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The reasons for this migration are easy to
see, but this vision requires a fresh approach to the situation and the
abandonment of pre-conceived notions and prejudices. Since I started my career
as a film cutter, I’m very familiar with this mindset. But the recent stellar
advances in digital technology have started a tectonic shift in the industry,
and the changes to come will change the playing field of the industry, and the
way we all work, forever.
So let’s take a step back and examine
field acquisition alternatives. Of course, there is physical film – the 104
year old tired (yes, tired) but true method. Early on, I realized that physical
film is a volatile medium with inherent risks and flaws. While these many risks,
such as unusable footage and bad lab runs, were accepted then, there is no need
to take such risks anymore. The difficulty of knowing exactly what you shot
while still in the field has been partially addressed with video assist systems,
but they add to the production costs and can’t insure that you get a good shot
on your production format.
In addition, physical film introduces gate
weave, jitter and other abnormalities that severely complicate effects work,
used on so many productions nowadays. When physical film is transferred into
effects systems, each frame must first be digitally registered to correct the
inherent inability to precisely position each frame accurately in reference to
the other frames.
Physical film also introduces several
necessary burdens on the production timeline and budget. The first of these is
the requirement for video assist systems in the field. The next cumbersome step
is typically a transfer to a video medium, for off line creative work and
possibly final mastering and distribution. There are also added costs in
sessions dedicated solely to fixing color differences between shots and giving
the production an overall "feel".
In each of these steps, great care must be
taken to maintain the synchronization relationship between the visual media and
the separate audio media. Each of these added components significantly increases
production costs and extends the production schedule.
All of these steps and associated downsides
of physical film can be eliminated by the employment of digital technologies in
the acquisition stage of the production. Modern digital technology, in the form
of 1080 line HDTV camera’s, such as Sony’s HDW-700 Camcorder, offers a
cost-effective solution. This technology and the forthcoming advances it clearly
indicates will address all of these production issues while being capable of
delivering the same quality viewing experience.
Digital acquisition ensures quality in part
because it offers immediacy and absolute confirmation of content while still on
location. At any point, you can review what you’ve already shot and ensure
every aspect of the production is as desired. In addition, the color consistency
of shots acquired with digital technology can be maintained with the use of
advanced camera setup cards and in-field monitoring of test and measurement
equipment. And of course, integrated single system audio recording smoothes the
entire process and eliminates countless hassles downstream.
Digital technology is also the perfect
acquisition format for effects work, making rotos coping, chroma keying, virtual
set work and wire removal much easier. For these very reasons, Lucas Film has
decided to abandon the problems associated with physical film and utilize
digital technology as their acquisition solution for the next two Star Wars
features.
It should be noted that many traditional
motion picture theaters are currently being wired for digital distribution of
features, thus removing physical film from yet another loop in the production
chain.
And once your footage has been digitally
acquired, it can then later be processed to have the exact same appearance as
material that was acquired on physical film. So the advantages of digital
technology are many, as it solves all of the inherent risks and flaws of
physical film, while providing an acquisition medium that can be treated to
produce any one of a variety of different looks. And digital technology can
deliver all of this while offering reduced shoot time and overall lower
production costs.
I contend that much of current day
production involves steps that exist primarily to overcome the intrinsic
downfalls of physical film and that these steps unnecessarily tack on to end
costs and lengthen production schedules. In an era of declining budgets and
squeezed schedules, digital technology is becoming able to offer comparable
quality at a much-reduced cost with a faster turnaround time. At some point,
your images will become digital data, and the most obvious point to have
that happen is in the camera.
And this digital technology is still in its
early stages, with more advancements and savings in the works. For these
reasons, it makes me wonder why they just don’t call it digital film. Maybe
someday, we will.
by Ed McNichol
What is Digital Television?
Digital Television (DTV) has different meanings depending on whether you're
discussing production and post-production or distribution and transmission. For
production and post-production it means using digital production tools such as
cameras, VTRs, switchers, disk recorders, CGs, etc. In distribution and
transmission, it means sending the audio and video digitally to its destination.
Digital Television in the United States has meant direct broadcast satellite
(DBS) with DirecTV (which bought USSB and Primestar) and EchoStar's DISH
network. But that has changed. Both broadcasters and cable headends are starting
to send their signals to viewers digitally.
