Video Editing and Post-Production

by Anderson, Gary H.

• ISBN13: 9780240803371
• ISBN10: 024080337X
• Edition: 4th
• Format: Paperback
• Copyright: 1998-08-01
• Publisher: Focal Pr

Summary

Videotape Editing and Post-Production emphasizes the basic information that professionals need to acquire a practical, working knowledge of editing equipment and the post-production process. this book is a "real world" guide to both the technical and non-technical aspects of videotape production. The text and numerous illustrations bring the reader up-to-date on the latest developments in video, including component video signal, field rate SMPTE time code, Betacam SP (TM), VHS HiFi, the videotape editing bay, control edit list cleaning, and multi format editing. Anderson also provides timely information on the latest film to video offline systems, track editing, time-code editing, offline editing, digital video effects systems, electronic animation and graphics systems, and personal computers that function as edit controllers and edit list management tools. Combining basic information on editing equipment and techniques with tips on budgeting, organization, and getting into video editing, this is a valuable reference tool for experienced and novice editing professionals.

Author Biography

Gary H. Anderson is a freelance videotape editor in Hollywood, CA. He has won four Emmy awards and six nominations for outstanding videotape editing and is a member of the National Academy of Television Arts and Sciences, the Directors Guild of America, and the Motion Picture Editors Guild IATSE Local 776

