Video Production Chapter 11 and 12 quiz
rough-cut
A preliminary edit.
memory card
A read/write solid-state portable storage device that can download, store, and upload a limited amount of digital audio and video information. Also called flash drive.
field log
A record of each take during the video recording.
VR log
A record of each take on the source media. Also called editing log. When the recording media is videotape, the shot record is also called VtR log.
luminance
The brightness (black-and-white) information of a video signal. Also called luma to include the grayscale information.
CLAPBOARD
The clapboard is used for each take and contains the necessary information for locating clips in postpro- duction. The movable clapstick is snapped closed to synchronize the video and the audio of each take.
PULSE-COUNT AND ADDRESS CODE DISPLAY
The pulse-count and address code displays show elapsed hours, minutes, seconds, and frames. The frames roll over (to seconds) after 29, the seconds to minutes and the minutes to hours after 59, and the hours to 0 after 24.
PULSE-COUNT SYSTEM
The pulse-count, or control track, sys- tem counts the control track pulses to find a specific spot on the videotape. Thirty pulses make up one second of elapsed tape time.
DVCPRO50 TRACKS
This digital system uses 20 tracks for a single frame. Each track has video, audio, and code information.
NONLINEAR EDITING INTERFACE
This generic interface shows the basic components of an NLE system. It does not show the menus, which offer a vast array of choices of nonlinear editing functions.
Pre-Edit Decision-Making
This phase includes selecting the relevant clips and putting them in a preliminary sequence. This activity is called paper-and-pencil editing.
Video-Recording Process
To make the video-recording process as efficient as possible, you need to follow certain before, during, and after checklists. Whereas some of the recording processes differ when using tapeless media instead of videotape, many of the procedural steps are similar if not identical.
tapeless systems
Refers to the recording, storage, and play- back of audio and video information via digital storage devices other than videotape.
TAPE-BASED VIDEO-RECORDING SYSTEMS
How VtRs work and basic videotape tracks
frame store synchronizer
Image stabilization and synchroniza- tion system that has a memory large enough to store and read out one complete video frame. Used to synchronize signals from a variety of video sources that are not locked to a common sync signal.
Schedule:
Is the video-recording equipment actually available for the studio or field production? Most likely, your operation will have more than one type of video recorder available. Be reasonable in your request. You will find that VRs are usually available for the actual production or the remote shoot but not always for your playback demands.
pocket recorder
Small camcorder, such as a cell phone, that fits into a shirt pocket. Records exclusively on memory cards. Also called mobile media.
DVR
Stands for digital video recorder.
NTSC
Stands for national television system Committee. Normally refers to the composite video signal, consisting of the Y signal (luminance, or black-and-white information) and the C signal (red, green, and blue color information
nonlinear recording media
Storage of video and audio material in digital form on a hard drive, memory card, or read/write optical disc. Each single frame can be instantly accessed by a computer.
control track
The area of the videotape used for recording synchronization information.
audio track
The area of the videotape used for recording the audio information.
video track
The area of the videotape used for recording the video information.
BASIC ANALOG VIDEOTAPE TRACK SYSTEM
The basic analog track system of a videotape consists of a slanted video track, two or more audio tracks, and a control track.
Nonlinear Editing
The basic principle of nonlinear editing (NLE) is file management. The NLE system uses computers with high-capacity hard drives and associated video and audio for all three editing phases: capture (importing) of all source clips; editing, the selection and the sequencing of clips and their audio; and exporting the edited version to the final edit master media (usually videotape or disc).
In nonlinear editing, off-line means that the?
capture and the editing are done in low-resolution video, intended to produce a rough-cut. On-line means that the selected clips are recaptured in high-resolution video for the final edit master.
The basic principle of linear editing is?
copying selected shots from the source tapes onto the edit master tape in the desired sequence.
The basic principle of nonlinear editing is?
file management.
Keep all recorded material until you are?
finished with the project.
The time code provides a unique address for each?
frame of recorded video.
The vector notations on the VR log facilitate locating shots that point?
in specific directions.
linear editing system
Uses videotape as the editing medium. It does not allow random access of shots.
Always check that the media format matches the?
VR and that the tab is in place for recording.
Always make protection copies of the?
original source clips.
Paper-and-pencil editing is a good way to create a?
preliminary editing guide.
PRE-EDIT DECISION-MAKING
selecting and sequencing clips: paper-and-pencil editing
The frame store synchronizer is?
pressed into service to synchronize and stabilize the scanning of different video sources so that there is no breakup during switching from one to the other. Its memory is large enough to store and read out one complete video frame.
