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Electronic editing

Despite the replacement of the optical sound track by sprocketed magnetic film and the introduction of the flatbed, the mechanics of editing did not change fundamentally from the 1930s until the 1980s. Each production generated hundreds of thousands of feet of work print and sound track on expensive 35-mm film, much of it hanging in bins around the editing room. Assistants manually entered scene numbers, take numbers, and roll numbers into notebooks; cuts were marked in grease pencil and spliced with cement or tape. The recent application of computer and video technology to editing equipment, however, has had dramatic results.

The present generation of "random access" editing controllers makes it likely that physical cutting and splicing will become obsolete. In these systems, material originated on film is transferred to laser videodiscs. Videotape players may also be used, but the interactive disc has the advantage of speed. It enables editors to locate any single frame from 30 minutes of program material in three seconds or less. The log that lists each take is stored in the computer memory; the editor can call up the desired frame simply by punching a location code. The image is displayed without any distracting or obstructing numbers on a high-resolution video monitor. The editor uses a keypad to assemble various versions of a scene. There is neither actual cutting of film nor copying onto another tape or disc; computer numbers are merely rearranged. The end product is computer output in which the "edit decision" list exists as time code numbers .

Electronic editing also simplifies the last stage in editing. Instead of assembling the camera negative with as many as 2,000 or more splices, an editor can match the time code information on a computer program against the latent edge numbers on the film. Intact camera rolls can then be assembled in order without cutting or splicing. Electronic editing equipment has been used primarily with material photographed at the standard television rate of 30 frames per second. Material shot at the motion-picture rate of 24 frames per second can be adapted for electronic editing by assigning each film frame three video fields, of which only two are used.

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