Table of Contents

Acknowledgments	ix	(2)
Introduction	xi
1 The History, Technology, and Technique of Video Editing	1	(17)
A Short History of Video Editing Technology	2	(8)
Slice and Splice	3	(1)
Electronic Editing	4	(2)
Time-Code Editing	6	(1)
Computerized Video Editing	6	(1)
Small-Format Editing	6	(3)
Nonlinear and Digital Effects Editing	10	(1)
The Art and Technique of Video Editing	10	(1)
Shots and Angles	10	(3)
Types of Shots	10	(1)
Extreme Wide Shots (EWS)	10	(1)
Wide Shots (WS)	11	(1)
Medium Shots (MS)	11	(1)
Close-Ups (CD)	12	(1)
Playing the Angles	12	(1)
Objective Angle	12	(1)
Subjective Angle	13	(1)
Point-of-View Angle	13	(1)
Constructing Continuity	13	(3)
Rough Cutting	14	(1)
Fine Cutting	14	(1)
Continuity Cutting	14	(1)
Maintaining Proper Screen Direction	14	(1)
Screen Position	14	(1)
Matching Action	15	(1)
Matching Action Cuts	15	(1)
Pace and Timing	16	(1)
Montage Sequences	16	(1)
Audio and Other Concerns	17	(1)
Conclusion	17	(1)
2 The TV Signal, Time Codes, Digital Video, and Videotape Formats	18	(39)
Television Fields and Interlaced Scanning	18	(1)
The Composite Video Signal	19	(2)
Horizontal Line Synchronizing Pulses	20	(1)
Color Reference Burst	20	(1)
Reference Black Level	20	(1)
Picture Luminance Information	21	(1)
Color Saturation	21	(1)
Color Hue	21	(1)
Blanking Intervals	21	(1)
Horizontal Blanking Interval	21	(1)
Front Porch	21	(1)
Back Porch	22	(1)
Breezeway	22	(1)
Vertical Blanking Interval	22	(1)
Pre-Equalizing and Post-Equalizing Pulses	22	(1)
Vertical Synchronizing Pulses	22	(1)
FCC Blanking Requirements	22	(1)
The Electronic Video Signal and the Color TV Picture	22	(9)
NTSC Spilt Field Color Bar Reference Signal	24	(2)
The PAL Color Television Signal	26	(1)
Phase Reversal	27	(1)
PAL and NTSC	28	(3)
Use of PAL	31	(1)
The Component Video Signal	31	(1)
Digital Video	31	(3)
Sampling	32	(1)
Pixels	33	(1)
Video Compression	33	(1)
JPEG	33	(1)
MPEG	33	(1)
MPEG 2	33	(1)
The Television Aspect Ratio	34	(1)
The Theory and Practice of SMPTE/EBU Time Code	34	(3)
Basic Binary Code	34	(2)
Components of Time Code	36	(1)
Time Identification Slots	37	(1)
User Bit Slot	37	(1)
Sync Word Slot	37	(1)
Dropped-Frame Bit	37	(1)
Non-Drop-Frame and Drop-Frame Time Code	37	(1)
Using Vertical Interval Time Code	38	(2)
Adding VITC and LTC to Tapes	38	(1)
Components of VITC	39	(1)
Sync Bits	39	(1)
Field Bit	39	(1)
Cyclic Redundancy Check Code (CRC)	39	(1)
Advantages of VITC	40	(1)
Basic Video Recording	40	(2)
Getting It on Tape	40	(2)
Videotape Basics	42	(1)
Videotape Recorder Formats	42	(8)
Quadruplex (Quad) VTRs	43	(1)
Types C Helical VTRs	44	(1)
U-Type Cassette VTRs	45	(2)
Betacam(R) VTRs	47	(1)
VHS Hi-Fi VTRs	48	(1)
S-VHS	49	(1)
Digital Video Recording	50	(6)
Analog-to-Digital Conversion (A/D)	50	(1)
Digital-to-Analog Conversion (D/A)	50	(1)
Digital-to-Digital Conversion (D/D)	51	(1)
Digital Video Recorders	51	(1)
D1	51	(1)
D2	52	(1)
D3	52	(1)
D7	53	(2)
Digital S	55	(1)
Choosing the Best Videotape Format for a Project	56	(1)
Conclusion	56	(1)
3 The Videotape Editing Bay	57	(22)
Control-Track Editing Systems	57	(2)
Advantages of Control-Track Editing	57	(1)
Disadvantages of Control-Track Editing	58	(1)
Automatic Time-Code Editing Systems	59	(1)
Computerized Time-Code Editing Systems	60	(2)
The Computer	60	(2)
Interfaces	62	(1)
The Console	62	(1)
Basic Editing Terms	62	(1)
Assemble Edit	62	(1)
Insert Edit	62	(1)
Controlling the Basic Computer Editing System	63	(6)
VTR Selection	63	(1)
Edit Point Entry	63	(2)
Multiple-Take Synchronizations Using the Trim Function	65	(1)
Selecting Edit Modes	65	(1)
