American Cinematographer - December 1983 - 92

STUDY IN HOLLYWOOD-Center of mo¬

ing with - and the beauty of it, as Benfield and
Pickersgill both point out, is that they can use
all the creative film and sound editing tech¬
niques they've always used - to create vid¬
eotaped programs of unparalleled editorial
sophistication, especially with respect to sound
sweetening.
Among the key participants in de¬
veloping video workprinting into a viable pro¬

picture and television production.
graduates work at motion picture stu¬
dios and TV networks here, around the
tion

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Videosmith's chief editor is Mark
Forker - onetime student of film but, as he

"in at the beginning of the video revolu¬

says,

tion," and therefore knowledgeable about both

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media. Forker has worked closely with Sky on
video workprinting.
The CMX system is computer con¬

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trolled, and everything Sky, Forker and their
colleagues did in developing the computerized
program Sky uses for video workprinting was
driven by the requirements of the CMX soft¬

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Forker refers to a "mysterious factor X" that
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The difficulty, of course, is that
video editing - and all Sky's video trans¬
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Sky indicates, along with the entire video work¬
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Both Sky and Forker feel that the
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American Cinematographer - December 1983

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