Welcome to PVTV LEARNING, from ParkerVision. This curriculum represents the most advanced and effective way to teach high school and college students the science of modern television broadcast. Until now, most broadcast curriculums focused on methodology that evolved over 30 years ago. This curriculum, however, covers basic production techniques and equipment, and then transports the students into the advanced automation technologies that are quickly becoming the norm in today s television broadcast industry. If you have elected to download only the PDF versions of the Teacher s and Student s Editions of PVTV LEARNING, feel free to jump right into teaching. Throughout the chapters, you will see references made to additional materials in the way of on-line lessons and tests, and explanatory videos and animations. This additional material is available to educators at a significantly discounted cost in electronic format (on a CD ROM). For more information on obtaining this additional material for your school, visit our LEARNING web site at www.pvtvlearning.com or contact us as shown below. ParkerVision, Inc. 8493 Baymeadows Way Jacksonville, Florida 32256 e-mail: sales@parkervision.com Tel: 904-737-1367 Fax: 904-731-0958 www.parkervision.com
1.1 The Basics You ve learned about composing shots, how to do a stand-up, and writing news for broadcast. Now that the shots are recorded and the interviews are done, editing is where you put it all together to create a story. Video editing is a copying process. At its most basic level, editing is simply choosing which pictures and words to keep, which shots to copy onto another tape and which to discard. But editing can be much more than that. It can also be the skillful combination of words, images, natural sounds and music to make a powerful statement. Which shots you choose, and where you choose to put them, is the art of editing. The method you use to copy the picture and sound and physically combine them on another tape is the technology of editing. The art of editing begins with understanding why you edit and in learning how to identify and convey your message. Objectives: After completing this section you will be able to Define the term editing Describe reasons to edit LESSONS: 1 2 There are several motivations for you to edit the material you have collected in the field. First of all, editing can condense both time and content. A press conference is reduced to a twenty-second sound bite. A day in the life story could be told in a minutethirty documentary. Remember 1 that it is important when condensing material to retain the essence and accuracy of the event. In news editing, the goal is to present information in an objective manner. However, shot selection will always be subjective. The shots you choose, which sound bites you include and the ones you don t keep are all subjective choices. Keep the overall picture in mind. In journalism, it s best to present the facts as accurately as possible and let the audience form its own opinion. Editing also helps you to organize material. You can order 2your material chronologically, by topic or by theme, depending on the message of the program you want to present. It s not necessary to shoot in chronological order in order to edit in temporal order. For instance, you might do a story about a trip to the zoo and shoot the entrance gate last, even though it will be the first shot in your finished show.
1.2 LESSONS: 3 4 3 An obvious reason for editing is to correct mistakes. This is the least efficient use of editing. There are basically three stages of production, namely, pre-production, where planning takes place; production, during which time the show is shot; and post production, where the editing takes place. There s an old expression, We ll fix it in post. Translated, that means a mistake made during a shoot is left for an editor to correct in the post-production phase. If you know there s something wrong with a shot, the best advice is to fix it while still in production. There are so many variables to consider that what seems like a small mistake in production can be a big headache to correct in post. Even the most skillful editors have limitations on what they can fix. The old expression should really say We ll enhance it in post. 4 The ability to create something new is yet another reason to edit. Taking a project from the idea stage to its completion can be very satisfying. Many people believe post production, or POST, is the most rewarding part of the process. This is where a great deal of creativity can come into play. Give five people exactly the same footage with a specific goal, such as Explain how to make a peanut butter and jelly sandwich, and you will get five different videos. Editing is the final step, the last chance for your program to be a failure or success. At its best, editing becomes invisible, so that the audience is caught up in the content and doesn t even notice the subtle techniques that keep the story moving forward. In news, editing is simple and clean, used only when necessary for the sake of time. 2000 ParkerVision, Inc.
1.3 <<<rewind LESSONS: 1-4 1. Define what is meant by condense editing. What are the advantages, and what are the concerns? 2. In what ways can you organize the content of your video? 3. If you want to be sure that your project is edited the way you envisioned it, what must you do? 4. What is an inefficient use of editing and why?
2.0 2000 ParkerVision, Inc.