In 1998, stations across the United States began transmitting free
over-the-air digital pictures and sound, while retailers began selling
"digital television" and "digital television ready" TV sets
and VCRs (known as D-VHS). In 1999, the network affiliates (ABC, CBS, Fox and
NBC) in the nations 10 largest cities were scheduled to go on-air in May and 30
largest cities scheduled to go on-air in November (some made it and some
didn't). This year, more stations will be going on-air, and the links below will
assist you in finding out when stations in your area will be going on-air.
To find out which digital television channels you can receive now, when other
channels are scheduled to go on-air, what content they are airing as well as
what antenna you will need, go to the TitanTV.com
website run by the Decisionmark corporation.
- For more help in choosing the correct antenna to receive all your
local stations (primarily analog at this point), go to AntennaWeb.org,
a service of the CEA (Consumer Electronics Association--the old CEMA).
- For more consumer related information, you can go to the DTVweb
website,also run by the CEA (Consumer Electronics Association--the old CEMA).
The following information is the latest available from the FCC. It is
updated fairly regularly:
- DTV
Stations Presently On The Air (non-experimental licenses)
- Summary
of DTV Applications Filed
- Top
10 Markets' DTV Status
- Top
11-30 Markets' DTV Status
- DTV
Pending CP (Construction Permit) Applications and Granted CPs (Construction
Permits)
- FCC's
General Description of Digital TV
- Digital
Television Consumer Information, FCC Office of Engineering and Technology
(November 1998)
- FCC's Hot
Topic Area which may have more DTV information
What Digital Television Means To The Viewer:
The Timetable:
Local broadcasters will be initiating DTV service at different times. A
station may begin DTV service as soon as it has received its FCC permit and
is ready with equipment and other necessary preparations. The FCC has
established a schedule by which broadcasters must begin DTV service (absent
extenuating circumstances that may affect individual stations). This
schedule required that stations affiliated with the top four networks (ABC,
CBS, FOX, and NBC) in the 10 largest markets begin service by May 1, 1999.
Stations affiliated with these networks in markets 11-30 must have begun
service by November 1, 1999. All commercial stations must begin DTV service
by May 1, 2002, and all noncommercial educational stations must start by May
1, 2003. stations are allowed two six-month extensions just by filing a
request. Any additional extensions must be granted by the full FCC
Commission.
In November 2001, following the World Trade Center disaster and in
consideration of the country's economic downturn, the FCC threw a huge bone
to broadcasters with a loosening of the DTV deadlines. Commercial
broadcasters no longer have to replicate their NTSC service area by the end
of 2004 (and non-commercial stations don't have to do it by the end of
2005). They just have to cover their communities of license, and they'll
still retain interference protection.
Stations that already have construction permits for maximized coverage no
longer face an operation deadline for the maximization. Broadcasters no
longer face deadlines (commercial end of 2003, non-commercial end of 2004)
for deciding which of their core (channel 2-51) channels they want to keep
after the deadline. Except for the NTSC simulcasting requirements that kick
in on April Fool's Day of 2003 (50%, then 75% in 2004, and 100% in 2005),
DTV stations need no longer operate outside of primetime. "Financial
hardship" may now be an acceptable excuse for missing a deadline.
The FCC "said it would defer to a future proceeding technical issues
raised in the on-going proceeding, including the issues of receiver
performance standards, DTV tuners, the ATSC PSIP standard, and labeling
requirements for television receivers": http://www.fcc.gov/Bureaus/Mass_Media/News_Releases/2001/nrmm0114.html.
HDTV:
For the viewer at home, digital television can mean high definition
television (HDTV) in a wider 16 by 9 aspect ratio (today's analog TVs have
an aspect ratio of 4 by 3) as well as 5.1 channel Dolby Digital surround
sound. HDTV pictures are like looking out a window and are better than any
picture that today's analog TVs can produce.
SDTV Multicasting:
Digital Television also means muticasting (or more technically
correct-multiplexing) where two or more television programs can share the
bandwidth normally used by one analog program. It is technically possible to
show two HDTV programs at the same time or one HDTV program and two standard
definition (SDTV) programs at the same time, or even four to six SDTV
programs at the same time each with 5.1 channel Dolby Digital surround
sound. The law requires that at least one channel must be free and the same
quality as the analog channel-but not the same program.
(At least not until April 1, 2003 when 50 percent of analog programming
must be simulcast on one of the DTV channel programs, then 75 percent on
April 1, 2004, and finally 100 percent on April 1, 2005. In theory, analog
TV will be shut down in 2006, but that depends on how many people still rely
on their analog TVs-which can get DTV with a set-top box)
The new (and expensive) HDTV TV sets will be able to figure out how many
programs are on a channel and how to display them on the TV screen so they
look the best to you. Incredibly, it is in the specification that a single
channel of digital television can have as many as 1,024 different programs,
but they don't all have to be TV.
