American Cinematographer - October 1985 - 93

"You

talking about saving
in this one area alone,"
says Pobjoy, and that doesn't account
for reduced lab and optical costs.
J. P. Farrell joined the editing
$80,000

are

a year

this year, replacing Brock, who
another assignment. Farrell
earned his spurs as a film editor on
David Gerber's Police Story anthology
series. Fie is among a relatively small
cadre of film editors who have made
the transition to video editing, counting
Blood Feud, a mini-series, and After
team

went on to

Mash, an episodic program, among his
credits. Both of these shows followed
the original negative to video

postproduction route.
"I find this very relaxing com¬
pared to cutting film," he says. "The
video system gives you the time and
opportunity to try more things. You can

look

at a scene cut

for six seconds and

Photo

put up an eight-second version, and de¬
cide which, if either, does the job best.
Of course, you can also do that with

by Jim Ilirsch

►TEADICAAA

film, but it takes longer."
Time is important on a show
like this. Pobjoy says that a typical
Fame episode will have at least 600
cuts,

and 900

are not

(FT. LAUDERDALE)

(BOSTON)

unusual.

Farrell also has

a sense

that

TECHNICAL

he is

cutting a little bit tighter on the
dialogue. "Video editing might give you
that little extra edge," he says, "However, the main thing, whether you are
cutting film or tape, is that you want to
preserve the look and feel of the

BOOKS

FOR FILM AND VIDEO

show."

Generally, Farrell is starting
episode, while McElroy is
finishing another. The end product from
the offline editing process is a floppy
to

edit

one

disk with

cut and electronic optical in¬
structions which conform to a SMPTE
time-code on the address track. There is

also

a

hard copy

/

TAKE

fi

printout of editing

instructions, made up for online that

duplicates the editorial decisions on the
floppy disc. A 3/4-inch cassette of the

Dramatize your

final show is also used in online for
verification if any discrepancies should

sation piece that adds a movie
touch to wall decor, it's a take¬

arise.

"We clean and trace the list,
which means that we make certain that
it conforms to the editor's final cut,
before it is delivered to Complete Post
for online editing," says Merwald.
In the first run, a textless
one-inch master is automatically as¬
sembled. The text or credits are left out
at

this

"Take-One" clock

wall with
-

a

a conver¬

off, of course, from B&S movie
slate: Takes 3,6,9 and 12. It's
12"x 12" and operates on one
AA

battery. Attractive and prac-

tical, it

comes with a wall
mount and sells for only $50.00

plus $3.00 shipping and han¬
dling. California residents add
Qlh% tax.

A
of

carefully selected and annotated list
over

100 of the latest titles devoted to

film and television

technology,

Including:
■ Pre-Production

■ Television
■ Production
■ Post-Production
■ Cinematography ■ Operation
■ Sound

Manuals
■ Directories

■ Animation
Write for your
our

FREE catalog today, or visit
Hollywood.

showroom in the heart of

MOST PRO'S DO!
ALAN GORDON ENTERPRISES INC.

point to allow for foreign Ian-

DEPARTMENT B.C.
1430

Cahuenga Blvd., Hollywood, CA 90078
Telephone: (213) 466-3561 * (818) 985-5500
TWX: 910-321-4526

*

Cable: GORDENT
American Cinematographer - October 1985

Table of Contents for the Digital Edition of American Cinematographer - October 1985
