Before the use of non-linear editing systems, editing was done with a workprint which is a copy of the film. You would cut and paste pieces of the film together using a splicer and then thread through a machine with a viewer such as a Moviola or flatbed machine such as a K.E.M or Steenbeck to make sure what you have put together is correct.
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Moviola
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| Steenbeck Machine |
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| Steenbeck Machine |
When the workprint had been cut to the state that you want it, it was then used to make an edit decision list also known as an EDL. Now day’s production companies have the option of bypassing negative cutting process as they feel it is easier not to do it, as the physical negative does not need to be cut and hot spliced together as there is different technologies that can do the workprint process quicker.
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Splicer
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Today most films are edited digitally on programs such as Avid or Final Cut Pro then then helps you bypass the workprint. In the past, the use of a film positive which is not the original negative, allowed the editor to do as much experimenting as he or she wished, without the risk of damaging the original unlike today.
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Final Cut Pro
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The machine at the top of your post described as a Steenbeck is actually a Movieola flatbed editor. I used to work with one of these, serial number 0001. They are not as compact as a Steenbeck
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