2.1 The process of editing begins before you even start shooting. You should plan ahead for any specific edits or transitions you have in mind. While shooting you should keep notes or a field log to make sure you have gotten all of those shots and to help you keep track of what you have already recorded. After shooting is complete, your next step is to log all the shots on your camera original or raw footage tape. The raw footage or camera original tape is the tape you used for recording the shots and interviews in the field or studio that will make up your story. This is your original tape. Objectives: After completing this section you will be able to Log a tape correctly Write an edit script Describe the steps to edit a story Describe the function of a raw footage tape and an edit master tape LESSON: 5 A log is a record of each shot on your tape, with enough information about each shot that by simply reading the log sheet, you have a pretty good idea of what the shot looks like. For the purpose of logging, a shot ends whenever there is a camera cut. This editing log is much more complete and detailed than the field log. A typical edit log sheet might look something like VIDEO LOG SHEET Name: Sally Student Period/Block 1 Date 00 / 00 / 00 Tape: Sally Student Raw Footage Page 1 of 1 the one shown below. Look at the first two columns on the log sheet. This is where you write the time when each shot begins and ends. The next column is for describing the shot. Use abbreviations 5for your shots, i.e., long shot, LS; closeup, CU. If there s motion in the shot, indicate by an arrow the direction of the motion. If it s a lead-the-look shot, indicate with an arrow in which direction the subject is looking. The last column is where you can put any other brief comments about the quality or usability of the shot. If you aren t going to use anything from a particular interview, annotate that on the log sheet and simply log it as a shot. For the rest of the interviews, listen to everything that is said. Select the responses you re most likely to use and transcribe those. If they won t Time In Time Out Shot Description Comments 00:01:00:05 00:01:42:14 LS Buses arriving at school Good 00:01:42:14 00:02:26:02 MS Students getting off bus Glare / NG 00:02:26:02 00:03:11: 16 MS Students getting off bus Shaky
2.2 LESSON: 5 work, you ll have to go back and listen to others, repeating the transcription process. This is a good reason to control the length of an interview and to be sure to ask specific questions. The more the subject talks, the more you may have to listen and write! Logging takes time, but it helps make the editing process smoother. When it s time to prepare your edit script, you ll be glad the log sheet is complete. Log shots as soon as possible after shooting. It s easier to log tape as you go than to sit down later with several 5 hours worth of tape trying to review and reconstruct all the events. If possible, have someone log as you shoot. Also, logging goes faster if one person starts and stops the VTR while the other writes the times and descriptions. There are also computer systems and software that can connect to your VTR and read the time code from the tape. These systems let you enter time code numbers with a single keystroke so you can type notes and shot descriptions, and enter time code at almost the same time. 2000 ParkerVision, Inc.
2.3 Once you have all your shots logged and interviews transcribed, it s time to select the shots you ll include and the sound bites to accompany them in the final program. This is where the fun begins! Organize the shots and interviews until they tell a story. This may take some time, especially for your first few stories. What you are doing is creating an edit script. LESSON: 6 An edit script contains all the information needed to edit your story. It is created from the edit log sheets, and details all of the shots and sound that will be in the final program. Most edit scripts will look similar to your log sheet, but you ll notice that it s different than the sheet used to log your shots. The first column is for Tape/ Location. Write the name of the raw footage tape to be used plus the physical location of the segment needed, logged by control track or, preferably, by time code address. In the second column describe the shot briefly. If you need any graphics to accompany the shot, such as a lower third super identifying who is speaking, indicate that in this column. The next column is for any audio that will be heard, including voice-over (VO), sound bite (SOT), natural sound (nat sound) or music. All words to be used that are spoken on tape must be written here word for word. Go through all the interviews you ve transcribed and highlight the parts to be used. The last column is for the time. Typically, each piece of video is between three and five seconds; sound bites are usually from five to twenty seconds. Time each segment and then write the number of seconds each segment lasts. This way you can calculate the running time of your story on this copy 6and keep within your time limit. Follow these steps in order to create your news story: Select your audio Select your shots. Remember, use your best video first! Be sure that the shots and sound bites make sense and place them so the story line can be followed easily. Now look over the information to see what s missing or where a transition is needed. Review your shots and interviews to see if changing any of them improves the story. If not, it s time to write the voice-over to fill in the gaps and make the story complete. Editing may seem overwhelming at first, but with a little practice you ll find that it s not really difficult and it s lots of fun!