Selecting Edit Transitions	65	(1)
Dissolves	66	(1)
Wipes	66	(1)
Keys	66	(1)
Preview Selection	66	(1)
Video-Video-Video (VVV)	66	(1)
Video-Black-Video (VBV)	66	(1)
Black-Video-Black (BVB)	67	(1)
Engaging Manual Record	67	(1)
Computer-Assisted Automatic Assembly	67	(1)
A Mode	67	(1)
B Mode	68	(1)
C Mode	68	(1)
D Mode	68	(1)
E Mode	68	(1)
Load and Dump Lists	69	(1)
Putting the Pieces Together	69	(9)
Videotape Recorders	69	(1)
Time-Base Corrector	70	(1)
The Video Switcher	70	(2)
Effects Rows	72	(1)
Key Effects	72	(1)
Fancier Switchers	72	(1)
Waveform Monitor	72	(2)
Vectorscope	74	(1)
Video Monitors	75	(1)
Audio Mixing Board	75	(1)
Volume Unit (VU) Meters	76	(1)
General Purpose Interface	76	(1)
Title Cameras	76	(1)
Processing Amplifier	76	(1)
Noise Reduction, Image Enhancement, and Color Correction Equipment	77	(1)
Digital Video Effects Controllers	78	(1)
Conclusions	78	(1)
4 Preparing for Post-Production	79	(16)
Preparing a Budget	80	(3)
Pre-Duping Costs	80	(1)
Offline Editing Costs	80	(2)
Online Editing Costs	82	(1)
Audio Post-Production Costs	82	(1)
Special Costs	82	(1)
Reserving Post-Production Facilities	83	(1)
Using Your Own Videotape Stock	84	(1)
Preparing Film-to-Tape Transfers	84	(6)
Transferring 24-Frame Film to 30-Frame Television	84	(1)
Film-to-Video Transfer	85	(1)
Film Transfers Using a Telecine Synchronization System	86	(1)
Edge Numbers	86	(3)
Converting Film Footage to Television Frames	89	(1)
Preparing Film A/B Rolls for Television Transfer	89	(1)
Contrast Ratios: TV versus Film	90	(1)
Assembling a Post-Production Team	90	(4)
The Producer	92	(1)
The Associate Producer	92	(1)
The Director and the Associate Director	92	(1)
The Script Supervisor	93	(1)
The Editor	93	(1)
The Online Editor's Assistant	93	(1)
Conclusion	94	(1)
5 The Offline Editing Process	95	(22)
Types of Offline Editing	96	(2)
Control-Track Offline Editing	96	(1)
Automatic Time-Code Offline Editing	96	(1)
Computerized Offline Editing	97	(1)
Preparation of Workprint Reels	98	(1)
Criteria for Preparing Workprint Reels	98	(1)
Playback Material	98	(1)
Record Edit Master Stock	98	(1)
Workprints: Six Important Facts to Check	98	(1)
Logging Offline Edit Decision Lists by Hand	99	(1)
Computerized Edit Decision Lists	100	(1)
Floopy Disk EDL Storage	101	(1)
Managing Your Edit Decision Lists	101	(3)
Edit List Cleaning with the 409 Program	102	(1)
The Trace Program	103	(1)
Nonlinear Offline Editing	104	(6)
Digital Nonlinear Offline Editing Systems	105	(1)
Digital Editing Disk Storage Devices	106	(1)
Floppy Disks	107	(1)
Magnetic Hard Disks	107	(1)
Optical Disks	107	(1)
Magnetic-Optical (MO)	108	(1)
Phase-Change Optical (PCO)	108	(1)
Preparing the Telecine Transfer for a Film Finish	108	(1)
Nonlinear Offline Editing Process	108	(1)
Process #1: Shoot on Video, Nonlinear Offline, Linear Online	108	(1)
Process #2: Shoot on Film, Nonlinear Offline, Linear Online	108	(1)
Process #3: Shoot on Film, Nonlinear Offline, Finish on Film	109	(1)
13 Process #4: Shoot on Film or Video, Nonlinear Offline, Direct Output	109	(1)
14 System Considerations from the Editor's Viewpoint	109	(1)
Organizing the Nonlinear Editing Project	110	(2)
Designating a Project Area	110	(1)
Creating Work Bins	111	(1)
Logging the Source Material into the Bins	111	(1)
Digitizing the Material	112	(1)
The Digitizing Rate	112	(1)
The Image Quality	112	(1)
The Audio Quality	112	(1)
The Number of Audio Channels	112	(1)
Editing the Project	112	(4)
The Splice Key	113	(1)
The Timeline	113	(1)
The Overwrite Key	113	(1)
The Trim Function	113	(1)
Creating an Alternate Version	114	(1)