Data Broadcasting (Enhanced Television):
A program can also be non-television data. Using "opportunistic"
or left over bandwidth, broadcasters can transmit data over the air. What
kind of data? Web content, stock reports, electronic coupons that a computer
printer could print out, or even the telephone directory. Each 6 MHz DTV
channel can transport 19.39 Mbps (2.42 MBps). That data can be television,
non- television data, or a combination of both. At that speed (346 times
that of a 56k modem), a program like Microsoft Word could be transmitted
within five seconds.
The Future:
Only time and technology will tell what happens with digital television. New
services are being thought of every day. Widescreen TVs, flat panel TVs,
computers capable of HDTV are here now. Television can only get better.
What is Desk Top Video...?
Desk Top Video (DTV) is using your computer to
create videos. You can easily and affordably use your computer to overlay titles
& graphics, control your camcorder & VCRs, perform digital video
effects, and fully edit your videos. You can even capture video to your hard
drive and edit it inside your computer!
What is a video overlay/genlock
card...?
A video overlay card lets you overlay or
superimpose computer generated titles and graphics over your video. They work by
selecting a key color such as navy blue. Wherever the key color appears within a
title page, live video will be substituted. An overlay card has both video
inputs and outputs.
What is a scan converter...?
A scan converter lets you take VGA output from
your computer and turns it into a video signal which you can play on your TV or
VCR. A scan converter is an external box you hook up to your computer. Scan
converters let you output computer titles, but you can't superimpose them over
video. They are excellent for giving powerful presentations or software
demonstrations.
Can I edit with my
computer...?
We offer several different software/ hardware
packages that let your computer control your camcorder and VCRs. You can log
footage from all your video tapes, select the scenes you want, place them in any
order and even add titles and effects automatically!
How can the computer control my
equipment...?
By using either infra red (IR) remote and/or
special editing jacks built into some camcorders and VCRs. Many 8mm camcorders
and Sony VCRs have a special jack called Control L (LANC). If you have high
end editing decks with time code, we have
programs capable of using it!
What is Control L..?
Control L is a protocol designed by Sony which
lets your camcorder be fully controlled by the computer. More important, Control
L lets the computer know the position of the tape at all times by telling it the
real time counter reading. It is this 2 way communication that makes Control L
so special.
Can I mix two video sources together with my
computer...?
We have video boards that let you create all
kinds of digital video effects including A/B rolls (mixing and displaying two
videos on the screen at once), dissolves (when one video image fades directly
into a second), and even chroma key (when you superimpose one video over
another, like the weatherman effect on TV).
What is a video capture card... ?
Video capture cards let you record video onto
your computer's hard drive. These cards use hardware & software compression
(Codec) to digitize the video onto your hard drive. You can then edit the video
and play it back to tape or display the finished movie on your computer screen!
What is a Codec...?
Codec stands for Compression/Decompression. It is
the method used by your video capture card to digitize the video and store it on
your hard drive. All of our cards use Motion JPEG (MJPEG) as a Codec.
What is MJPEG & MPEG...?
They are different standards for compressing
video. Our cards use the Motion JPEG standard to create AVI files which can be
played back on any Windows multimedia computer. MPEG is the newest standard for
commercial video compression and it is primarily used for CD ROMs. MPEG video
requires a special card for playback, and for now, it is about 5 times as
expensive as MJPEG video capture hardware.
How much video can I get on my hard drive..?
With the cards we carry, you will be able to
store 1 minute of video in approx. 12-50 megs of hard drive space. The higher
the resolution you need, the more space the video will require. For short videos
(under 5 minutes) an EIDE hard drive will work fine, for longer video and the
highest possible resolution, you should get an A/V rated SCSI (pronounced scuzzy)
hard drive.
What is Non Linear Editing..?
Non Linear editing (NLE) is when you edit videos
within your computer. Instead of using jog shuttles and special video decks, you
simply capture the video to your hard drive. You can then edit and rearrange the
scenes much like moving paragraphs around in your favorite word processing
program! Since the video is digitized, you can instantly get to any exact point
in the video! Of course once the video is captured, you can add all kinds of
digital video effects, filters, titles, morphs, just about anything you can
imagine can be done.