2.4 LESSON: 7 Sometimes in news, where deadlines can be very tight, there s no time for editing at all. If that happens, simply cue up your raw footage to a short segment (five to twenty seconds) and play that live on air, either with the natural sound from the tape or while an anchor reads a voice-over. This is called wild video. If you are working on a project that will take several days or even weeks to complete, you may want to go ahead and make a copy of your raw footage, with numbers (time code) visually displayed on the tape in what s called a window. Use the window dub as a working copy to log and review your shots. This saves wear and tear on your original raw footage to keep it clean for the actual edit process. When you re finished with a project, make a copy of the edit master also. The original edit master can be used as an archival copy. The copy of the edit master can be used for reproduction and distribution. Once your package is complete, you will need to create a second script, called the broadcast script. The edit script is your blueprint for creating a package, while a broadcast script contains all the elements of an entire broadcast. It includes all of the information that ties together all of the packages that make up the show. The standard format for writing broadcast copy is to put the audio on the 7 right side of the page and the video on the left. Make sure to annotate on your script if what you are writing is a VO or an SOT, a combination of VO and nat sound or a combination of sound bite and background music. 2000 ParkerVision, Inc.
2.5 <<<rewind LESSONS: 5-7 1. Logging a tape serves what purposes? 2. What is the purpose of writing an edit script? 3. Describe what raw footage tape is used for. 4. Define the term working copy.
2.6 2000 ParkerVision, Inc.
3.1 RAW FOOTAGE RAW FOOTAGE EDIT MASTER EDIT MASTER Edit Process By now you know that video editing is a copying process. The raw footage tape, or camera original, is the one onto which you record your shots and interviews in the field or studio. Your second tape is your edit master. You ll copy the shots and sound from the raw footage tape onto the edit master during the edit process. You also already know about the video and audio signals. But videotape has one additional necessary signal, CONTROL TRACK, and it may or may not have TIME CODE information - which you work with when editing. Objectives: After completing this section you will be able to Name the different types of edits Determine which edit mode is best for different tasks Prepare a tape for editing Perform insert editing LESSONS: 8-9 Control track is a series of sync pulses that mark each frame of video and control the speed of the video head drum when the tape is played back on a VTR. The machine recognizes the speed at which the tape was recorded and adjusts its speed accordingly. Your camera records control track automatically, along with the audio and 8 Control Track video signals. Control track information is usually what the counter of a VTR or VCR counts to give you a numeric display of where you are in the tape. Time code is an additional signal that is recorded onto videotape as a reference number for each video frame. A frame of video is a still picture 1/30th of a second in length - 9 the smallest possible measurement of a complete image. When you hear the term frame accurate in reference to a VTR, it means the machine can locate a specific piece of video on a tape with accuracy up to 1/30th of a second. A time code signal can be laid on either the video or audio tracks, or both. Depending on the format of videotape, you may be able to choose which of the tracks to put it
3.2 LESSON: 9 on. Time code information placed on an audio or ADDRESS track is called LONGITUDINAL TIME CODE or LTC. A drawback to audio LTC time code is that you have to give up an audio track. Why would that be a problem? If you wanted to combine two tracks of audio, say a voice-over and background music, you couldn t because that requires two audio channels, and LTC now takes up one. For this reason a longitudinal track, called address track, was created specifically for time code addresses. Not many video formats use audio time code anymore. Time code can also be laid on the video portion of a tape. This is called VERTICAL INTERVAL TIME CODE or VITC (vit-cee). You retain use of both audio tracks when using VITC. A drawback to VITC is that at very high speeds it becomes inaccurate. Time code addresses are important because they do not change every time you insert or eject a tape. On the other hand, control track counter references do change every time you remove a tape. Control track is really like a mechanical counter, helpful only when you have no other reference. If you eject and then reinsert the tape, the VTR control track counter reads 0 again. Using control track as a reference source is difficult because you must rewind your tape to the beginning and reset your counters to zero, then fastforward to where you were. If you did exactly the same thing with a time-code striped tape, when you reinserted the tape the VTR would remember and simply read the time code information. 9 Control track, and time code, is divided into hours, minutes, seconds and frames. A frame is a still picture 1/30th of a second long and the smallest measurement of a complete image. It takes thirty frames to make one second of video. The counter reads frames up to 29 and then reverts to 0. This is why you ll never see a tape timer control track readout that says 30 in the frame column. The camera really records 30 still pictures per second, but when played back at the correct speed they appear as real motion. It all goes back to the principle of persistence of vision. 2000 ParkerVision, Inc.