The edit master tape must be prepared for insert editing by first?
recording black on it.
PRODUCTION TIPS FOR POSTPRODUCTION
shooting for continuity, slating each take, leaving edit margins, recording background sounds and cutaways, and keeping a field log
LINEAR EDITING
single-source linear system, multiple-source linear system, pulse-count and address code, assemble editing, and insert editing
Memory cards are?
solid- state devices that have no moving parts.
The composite (NTSC) system is the?
standard for analog video and broadcast. Compos- ite video combines the luminance (black-and-white, or Y) and color (C) information in a single signal.
The digital frame store synchronizer is an advanced version of the?
time base corrector (TBC), which was developed primarily to make videotape playbacks, dubs, and edits electronically stable and to synchronize the scanning cycles of various video sources during switching.
Single-source VTR editing systems are typically limited to?
to cuts-only transitions.
POSTPRODUCTION: PREPARATIONS
:Make protection copies Add timecode Make a window dub Review and log the source footage
PRODUCTION TIPS FOR POSTPRODUCTION:
:Shoot for continuity Slate each take Leave margins for editing Record back ground sounds Record cut away shots Keep a field log
Video leader:
:Whenever possible, start each video recording with a video leader, which consists of a 30- to 60-second recording of color bars and a 0 VU test tone, an identification slate, black or leader numbers (from 10 to 2) that flash on- screen every second for 8 seconds, and 2 seconds of black before the first frame of the program video.
window dub
A dub of the source tapes to a lower-quality tape format with the address code keyed into each frame.
video server
A large-capacity hard-drive array that can in- gest, store, and play back a great amount of audio and video information. It can be accessed by several users simultaneously.
edit controller
A machine that assists in various linear editing functions, such as marking edit-in and edit-out points, roll- ing source and record VTRs, and integrating effects. It can be a desktop computer with editing software. Also called editing control unit.
SMPTE time code
A specially generated address code that marks each video frame with a specific number (hour, min- ute, second, and frame). Named for the Society of Motion Picture and Television Engineers, this time code is officially called sMPte/eBU (for european Broadcasting Union).
composite video
A system that combines the Y (luminance, or black-and-white) and C (color—red, green, and blue) video information into a single signal. Also called NTSC.
Y/C component video
A system that keeps the Y (luminance, or black-and-white) and C (color—red, green, and blue) sig- nals separate. Y and C are combined again when recorded on a specific media. Also called Y/C system and s-video.
RECORD PROTECTION
All memory cards, digital 1⁄4-inch videocas- settes, and MiniDV cassettes have a movable tab that prevents accidental erasure. When in the open position, the cassette will play back but not record video and audio content.
nonlinear editing (NLE) system
Allows random access of shots. The video and audio information is stored in digital form on computer disks. Usually has two external monitors, small loudspeakers, and an audio mixer.
❶ Project panel
Also called Browser, clips bin, organize Function Holds all video and audio source clips.
❷ Source monitor
Also called Preview monitor, viewer, monitor pane Function Shows selected source clip to be edited.
❽ Video track
Also called, Clip viewer Function, If there is more than one video track, track 1 is usually closest to the audio track, with the rest stacked above.
❸ Record monitor
Also called, Program monitor, canvas, monitor panel Function, Shows selected edited sequence (active time line).
❼ Timeline
Also called, Sceneline Function Master map of the editing process, consisting of scrubber bar with playhead, video track(s), and audio tracks. Shows selected order of all video and audio clips in relation to one another.
❾ Audio track
Also called, Soundtrack Function, Two or more. Track 1 on top and the rest stacked below. Shows colored bars or the waveform of each clip.
❿ Tools panel
Also called, Toolbox, effects pane, tasks panel Function, Contains special-effects and manipulation options for video and audio clips.
❹ Shuttle controls: source and record
Also called, Transport controls, jog controls Function, Lets you move through clip or edit sequence backward and forward at varying speeds, even in slow motion.
pulse-count system
An address code that counts the control track pulses and translates that count into time and frame numbers. It is not frame-accurate. Also called control track system.
time base corrector (TBC)
An electronic accessory to vid- eotape recorders that helps make videotape playbacks electronically stable. It keeps slightly different scanning cycles in step.
CAPTURE FROM ANALOG SOURCE TAPES
Analog source tapes must be digitized by a converter box or the NLE system software.
