Monday, October 20, 2014

Editing Today: Beyond the NLE | Filmmaker Magazine

Editing Today: Beyond the NLE | Filmmaker Magazine

David Lean once called editing the soul of filmmaking. Today it’s more like the Mission Control.

You’ve got to understand pixel counts, bit rates, bit depth, color
sampling, sampling frequencies, frame rates, codecs, RAW files,
deBayering, audio channels, waveform displays, vectorscopes, audio
levels, LUTs, proxies, file-wrappers, Log gammas, XML, titling, effects —
need I go on? Arcane stuff that used to be the domain of video
engineers with EE degrees.

To ensure a smooth and efficient postproduction “workflow” (term
borrowed from I.T.), you must know about cameras too: which frame sizes
they capture, which codecs they employ, which gammas they apply, which
file wrappers they add. Speaking of I.T., you must know how much disk
storage you’ll need for both media and render files, how blazingly fast
your drives must be (RAID 0 anyone?), and how fat the pipes must be —
FireWire 800, USB 3.0, eSATA, Thunderbolt 1 & 2, in order of faster

As you ingest camera footage, you must decide how to organize it for
the edit and beyond. Will it be backed up? How much will be archived? To
optical discs, hard drives, linear tape, the cloud? How will you keep
track of everything during post? How will someone in the future figure
out what’s what, and where?

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