What do I need for NLE...?
Most importantly you will need a video capture
card with video output for playback. If you can't output the video to tape, you
only have half the solution! Next you will need storage space. We recommend a
minimum of 500 megs available disk space. You will also need software to log
your edit scenes & points, plus create all the amazing effects you want to
add. All of our capture cards can be purchased as bundles, with NLE software
included.
What kind of computer do I need for NLE
...?
We recommend a Pentium 100 or faster, with 16-32
megs of RAM, and a very fast (EIDE or SCSI) 1 gig hard drive. The faster your
computer is, the better your video will come out. For home use, a 486DX2 or
Pentium 75 with 16 megs will due just fine, for professional work, get the
biggest, fastest machine you can afford.
Can I install the boards
myself..?
Installing boards in your PC is really very easy.
You may not even need a screwdriver! Once the board(s) is installed, you will
need to install the special new video drivers that come with them.
What is a driver...?
A driver is the special software code that lets
your computer interact with the different devices hooked up to it. Keyboards,
mice, floppy disk drives, all require drivers. The drivers supplied with your
board have been specially written to allow optimal operation of your computer
once they are installed.
Non-Linear
Editing
This page is designed to both educate you about
non linear editing (NLE), as well as help you pick out the NLE system that is
best for you. We carry several different video capture cards and software
packages that are affordable and work great. All of our video capture cards have
video (and SVHS/Hi8) inputs and outputs. This means you can digitize the video
and store it on your hard drive, edit it, then output your finished video to
tape. All of our cards are multi system, and work in NTSC (the US television
standard) and PAL (used in many European, South American and countries across
the globe). Although none of our cards are "broadcast" or commercial
quality, you will be amazed at the spectacular videos you can create, and the
remarkable picture quality of this new technology. Best of all, you can now get
a starting NLE system that will work great using a typical home multimedia
computer.
Linear Editing...
Most of us are familiar with linear editing. The
simplest form of linear editing is called assemble editing or deck to deck. This
is when you copy only the "good" parts of a tape over to a new tape.
Assemble editing systems often include titlers or special effects generators to
make the videos more fun to watch. A/B roll editing is when we edit from two or
more video sources. An A/B roll system often includes a digital mixer, to let us
cut, fade, dissolve and wipe from source A to source B. Insert editing is when
we splice in a different scene, or video only, into the middle of an existing
video tape. Only very expensive, high end editing decks are capable of insert
editing. Today, linear editing means deck to deck. The quality of your linear
editing is dependent on the editing capabilities of your decks. For the best
results you need special editing decks with flying erase heads, special editing
jacks, pre-roll and time codes. These decks often cost $1000 or more.
Video Capture...
With non linear editing we are no longer
dependent on expensive video editing decks or multiple "black boxes"
for adding effects. Everything is done inside your PC. The video is digitized,
captured and compressed to your hard drive and stored as an AVI file (AVI stands
for audio video interweaved, and it is a computer standard used for several
different compression types). All of our cards use Motion JPEG (M-JPEG). This is
a hardware "Codec" (compression/decompression). This means that the
files created using our cards can only be played back in PCs having the same
card installed. Lower compression settings give you higher resolution and better
picture quality, but require more hard drive space and faster data throughput. A
standard NTSC video signal consists of 30 frames (actually 29.97) per second,
and two fields per frame. This is considered to be full speed or full motion
video (PAL uses 25 frames per second). With digital video, full screen is
considered 640x480 pixels. If you capture at a smaller size, your computer will
have to interpolate and create the missing information when it plays back the
video full screen to your VCR or TV. The larger the capture size, the higher the
resolution, and the greater size of the file created. As an example, we consider
a 640x480, full speed capture at 10:1 compression to be hi resolution SVHS/Hi8
quality. You will need more then 50 megs of space per minute for hi resolution
video. We consider 320x240, full speed capture at 16:1 compression to be VHS/8mm
quality. These files are only 20 megs per minute.
Non Linear Editing (NLE)
Once the video is captured and compressed onto
our hard drive, we can edit it. Non Linear Editing software is timeline based.
You start by selecting the in and out points of your scene. Remember, that since
everything is digital, we can get frame accurate edit points every time! Each
scene is then placed on the timeline. You can lay down more then one track of
video and audio onto your timeline. If you want to set your video to music, you
start by placing the captured sound file onto the timeline. Next you select and
arrange all of your video scenes. You can move scenes and clips around in your
video just by dragging them with your mouse. It really is that easy!