3.3 The various signals on videotape can be copied, or edited, in two different modes. The first MODE of editing is done with assemble edits. An assemble edit copies the pictures, the sound and the control track from one tape onto another. You can choose which sections of video and audio you want to copy, but you can t separate the audio from the video as you can in other types of edits because you are also laying down new control track. Assemble edits are most often used to make a copy, or DUB, of one tape onto another tape. (That s why this is the edit mode also known as dubbing, another term for copying tapes.) LESSON: 10 Assemble editing requires at least two VTRs connected with video and sound cables. It does not require a previously recorded control track on the tape you are copying onto. In fact, if the tape is stopped at any time during the edit, the control track will break and you ll lose two to three seconds at the beginning and end of the break. This break is called a GLITCH. As with the incamera edit, which is another form of assemble edit, if you are editing different segments together the audio continuity may be a problem. Audio Assemble Edit Video Audio Control Audio, video and control track are all replaced in an assemble edit.
3.4 LESSON: 11 Insert editing is a more sophisticated, versatile mode of videotape edit, and the mode most commonly used for mastering a program. Insert editing allows the pictures and sound to be manipulated independently from each other. When you insert edit only the audio it is called an audio insert or an audio dub. Because insert editing does not break the control track, edits will be free of the glitches that you can get in the assemble mode. It is the more professional of the two types of edit modes discussed here. It s necessary to stripe your master tape with control track (and time code if you have it) before editing in the insert mode. Laying control track is also known as BLACKING A TAPE. Insert the tape that will become your edit master into the VTR and press Play and Record. (Make sure there is a stable video signal going into the deck). Let the tape run until the end without stopping. If you stop it, you ll have a break in the control track that can t be fixed without doing an assemble edit. Control track is laid in real time, so if your tape is an hour long, it takes an hour to record a control track signal. Always use the SP mode when you lay control track with a machine that records at different speeds. If you have a machine that generates and reads time code, be sure to lay down time code as well. Your camera original already has a control track on it. As shots are recorded onto your raw footage tape, the camera lays video and control track signals for the amount of time you record. Each time you use the tape to record, more signals will be laid on the tape. However, each time you start and stop there will be a very small 11 break in the control track signals. This break can cause problems when you attempt to edit. That s why you have to record for at least ten seconds before any action begins. Rolling tape before any action begins is called PRE- ROLL. Pre-roll gives the VTR decks time to synchronize for editing. It s also a good idea to let the tape run a few seconds after the action stops to avoid cutting off anything at the end, and to leave room for effects if you ll be editing with them. 2000 ParkerVision, Inc.
3.5 <<<rewind LESSONS: 8-11 1. What is control track? 2. What is time code, and how does it differ from control track? 3. Define the two types of edits and their uses.
3.6 2000 ParkerVision, Inc.
4.1 RAW FOOTAGE RAW FOOTAGE Types of Edit Systems Now it is time to look at the range of technology you use when you are editing. You can edit your material either in-camera or using an edit system. The in-camera edit is the more basic type of edit and requires the least amount of equipment. Objectives: After completing this section you will be able to Describe the differences between linear and nar editing Identify the requirements of different types of basic edit systems Describe the functions of an edit controller LESSON: 12 Although only a camcorder is required to perform an in-camera edit, it is not as simple as it sounds. It demands careful planning. A good way to prepare for an in-camera edit is to create a storyboard. A storyboard is a visual organizer with the pictures (video) on the left side of the page and the words (audio) on the right, or laid out something like a comic strip, with the audio written underneath. 2 1 1 2 3 12 The shots can be sketched out for perspective or annotated to describe what type of shot to use. You must shoot your images in exactly the order they appear on the storyboard, from beginning to end. Each shot must be reviewed for accuracy. If there is a mistake, you ll have to tape over the shot with a replacement before going to the next image. Stopping and starting the camera often may cause problems with audio levels and continuity. Also, you must carefully recue so you do not tape over the previous shot. The advantage to an in-camera edit is that when you finish the last shot, your project is complete. 3 Shooting a scene with one camera: The first shot, an establishing shot, pictures the subject coming downstairs. Move the camera to get a medium shot of the subject opening the door, then to get a shot of two women talking, shot from outside the house. This angle allows the viewer to better see the paper in the second woman s hand and the expression on the first woman s face. Each shot must be completed in sequence.