Protection copies
As soon as possible, import the raw footage into your NLE system so that you have a backup copy. If using videotape, you can also make window dubs—lower-quality (VCR) recordings that have the time code inserted over each frame. You can then proceed to prepare a VR log (see chapter 12). Don't ever erase your original recordings until you are all done with the editing.
Retakes
As the VR operator,tell the director right away if you feel that another take is necessary for some reason. It is far less expensive to repeat a take than to try to"fixitinpost."WhenusingaVTR,bereadytorewindthetapetothebeginningof the flawed take without delay. You can do this quite easily if you keep an accurate field log.
Recording check
Before moving on to the next scene or striking the studio set or remote location, verify that you have actually recorded the scene as planned. Go to the beginning shot, then fast-forward two or three times to spot-check the entire recording. Pay attention to the sound. Sometimes you may think that the audio distortion is in the playback equipment, but more likely than not the problem was caused during the production by connecting the incoming sound signal to the wrong mixer input (line instead of mic and vice versa) or by overloading the incom- ing digital audio.
Signal Transport and Video Stabilization
Composite (NTSC) video combines the luminance (Y) information and the color (C) information in a single signal. Y/C component video keeps the Y and C signals separate to avoid interference. Y/color difference component video is used for analog and digital transport. Stabilization is the purview of the frame store synchronizer and the time base corrector (TBC). Both synchronize the scanning of various incoming video sources and help prevent picture breakup.
SIGNAL TRANSPORT AND VIDEO STABILIZATION
Composite and component signal transport, and video stabilization with a frame store synchronizer
COMPOSITE SIGNAl
Composite video, also called NTSC, combines the luminance and color video information into a single signal. It needs a single wire—normally coded yellow—to be transported and recorded on videotape as a single signal.2
edit decision list (EDL)
Consists of edit-in and edit-out points, expressed in time code numbers, and the nature of transi- tions between shots.
Preroll
Contrary to a DVR, which can record as soon as you press the record button, a VTR needs a certain amount of preroll time to give the tape transport a chance to stabilize. Most VTRs indicate with a light when they have reached operating speed. To alert the director that the VTR is ready to record, give a "speed," "locked," or "in-record" cue. If you start to record before the VTR has reached proper speed, the recording will most likely suffer from picture and sound breakup. For playback most high-end VTRs reach operating speed within a fraction of a second; they de- liver a stable picture even when you shift directly to play from the pause mode that displays a freeze-frame.
Recording media
Does the media fit the camcorder? Although your cam- corder may use a memory card for recording, not all memory cards are alike. Some memory cards may look the same but won't fit the slot in the camcorder. The same goes for tape-based camcorders. Make sure that the videotape you take along actu- ally fits the camcorder. Don't rely simply on the label on the box. Open it and see whether it contains the correct media. Do you have enough media for the proposed production? Experienced videographers always bring along an external hard drive in case the memory cards are not sufficient. Are the media in the record mode? All memory cards and videotape cassettes have a tab that can be moved to prevent accidental erasure. When this tab is in the open position, you cannot record on the card or cassette.
VR status
Does the video recorder actually work? Always do a brief test re- cording and play it back before the actual video capture. Sometimes one of the tiny switches on the VR may be in the wrong position, preventing you from recording either video or audio. If using tape, you may need an adapter to play MiniDV tapes in a digital studio VTR.
Cables
Dothecableswork?Theproblemwithdefectivecablesisthatordinarily you can't see the damage. If you don't have time to test the cables beforehand, take some spares along. Do the cable plugs fit the jacks of the camcorder or VR? As you recall, most professional recorders and camcorders use XLR jacks for audio inputs, but some may have RCA phono jacks. Video cables have BNC, S-video, or RCA phono connectors (see figures 4.23 and 7.26). Keep a supply of adapters on hand, but always try to have cables with the correct plugs; each adapter is a potential trouble spot.
Production Tips for Postproduction
Efficient postproduction starts in the production phase. It includes shooting for continuity, properly slating each take, leaving edit margins, recording background sounds for masking edits, recording cutaways for smooth vector continuity, and, of course, keeping a field log that lists all takes, good and bad.
❺ Scrubber bar
Function Indicates where you are when moving the playhead through a clip or sequence of clips.
MULTIPLE-SOURCE EDITING SYSTEM
In a multiple-source system, two VTRs (A and B) supply the source material to the single record VTR. The video output of both source VTRs is routed through the switcher for transitions such as dissolves and wipes. The audio output of both source VTRs is routed through an audio console or a mixer. Multiple-source systems are usually managed by a computer-driven edit controller.
