American Cinematographer - February 1989 - 84

WE'LL
Our

SURVEY IT,

light

shines

day or night

DESIGN IT, SUPPLY IT,

tor be trained in their use. On the average a
film editor who has never used a videotape

TRUCK IT, GRIP IT, GRID IT,

editing system of any kind can learn enough
editing in about two weeks. If an
editor has had experience on any one of
them, he or she can usually learn another
one in about three days.
While some editors pick up the

ROLL IT, LIFT IT, MOUNT IT, LIGHT IT,

to start

POWER IT, FILTER IT, SHAPE IT,

FOCUS IT, CONTROL IT,

skills needed to operate an

*

ANY DAY OR NIGHT.

Service

R&R

Rentals

Sales

INC.

electronic edi¬
quickly, it is rare to find a
film editor who simply cannot master the
transition. Incidentally, experience has
shown that age has nothing to do with the
ability to learn these new systems, instead,
attitude seems to be the primary determin¬
ing factor.
These systems, in the opinion of
the majority of film editors who speak about
their experiences in electronic editing, are
faster than film. No film editing system can
match the electronic editing system's speed
in making numerous versions of an edit,
comparing different edits, reviewing cover¬
age, and making changes. This speed trans¬

ting system

Lighting Design

*

24 hour service

(301) 589-4997
Spring Avenue, Silver Spring, Maryland 20910

813 Silver

They all fail from time to time and cause
great frustration until they are repaired.
When this happens, the quality and avail¬
ability of the support personnel is critical.
All systems require that the edi¬

very

lates into either
cost, or the

PRECISION SPEED
CONTROL
IN TER NA T/ONAL

We

supply the best
equipment

CAMERA

ON

\

OFF

CINEM4K3DWW

and the best
u/w

6/H 5157

c

underwater

electronic*

crews

in the world!

lower ultimate editorial

go further in editorial
combination of the two. All
these systems also offer the convenience of
being able to record the current status of an

perfection,

or a

edit onto videocassette at any

time, al¬
though how long this takes differs from
system to system. Nonetheless, the ability
to take the ''cut" to the producer, director, or
network, without stopping the editorial pro¬
cess is an important attribute of electronic
editing.

O

**»«**
FRAMCS/SECOttD

a

ability to

PHASE

PRECISION SPEED CONTROL.

Auto-assembly, Titles, and
Optical Effects
The final product of the electron¬
ic

COMPUTER/VIDEO FILMING
MADE EASY

SYNCHRONIZES ARRI CAMERAS TO:
* VIDEO/COMPUTER MONITORS
*
*

Video 3/4", 1 ",8mm

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U/W

/

Lighting

U/W Audio

TOPSIDE ? NO PROBLEM!

Fifm-Video-Lights-Grip

HMI LIGHTS
PROJECTOR IMAGES

The PRECISION SPEED CONTROL is ideal
for filming monitors. The 50,000 CRYSTAL
SPEEDS and phase shift button allow

Video/Computer monitors to appear sharp
and clear without the irritating scan bar.
Speed range is 1-50 fps in .001 fps
increments.

Completely independent from

Video/Computer source.
cables necessary.

No interconnect

editing

INTERNA T/ONAL

MIAMI
1825 NE 149 St.

Miami, FL 33181
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82

o

Telex 51-9348
FAX 30 5/9 4 5-1117

We

ATLANTA
3311

CINEK/MTGSMPR/i

Empire Boulevard

electronics

Atlanta, 6A 30354

H404/766-11

11

FAX404/761 - 7719

ship anywhere In the world

1625 Stanford St.
Phone

* Santa Monica, California 90404 * USA
(213) 829-1811 FAX (213) 453-2601 TELEX 6503152405

regardless of what

sys¬

is used, is a computer list of the edit
decisions. This list performs the same func¬
tion in electronic post-production as the cut
tem

workprint used by the negative cutter in
film. The list is read into a computer de¬
signed to control broadcast quality video¬
tape machines. The dailies masters, usually
1" videotapes, are loaded onto playback
machines and the control computer (CMX
being the system most often used) autoassembles

as

frame-for-frame

duplicate of the
by the computer list.
Dissolves, fades, wipes, as well
certain other standard optical effects

final cut

IMAGEDEVICES

process,

a

as

described
American Cinematographer - February 1989

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