VISUAL EDITING The “Creative Stage”

BASIC EDITING Single camera - all in post Multiple camera - switcher+post Good editor: Problem solver Creative artist Team player with director Depends on cine/videographer & script supervisor

NON-LINEAR VIDEO EDITING Tape or film stock digitized into memory 1 frame of non-compressed=1 MB 1 min.video= 1.68 GB Compression Ignores common aspects Must be rebuilt when converted

COMPRESSION Common compression systems DVI -Some multimedia JPEG - still images MPEG - full color motion video/audio Ratios: from 2:1 to 5:1 Higher ratio, less memory, lower quality

HARDWARE CPU + Lots of RAM Hard drive(s) Monitor(s) Speakers Tape decks

SOFTWARE Shows picture/audio in graphic timeline 2nd monitor shows actual shots, not thumbnails Cut & paste-same as word processing “Virtual” edit-instructions to computer stored in memory Efficient and flexible, but time consuming

EDIT PROCESS Virtual stage Download shots-stored in memory Arrange on timeline Trim-adjust Add effects, transitions Audio on own timeline Render Output

ANALOG VIDEO EDITING Off-line vs. On-line Assemble editing p. 340-341 Insert editing Controller Jog-shuttle controls Choice of tracks Set in-out points, any 3

TIME BASE CORRECTOR Stabilizes poor sync Change phasing-some color correction Level correction:gain & pedestal Can not correct poor shot or bad tape

TIME CODE A specific address on the tape Within the signal (VITC) Separate track Provides absolute position on tape SMPTE SONY-others

FILM EDITING I Electronic vs mechanical Mechanical Electronic- same as videotape Mechanical Processed film is printed= 1-light workprint Workprint physically cut & spliced Measure twice, cut once

FILM EDITING I I Rough cut-then final cut Original film conformed (matched) to edited workprint Requires at least two rolls (A/B) of original film Edited on: Bench, Movieola, flat-bed

FILM EDITING I I I Tape or hot cement splices Fullcoat tracks dubbed to one (2) tracks Leaders cut and marked accurately Indicate: p. 357 Fade in/out, dissolves, supers, etc Edge numbers: on negative or printed

FILM EDITING IV The Bench Viewer Rewinds Synchronizer Sound reader Sound heads on synchronizer Two strong arms