Linear Assemble and Insert Editing
In assemble editing, an entire source clip is transferred to the edit master tape. Assemble edits are often unstable because the edit master tape is prone to breakups at the edit points, where the control track may not match up properly with that of the previous shot. Assemble editing does not permit split edits. Insert edits are highly stable. The source clips do not transfer their own control track but use the prelaid control track of the edit master tape. Insert editing allows split edits.
off-line editing
In linear editing it produces an edit decision list or a rough-cut not intended for broadcast. In nonlinear editing the selected shots are captured in low resolution to save computer storage space.
on-line editing
In linear editing it produces the final high- quality edit master for broadcast or program duplication. In nonlinear editing the shots listed on the edit decision list are recaptured at a higher resolution.
assemble editing
In linear editing, adding shots on videotape in consecutive order without first recording a control track on the edit master tape.
AB-ROLL EDITING TO COMMON SOUND TRACK
In this AB-roll editing example, the A-roll consists of long and medium shots of the band; the B-roll contains CUs of the individual musicians. Because both source VTRs are synchronized, you can use the A-roll sound track to insert the B-roll video.
SIMPLE NONLINEAR EDITING INTERFACE
In this editing interface, modeled after iMovie HD, the clips are arranged on a "shelf" as slides. You can order and view the clips in the viewer space or sequence them on the timeline. The timeline below the large editing monitor consists of scrubber bar, the timeline pane, and two audio tracks.
Recordkeeping
Keep accurate records of each take during the recording. A carefully kept field log can save you considerable time in finding takes during the field production and especially when preparing a more accurate VR log in the post- production phase. The field log should include the production title, the names of the producer and the director, the recording date and location, the media number, the scene and take numbers and their sequence, whether the takes are good, and the VR counter or time code number. You may also list such pertinent production details as mistakes made by the talent or especially serious audio problems.
Labeling
Label each recording media with the title of the production, the recording date, the media number, and its content. Label the box with the identi- cal information. As obvious as such labeling seems, countless precious hours of postproduction time have been lost because someone labeled the media boxes but not their content. Watch that the media labels match the information on the cor- responding field log.
Off-Line and On-Line Editing
Linear and nonlinear off-line editing refer to a preliminary, lower-quality edit intended only for critical review. Off-line linear editing produces a preliminary edit decision list (EDL) or a rough-cut. On-line linear editing produces the final edit master tape. In nonlinear editing, off-line refers to the capture of source footage and file manipulation at low picture resolution. On-line refers to recapturing the off-line footage at a higher resolution according to the EDL. The resulting footage is exported to an appropriate edit master media, such as videotape, a DVD, or some other digital storage device.
OFF-LINE AND ON-LINE EDITING
Linear off-line and on-line editing, nonlinear off-line and on-line editing, and on-line editing procedures
POSTPRODUCTION PREPARATIONS
Making protection copies, adding time code, making a window dub, reviewing and logging the source footage, and transcribing the audio text
Recording time readout
MostVRsstampeachframeautomaticallywithsome kind of time code or address, which is shown on the digital time readout or tape counter of the VR. This enables you to quickly locate the approximate starting point when asked for a playback. Most professional VRs show hours, minutes, seconds, and elapsed frames. Chapter 12 explores time code in detail.
Monitor
Mostportablemonitorscanbepoweredbybatteryorhouseholdcur- rent. When using such a monitor on an EFP, bring a long extension cord as well as two fully charged batteries. You can feed the camera output directly into the monitor via a coaxial cable with a BNC or an RCA phono connector at both ends. If you have the appropriate editing software installed on your laptop, you can use it as a field monitor by feeding the camcorder footage to the laptop via FireWire or some other interface. Note, however, that such a hookup does not work with a live feed from the camcorder.
capture
Moving video and audio from the recording media to the hard drive of a computer with a nonlinear editing program. Analog video signals must be converted to digital before they can be imported by a computer.
digitize
Necessary step with analog source material whereby the analog signals are converted to digital signals prior to capture.
insert editing
Produces highly stable edits for linear editing. Requires the prior laying of a continuous control track by recording black on the edit master tape.
THE "AFTER" CHECKLIST
Recording check Labeling Protection copies
THE "BEFORE" CHECKLIST
Schedule VR status Power supply Recording media Cables Monitor
Tape-Based Video-Recording Systems
Tape-based recording systems use a variety of videotape cassettes. They can record either analog or digital signals in various track formats. The major drawbacks when compared with nontape systems are that tape is linear and does not allow random access, tape is subject to deterioration after repeated use, and VTRs have complex mechanisms that need constant maintenance to stay reliable. Although there are differences in how the video and audio signals are processed, all VTRs move the videotape past spinning record/playback heads.
