1. VISUAL EDITING
The “Creative Stage”

2. 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

3. 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

4. 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

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

6. 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

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

8. 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

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

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

11. 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

12. 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

13. 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

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