The Edit Room

The steps in the edit procedure are as follows:

1. Input (log and digitize) the source footage, copying it from tape to storage disk. The producer logs the footage in consultation with the editor.

2. Organize the footage. The editor organizes the footage in bins.

3. Edit the sequence. The editor edits the sequence; the producer attends all or part of the edit.

4. Output your material. The producer determines the needed output products.

5. Clean up the project's computer files.

The producer consults with the editor on the backup strategy and takes away the Project folder on a disk.

Bin - The bin is a 'storage container' for the clips and sequences (edited programs) in your project. Depending on your system, you might also be able to store bins within folders, for one extra level of organization.

Clip - A clip is a pointer (reference) to actual video and/or audio media. It does not contain the actual picture and sound data, just references to it.You create the clip when you log. Each clip contains information about the source footage „ tape name, start and end timecodes „ and about the way you want it to be captured. Sequence - The sequence is your edited program, or 'master tape.' It is a 'virtual master,'easily created and modified. You create a sequence by edit-ing clips together and storing them in a bin. When you play the sequence, the editing system accesses the clips.

Your greatest challenge is to understand the capabilities of the non-linear editing system, and use them to full advantage. You will be challenged to:

* Plan to edit in multiple passes. Unlike working on a linear system, you don't have to do every-thing in one pass, and you don't have to get it right the first time.

* Use pictures rather than the script as the driving force.

When you work in a nonlinear environment, you can experiment with your images and sounds much more easily than in the linear environment. Take advantage of the possibilities; don't be impris-oned by your script. * Work more collaboratively with your editor.

Here is one approach to editing in multiple passes:

1. Perform the rough cut.

2. Get the structure right. Evaluate the rough cut and rearrange the program or sequence elements. There is no point in fine cutting shots until you know where they go or even that they will remain in the program.

3. Perform the fine cut. The editor should spend most of the scheduled edit time creating the fine cut. This pass is most similar to film editing. The tasks at this stage include: rearranging shots, trimming the length of shots, adding split edits, and laying up additional audio tracks. The producer can attend the fine cut edit sessions or schedule reg-ular review sessions.

4. Add effects and titles.

5. Finish the audio.

Digitizing Quality Audio Some of the ways the editor can optimize audio include:

* Not compressing the audio

* Setting the audio levels properly before digitizing

* Monitoring the levels during digitizing

* Regulating the stereo balance of the speakers for each track

The Digitizing Process

To digitize properly, you should have the following equipment and materials:

* Videotapes (or other source material), preferably with timecode, and the correct play deck

* (Option) Remote cable between the play deck and NLE system, so you can control the deck remotely from the editing system

* (Option) Log of shots Creating a Rough Cut - Creating a rough cut of a sequence is simply a matter of editing together clips or segments of clips in mostly straight cuts. Adding Footage to a Sequence - The editor can add shots to the sequence by splicing or overwriting. The editor uses splice to insert material and ripple the shots down-stream the shots that follow, and overwrite to replace what's already there.

Editing Audio Quickly -

Editing audio on nonlinear systems is fast. Some of the complicated operations of linear audio are unnecessary, such as adding new audio tracks and performing audio dissolves. For example, on the Media Composer the editor can dissolve between the audio of two adjacent shots „ on the same track. You no longer need to tie up two tracks to dissolve. Be prepared: You won't be waiting for the editor to perform previ-ously time-consuming technical tasks. Most of the editing operations performed on the video track also apply to the audio track.

You can quickly:

* Cut and trim sound

* Create split edits

* Create audio dissolves

* Correct a sequence that goes out of sync

Types of Effects Transition Effects -

Transition effects are used as a transition between two segments. They are similar to traditional video switcher effects. Examples of transition effects include:

* Dissolves

* Wipes

* Spins Ê

Segment Effects -

Segment effects are applied to an entire shot or segment. Once an effect is applied, you can customize it much like the transition effects. Examples include:

* Mask: Masks out an area of the image and displays it over any background color

* Color Effect: Applies a color to the entire image Ê Picture in Picture (PIP) You can create PIPs in a fraction of the time possible with an online system. Feel free to use them in your sequence, as appropriate, with-out concern for taking up too much editing time.

Two types of PIPs are:

* Split screen

* Superimposition Selecting the Output You can select among the following choices for output:

* Digital cut (videotape)

* Final program, if the image quality is appropriate

* Showing the linear online editor the sequence Ê

Upon completion, - the sequence will play back at the higher resolu-tion. Several steps remain:

1. Review the program. You and the editor watch the program, tak-ing notes on last minute minor fixes you want to make.

2. Re-render non-real-time effects. You need to regenerate the ren-dered media for each of the non-real-time effects at the new, higher quality of your video image. You can avoid this step by cre-ating and rendering effects at high resolution from the start.

3. Recreate titles. Titles, created at the offline resolution, need to be recreated at the higher quality. This is done automatically in Media Composer; you do not need to manually re-make each title.

4. Add non-timecoded material. You must re-edit into the sequence PICT files, for example, which have been re-imported at higher quality.

Nonlinear Post-production Digitizing

* Video and audio compression settings

* Disk storage capacity

* Digitizing plan Attending the Edit

* Create storyboard edit for part or all of the program (optional) .

* Review the rough cut. 

* Attend the fine cut (or review in stages).

* Obtain a backup copy of all project files at the end of each session.

Remember to: 

* Forget the limitations of linear editing; think "nonlinear".

* Try alternative cuts of a sequence.

* Encourage your editor to experiment.

Designing and Editing Effects and Titles

* Determine the level of effects and titles permitted on your system.

* Storyboard your effects and titles or be able to describe them.

* Meet with the editor about effects and titles.

* Create and bring a disk of all elements needed for keys to the edit.

* Request the editor to save useful customized effects and titles as templates, and copy the templates to a disk.

Creating Output

* Determine offline/online strategy for video and audio Audio

* Take EDL to audio post house, if applicable.

* Take a printout of the Timeline displaying the sequence's audio tracks. Additional Charges to Expect

* Preblacked tape for digital cut.

* Creating the digital cut.

* Rental charges for drives.