American Cinematographer - November 1983 - 100

show

might have

even

different

many

camera

lighting extremes and
filters from scene to

scene.

The video editor performs several
simultaneously. Gary Anderson, video edi¬
tor of Femily Ties, compares his respon¬
sibilities to film post production, "The video

mm mfim

editor combines several different functions
which often include creative editing, negative

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tasks

cutting, sound editing, sound mixing and color
correction (color timing)." The video editor is
really a critical factor in the video process. His
or her understanding is what maintains the
desired image quality through post production.
To maximize this operation it is necessary that
the video operator understand the problems of
final assembly in a show. The video operator
should also be familiar with video tape record¬
ing and computer editing. It is valuable and
important for the editor to be supported in
cutting a show of this complexity. Also good
feedback from the editor can help the video
operator in solving any technical problems
quickly.
As

more

and

more

is done with

video, this type of involvement will be estab¬

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lished and video continuity will greatly increase
as will the apparent flexibility in creative video

production. It is really necessary that a video
operator at least understand matching problems
in post. Having some editing experience and
understanding is a plus.
When designing a custom video im¬

resolve
consis¬
tent product is important. This is especially true
age, constant communication to quickly
any compatibility problems and insure a
if the show has

photography that

special look

or

may not appear

like

a

WISH BOOK

style of
a "typi¬

cal" video show on a waveform monitor. Ex¬
tended time periods in production also
necessitate careful supervision due to possible
loss of continuity in camera setup. A knowl¬

edgeable editor and video supervisor can work
together to resolve these problems. If many
styles and looks are incorporated into the
show, the editor must be experienced enough in
video that he can preserve the desired
qualities. Interaction from the video man can
help support him in this cause, especially if the
look is radical enough that mutual support may
be necessary to get it through the network and
on the air in one piece.
One concept that creates a radical
image quality is the use of low contrast filters.
Let's look at the proper usage and effects of
this process.

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American Cinematographer - November 1983

Table of Contents for the Digital Edition of American Cinematographer - November 1983