Outputting a Viewing Copy	114	(1)
Outputting an Edit Decision List	114	(1)
Reassembling at Higher Resolution	115	(1)
Nonlinear Edit Systems	115	(1)
Avid Media Composer(TM)	115	(1)
Conclusion	116	(1)
6 The Online Editing Process	117	(17)
Making Sure You're Ready	117	(1)
The Online Editing Bay	117	(2)
Editing Bay Aesthetics	118	(1)
Multiformat Videotape Editing	119	(1)
Video Program Formatting	119	(2)
Sample Online Session	121	(2)
Preliminary Check	121	(1)
Additional Facilities	121	(1)
Initial Facilities Set-Up	121	(1)
Horizontal Sync Timing	122	(1)
Record Machine Audio/Video Levels	122	(1)
Playback VTR Set-Up	122	(1)
Setting up the Component Digital Online Editing Bay	122	(1)
Entering Edit Points	123	(1)
Manual Entry of Hand-Logged Lists	123	(1)
Floppy Disk Entry	123	(1)
Automatic Assembly	124	(1)
Special Conditions and Concerns during Online Editing	124	(4)
Match-Frame Editing	124	(2)
Editing with Mixed Time-Code Formats	126	(1)
Master/Slave Editing	126	(1)
Sync Roll Editing	127	(1)
Editing into Previously Edited Material	127	(1)
Proper Color Frame Edits	127	(1)
Adding Titles and Graphics during Video Editing	128	(3)
The Key Process	128	(1)
Post-Production Graphics Techniques	128	(2)
Electronic Graphics	130	(1)
Videotape Editing in Pal	131	(1)
Wrapping up the Editing Session	132	(1)
Conclusion	133	(1)
7 Digital Video Effects	134	(7)
Electronic Digital Frame Stores	134	(1)
Applications of Digital Frame Stores	135	(1)
Use and Misuse	135	(1)
Features of Digital Effects Devices	135	(1)
Tektronix Grass Valley DPM-700 Digital Picture Manipulator	136	(1)
Video Toaster	136	(2)
IMPACT Variable Image Transformer	138	(1)
Conclusion	139	(2)
8 Audio Post-Production for Video	141	(26)
Understanding the Audio Post-Production Mixing Room	142	(5)
Acoustics and Aesthetics	142	(1)
The Audio Mixing Console	143	(1)
The Input Section	143	(1)
The Output Section	144	(1)
The Monitoring Section	144	(1)
The Editor/Controller	145	(1)
External Signal Processing Equipment	145	(1)
Loudspeaker Systems	146	(1)
Color Video Monitors	147	(1)
Source Audio Equipment	147	(3)
Audiotape Recorders	148	(1)
Compact Disc Players	148	(1)
The Digital Audio Workstation (DAW)	149	(1)
Understanding ADR, Foley, and Narration Studios	150	(1)
Charting the Audio Post-Production Process	151	(1)
The Laydown	151	(1)
The Spotting Session	151	(7)
Methods for Spotting	152	(1)
Spotting Cues and Acquiring the Material	153	(1)
Sound Effects	153	(1)
Library Sound Effects	154	(1)
Foley Sound Effects	155	(1)
Automatic Dialogue Replacement	156	(1)
Audience Reaction Sound Effects	157	(1)
Narration	157	(1)
Music Cues	157	(1)
Library Music	158	(1)
Recording Original Music	158	(1)
Multitrack Recording	158	(3)
Assigning Tracks on the Master Multitrack Recording	158	(1)
Assembling the Dialogue Tracks	159	(1)
Assembling the ADR Tracks	160	(1)
Assembling the Narration Tracks	161	(1)
Mixing Down Multitrack Music	161	(1)
Music Track Conformation	161	(1)
Preparing the Rerecording Cue Sheet	162	(2)
Mixing and Recording	164	(1)
Monaural Mixing	164	(1)
Stereo Mixing	164	(1)
Stereo-to-Mono Compatibility	165	(1)
The Layback	165	(1)
Conclusion	166	(1)
9 The Future: Trends and Directions	167	(3)
Advantages of Digital Video	167	(1)
Digital Nonlinear Online	167	(1)
Editorial Teleconferencing	168	(1)
Television and the Internet	168	(1)
Electronic Imagery: High Definition Television	168	(1)
Design Compatibility and Standardization	169	(1)
Conclusion	169	(1)
Appendix Broadcast Transmission Standards Worldwide	170	(3)
Glossary	173	(15)
Bibliography	188	(1)
Index	189	(7)
About the Author	196