of the overall film. The ability to create new clips from existing scenes. The ability to replace footage with new footage.
When using digital, these safeguards are not applicable.
What is Adobe’s stance on digital editing?
When it comes to digital, one thing that’s common to all the major Adobe products is that their content is created using proprietary digital editing software, in this case, the “Creative Cloud” suite, which includes Adobe Premiere Pro, Final Cut Professional, and Photoshop. In addition to a standard set of editing functions, the software has additional features, such as “speed up,” “auto-fade,” and “zoom,” which allow the user to manipulate images with minimal effort, regardless of their resolution or size.
Since the launch of Creative Cloud, Adobe has been continuously working with digital-effects companies to make these tools interoperable. For instance, as of the third quarter of 2016, Adobe’s content was capable of being imported into most editing programs, and since March of 2016, all major photo editing software such as Photoshop, Photoshop Lightroom, and Procreate can utilize Adobe’s “Hustle” software, which allows users to create the most complex and realistic looking images possible.
When editing, many viewers and consumers assume that they’re “on the Internet”
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