The best part about NLE is the effects. Since the
video is in digital form, we don't have to worry about time base correctors and
frame synchronizers. Our effects are only limited by our own imagination and the
software we choose to use. We can add special filters to clean up and restore
picture quality, or to place ripples or swirls in the video. We can create
awesome transitions between scenes such as page turns, flips, roll ups, and
breakaways, plus the standard dissolves and wipes. Some software will even let
you morph one image into another, just like in commercials and music videos!!
When it comes to titling and graphics, NLE lets
you go crazy. You can use any Windows true type font, so foreign languages are
no problem at all. Want to add a logo or computer graphic you designed onto your
video, its a piece of cake. In fact, we can make it fly, bounce, or spin onto
the video. Of course all our titles and graphics can be superimposed and mixed
with our video. We can even add multiple titles. filters and effects onto the
same scene. The power of NLE is truly incredible. Now every videographer can
create videos that look and feel like network productions. The video you can
create using our video capture cards and software will have your audience
cheering, with everyone wanting to see more and asking how you did it.
Rendering...
Before your edited video can be played back to
tape, the computer must "render" or "make" the finished
movie as a single continuous avi file. Once this new file is created, you can
play it back anytime you like with the click of a mouse. I have added this
section because one of the most misunderstood aspects of NLE is rendering.
First, as the description implies, you will need to have enough disk space to
create your finished movie. The more titles, effects and filters you use, the
more megs per minute your finished file will be. Second, the rendering process
takes up a lot of computer power and time. This is the area where more RAM and a
faster processor can really make a difference. Rendering can take 10 to 20 times
as long as the total time of the finished movie. Rendering times of several
hours are not uncommon. Until rendering becomes faster, long videos (over 1/2
hour) are not very practical. This combined with the massive storage required,
makes us recommend doing NLE in segments of 15 minutes at a time. If you are
planning on creating a movie over an hour long, be prepared for the rendering
times involved.
Desktop
Video Glossary
A/B Roll
- Creating fades, wipes and other transitions
directly from one video source to another
Anti-Aliased Fonts
- Computer generated fonts that have been
digitally rounded for smooth edges
Chroma-Key
- Superimposing one video source over another
using a key color (usually blue or green)
Control L (LANC)
- An editing protocol built into Sony 8mm
camcorders and clones that allows 2 way communication between camcorder and
computer
Desk Top Video (DTV)
- Use of a desktop computer for video production
Digital Video Effects (DVE)
- Special computer generated effects that
manipulate video. Video footage that bends, rolls, bounces or wraps around
objects
Edit Decision List (EDL)
- Master list of all edit in and out points,
plus any transitions, titles and effects to be used in the video production
Flicker Stabilization
- Provides a clear flicker-free image on your
TV. Without flicker stabilization, computer output is very jumpy on TV
Frame Capture (Frame Grabber)
- Taking one frame of video and storing it on
your hard drive for use in various video effects
Non-Linear Editing
- Video is digitized and stored on your hard
drive using video compression technology. You can then access any part of
the video and edit the footage just like re-arranging paragraphs in a word
processing program.
Scan Converter
- External device that converts your computer's
VGA output to video, so you can display it on a TV or VCR
Time Code
- Special information added to video tapes that
allows for extremely accurate editing.
Video Compression (M-JPEG & MPEG)
- Both these standards use special hardware
& software to store video directly on your hard drive. Video compression
is done in various ratios. (e.g. 16:1,24:1) The higher the ratio, the more
video can be stored per meg.
Video Overlay Card
- PC video card that allows you to pass video in
and out of your computer, and superimpose titles, graphics and animations
over video. In most cases the new overlay card will replace your old VGA
card.
Contact To More details..
Oak Tree Press
256 WP Guinea Hill Road
Slate Hill, NY 10973
Voice: (914) 355-1400
FAX: (914) 355-4807
email video@mhv.net
Here
Are Some Basic Hints To Make Your Editing Easier And Better
- Preview your raw footage to familiarize
yourself with everything you have shot.
- Make a video tape footage log to determine the
scenes you have shot.
- Make a story board using those scenes you wish
to keep for the final production. This is a basic outline of what scenes you
want to keep, and in what order you want to place them. You should also note
what special effects, titles and audio mixing you will be adding.
- Set up titles and audio tracks. Now is the
time to create your title pages and a narration soundtrack. You should also
make sure you have all your music selected and near by.