Tapeless Video-Recording Systems
Tapeless systems can record only digital information. They are also called nonlinear because they allow random access of all recorded content. The nontape recording media for camcorders include a variety of solid-state memory cards of different recording capacities, read/write optical discs, and removable hard-drive cassettes. There are a great many stand-alone digital video recorders (DVRs) available that store either video data streams or video files. Direct-to-edit (DTE) pocket recorders record video files that can be used immediately for editing. All large studio DVRs use multiple disk arrays. Video servers have large-capacity disk arrays that can record a great number of different video sources and can export content to different users simultaneously.
HANDWRITTEN EDIT DECISION LIST
The EDL is the road map for on-line editing. It lists the media number, the scene and take numbers, the in- and out-numbers for each selected shot, and major audio information. This handwritten EDL contains information for the first, tentative edit.
VR LOG
The VR log, or editing log, contains the necessary specifications about all video and audio information recorded on the source media. Notice the notations in the vectors column: g, i, and m refer to graphic, index, and motion vectors. The arrows show the principal directions of the index and motion vectors. Z-axis index and motion vectors are labeled with (toward the camera) or • (away from the camera).
EDIT CONTROLLER
The edit controller has sepa- rate operational controls for the source VTR and the record VTR, such as search and shut- tle controls. The controls in the center activate the preroll and editing functions.
EDIT CONTROLLER IN SINGLE-SOURCE SYSTEM
The edit controller in a single- source system starts and syn- chronizes the source and record Record VTR operational controls Record VTR search controls Record VTR VTRs and locates the edit in- and out-points for both.
FIELD LOG
The field log is kept by the VR operator during the production. It normally indicates the production title, names of producer and director, recording date and location, media number, scene and take numbers and their sequence, whether the takes are good, VR counter or time code number, and what the take was all about. It greatly facilitates locating the various media and shots during postproduction previewing.
FINAL EDIT DECISION LIST
The final EDL usually lists the names of the shots (or of the clips in nonlinear editing), their time code in- and out-numbers, the length of each shot, the major transitions and effects, the location of video and audio track numbers, and other technical information.
NONLINEAR EDITING SYSTEM
The major parts of a nonlinear editing system are playback devices for the source clips (normally camcorder VTRs, optical discs, or memory cards), an editing computer and software, and a video recorder for capturing the final edit master recording.
Postproduction Preparations
The most important step before editing is to make protection copies of all of the source footage. You can do this during the capture phase. The next steps include adding time code (if necessary), making a window dub, and reviewing and logging all recorded source clips by time code in- and out-numbers. This becomes your VR log. When using logging software, you also need to name each clip. Noting the various vectors in the vector column helps identify each shot's principal screen directions. Although time-consuming, transcribing the entire audio text will greatly facilitate the editing process.
VIDEO-RECORDING PROCESS
The necessary checklists: before, during, and after
NONLINEAR EDITING SETUP
The nonlinear setup normally has a high-speed, high-capacity computer; a keyboard; a display for the editing interface and one for viewing the edited sequences; a small audio mixer; and speak- ers for stereo sound.
Single- and Multiple-Source Systems
The simplest linear editing system consists of a source VTR and a record VTR. The source VTR provides the selected clips in a specific order, and the record VTR records them on the edit master tape. Single-source VTR editing systems are limited to cuts- only transitions. Dissolves, wipes, and other special-effects transitions are possible only with multiple-source editing systems, which use at least two source VTRs. The pulse-count and address-code systems aid in finding a specific clip or frame, and the edit controller assists in sequencing them.
CHARACTER-GENERATED SLATE
The slate gives vital production information and is recorded at the beginning of each take.
BASIC SINGLE-SOURCE SYSTEM
The source VTR supplies the selected shots from the original video and feeds them to the record VTR. The record VTR joins them through cuts. The source VTR and the re- cord VTR have their own monitors.
INSERT EDITING
The source material is transferred to the edit master tape without its control track and is placed according to the prerecorded control track on the edit master.
STORYBOARD
The storyboard shows key visualizations and the major sequencing of shots, with action and audio information given below. It can be hand-drawn on preprinted storyboard paper or computer-generated.