- Always use a fresh blank tape for every
production. If you use a tape that is already recorded on, you will get
glitches and rainbows caused by the pre-existing footage. Always use the
best tape available and tape on the SP speed.
- Set aside adequate time. Your editing will go
much easier if you begin and end the job in one session. It is very
difficult to cue everything up again once you have turned off your
equipment.
- Be patient. Editing is a creative process. Be
prepared to start over if the production gets bogged down. If you try to
rush, you will be more likely to make a mistake or get sloppy edits.
- Have fun!! Enjoy making your final production.
Don't be afraid to experiment with different effects, camera angles, sound
effects or whatever other creative ideas you may have. If it works - GREAT,
if not, just cut it out. Let your creativity go wild - you've earned it!!
- The more you edit, the better you will get!!!
Not only will your future productions look better, but they will get easier
to do. With a little practice you will be able to edit your videos in much
less time. Plus, you will always be shooting to edit. As a result, you will
get better and better results!
Ten
Commandments of Videotape Editing
1. Thou shalt not screw up thy client's job.
2. Thou shalt not use fresh cassettes without
first packing them by fast forwarding to the end and rewinding them, thereby
setting thy proper head tension.
3. Honor thy vectorscope and thy waveform
monitor, for thou art guided by them.
4. Thou shalt not covet thy scene transition for
the sake of vanity, but thou shalt cut with reason and purpose, and only then,
keeping thy transitions modest.
5. Thou shalt have thy proper subject on screen
at the proper time, thy speaker when he speaketh, thy reactor when he reacteth,
thy glance and then thy object.
6. Thou shalt not cross axis.
7. Cast down thy recording tabs and breaketh
them, and loggeth thee thy master tapes, and with labels shalt thee cover them,
their nakedness sinful.
8. Thou shalt rehearse thy edits, and giveth them
bountiful pre-roll, lest ye recieveth thy glitch.
9. Thou shalt not leave thy decks in pause too
long.
10. Thou shalt not linger too long in black, lest
thy viewer kick his set reproachfully, thinking it hath conked out again.
Videotape
Logging
Naturally, there's a rush of excitement after
completing a video shoot. You can't wait to take your raw footage and get right
down to editing. However, in video production a quick start doesn't always mean
a quick finish. Rushing into an editing session usually gets you the case of the
Let's see disease: "Let's see, where's that shot of Ethel. Maybe it's on
this tape. Gee I thought it was right here. Let's see maybe I need to fast
forward. "
Fumbling through video tape trying to find a shot
can add hours to your editing time and become costly as well, particularly if
you're renting a video suite. The solution is to log your video tapes before you
begin editing. This can be done early in the production process.
Before you begin video taping put a label on your
tape with name of the project you are taping and brief description of what you
are shooting. It doesn't have to be detailed. For example: Project-Recreation in
School Curriculum. Mrs. Miller's class at skating rink.
Furthermore, if you know you are going to be
taping over a long period of time, it's a good idea to number your tapes as
well. For example: Tape #1 Recreation in School Curriculum. Mrs. Miller's class
at skating rink.
Also, try to keep a piece of paper handy and
write a brief description of everything you shoot. Once again keep it brief:
Kids walking into skating rink, shots of kids lacing up skates- Instruction
demonstration. It could be after you're finished video taping, you might not
need to use a particular tape because you don't need the footage, but you can't
deduce that if you don't know what's on the tape.
Logging itself is simple. You just stick your
tape in your VCR, rewind it to the beginning, press the reset button on your
counter, and push play. Whenever you see an interesting shot write down a
detailed description what it is (close up shot of kid smiling and saying I like
skating) and the numbers on your VCR counter next to it. If you can't write the
numbers down quickly enough, simply pause the tape until you do. You'll discover
that logging your shots saves you tons of time once you begin editing.
Furthermore, watching your tapes in a relaxed state rather than in the heat of
production, might even give you a better idea of how you want to put your
production together once you start editing. It might seem time consuming at
first, but in the long run logging saves time.
Old-Style
3D
If you’ve got an A/B fader on your editing
equipment and two camcorders, you can shoot amazing old-style 3D videos. Just
set up two cameras side by side on tripods, then apply a red filter to one
camera and a blue filter to the other. The cameras must be angled slightly
inward and both must be level. Send the two signals through your fader, set
exactly in the middle, and into an external VCR to record (if you record on two
separate tapes editing will be difficult later). Now dig out your old 3D glasses
and enjoy!
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