SMPTE TIME CODE WINDOW DUB
The time code can be keyed directly into a copy of the source tape. Each frame displays its own unique time code address.
TIME CODE ADDRESS SYSTEM
The time code system marks each frame with a unique address.
Linear Editing
The use of videotape recorders (VTRs) designates linear editing, whether the recording is analog or digital. The basic principle of linear editing is copying sections of the source tapes in the desired sequence to the edit master tape.
VIDEO LEADER
The video leader helps identify content and adjust the playback machine to the video and audio values of the record machine.
BASIC VIDEOTAPE RECORDING PROCESS
The videotape moves past the spinning heads inside the drum at an angle, creating a slanted video track.
edit master
The videotape or disc that contains the final ver- sion of an edited program. Subsequent copies are struck from the edit master.
PORTABLE DVR
This small field DVR records video files that can be used directly for editing, minimizing the workflow.
STUDIO DVR
This studio DVR can record STV (standard-definition television) and all HDTV formats on a removable hard-drive cassette. You can connect this recorder to your NLE system for file transfer or eject the hard drive cassette and use it independently for content capture by the NLE system. This DVR has the normal operational controls, including LED volume meter
❻ Playhead
Triggers the scrubbing (movement) to locate a frame. The speed is determined by how fast you move the playhead with the mouse.
THE "DURING" CHECKLIST
Video leader Recording time readout Preroll Recording levels Recording for post production Retakes Recordkeeping
Y/color difference component video
Video-recording system wherein the three signals—the luminance (Y) signal, the blue signal minus its luminance (B-Y; in digital, Pb), and the red signal minus its luminance (R-Y; in digital, Pr)—are kept separate during the transport and recording process.
Recording levels
Watch care fully there cording levels of the videoandespe- cially the audio. You may get so carried away with the exciting visuals of a scene that minor—or even major—audio problems escape your attention. Many camcorders indicate these levels in the viewfinder display or on VU meters on the video recorder. Note that the volume standard for digital audio is considerably lower than that of
CAPTURE FROM DIGITAL VTR
When played back on a digital VTR, the digital video and audio source material can be fed directly into the computer via a two-way interface, such as a FireWire.
Recording for post production
When recording for post production editing, record enough of each segment so that the action overlaps the preceding and follow- ing scenes. Such trim handles (also called pads and edit margins) greatly facilitate editing. If you have enough media, record the camera rehearsals. Sometimes you will get a better performance during rehearsal than during the actual take. Record a few seconds of black after each take before stopping the recorder. This run-out signal acts as a pad during editing or, if you do a live recording, as a safety cushion during playback.
Power supply
When you use a camcorder in the field, do you have enough batteries for the entire shoot? Are they fully charged? Electronic image stabilization, which corrects minor camera wobbles, and using the foldout monitor and the camera light also drain the battery rapidly. If you use household current for power, you will need the appropriate adapter. Check whether the connectors of the power cable fit the jacks of the power supply and the camera. Don't try to make a connector fit a jack for which it isn't designed; even if you can force it in, you may blow more than a fuse.
Y/C COMPONENT SIGNAL
Y/C component video, or S-video, sepa- rates the luminance and color informa- tion but combines the two signals on the videotape. It needs two wires to transport the two separate signals.
Y/COLOR DIFFERENCE COMPONENT SIGNAL
Y/color difference component video needs three wires to transport the three component signals: the Y (lumi- nance) signal, the R-Y (red minus luminance) signal, and the B-Y (blue minus luminance) signal.
In linear editing, off- line means to create a?
e a preliminary rough cut and/or an EDL. On-line means to use rough-cut and EDL to create a high- quality edit master.
The video leader must be generated by the?
equipment actually used in the videotape recording.
A video server is a?
highly reliable hard-drive system with a large, superhigh-capacity (in the multi-terabyte range) disk array.
All tapeless recording media are?
nonlinear and allow random access to each frame.
NONLINEAR EDITING
nonlinear editing system and nonlinear editing phases: capture, editing, and export
he typical nonlinear editing (NLE) system must also include two fairly large external?
monitors—one for the computer output and the other to show your edited sequences—or a large monitor display that is divided into two screens.
Dissolves, wipes, and other special-effects transitions are possible with a?
multiple-source linear editing system.
The two video-recording categories are?
tapeless or nontape systems and tape- based systems.
TAPELESS VIDEO-RECORDING SYSTEMS
tapeless systems, recording media, and digital video recorders
The basic analog videotape track system has a?
video track, two audio tracks, and a control track.