4.2 LESSON: 13 There are two basic types of edit systems, linear and nar. Linear editing has been around for a long time. In fact, for many years this was the only form of editing we had. Linear editing is performed on a tape-to-tape edit system. With a linear system you fastforward and rewind your raw footage tape until it s cued to an EDIT POINT. Then enter the edit commands on the VTRs or on an EDIT CONTROLLER and wait a few seconds for the machines to synchronize. When in sync, the new audio and/or video is recorded onto the edit master. Because shots are laid down on videotape sequentially, or linearly, finding your edit points can take quite a while if you use long tapes. In order to locate a particular tape segment, you must physically fastforward or rewind the tape (in a line, hence the term linear). This can be slow if you have to search back and forth through the raw 13 footage frequently because you have recorded your material out of sequence on a long tape. It also causes wear and tear on the tape. This is why it is best to shoot your raw footage on twenty- to thirtyminute tapes to cut down on search time when using a linear system. Once an edit is made, be sure it is what you want. Going back later to reedit or to change it can be very difficult, if not impossible, and time consuming. You must recue everything again, wait for the machine to sync up, preview the edit and then, if you like the newer version, perform the edit again. If the new edit does not segue into the next edit, you ll have to reedit that one too. A domino effect can occur, and you may end up redoing an entire project when all you wanted to do was change one edit. Plan everything out carefully before you begin editing, and your changes can be minimal. 2000 ParkerVision, Inc.
4.3 With nar editing, the audio and video signals are sent from a VTR or camera to a computer. They are loaded, DIGITIZED and stored as clips on the hard drive. You can recall clips randomly and move them around until you get the order and effect you want. It is easy to try different combinations or sequences before deciding on which is best. Most nar systems also include programs that give you the same flexibility in choosing transition effects (such as dissolves, wipes and page turns) that linear systems provide. You can select an effect and look at it almost immediately. It is very easy to try several before deciding which to use. LESSON: 14 However, nar editing does have limitations. Storing video and audio on a hard drive takes up an enormous amount of space, so you really must limit the amount of footage you bring in. Do a pre-edit log and digitize only shots you think you ll use. Remember too that 14 computers can freeze and crash. You can lose all of your work if you haven t been saving it as you go. Think of linear editing as a typewriter and nar as a word processor, and you get a good picture of the two systems differences, advantages and disadvantages. RECORDER Audio signal Video signal
4.4 LESSON: 15 Editing systems can range from very simple to very complex. Here are a few different types of tapebased and nar systems. The simplest editing system is known as a machine-to-machine system. It requires one video recorder, one video player and the appropriate cables to connect the two machines, plus a monitor to check the progress of the recording. Some recorders will allow insert editing, and some won t. A more sophisticated system will have an edit controller and a recorder that allows insert editing. This type of system is often called a CUTS ONLY edit system. It requires one video player, one video recorder with insert edit capability, one edit controller and two monitors. Editing from VTR to VTR is made easier by a device called an edit controller. An edit controller eliminates the need to go from deck to deck, pressing buttons on each, to set up and record your edits. There are input select buttons to tell the controller which deck you want to operate. The edit controller has select buttons to specify whether you want to assemble edit or insert edit video, audio or both. The edit controller is where you set your in points, telling the machine where you want your edit to begin, and out points, marking where you want your edit to end. Most edit controllers have a TRIM function to add or subtract a few frames if needed. A very helpful feature is the preview function, which lets you see what an edit looks like before you actually perform it. This is very useful when editing in the linear mode. There is a jog/shuttle control. The shuttle fast-forwards or rewinds in the search mode, quickly getting your tape to the general area of the video for which you re searching. The jog is a finetuning function, used to advance or rewind your tape frame by frame. 2000 ParkerVision, Inc.
4.5 A more sophisticated system adds an A/V mixer to let you create some simple effects between shots or to add titles. It also requires one video player, one video recorder with insert edit capability, one edit controller and two monitors. LESSON: 15 A sophisticated editing system will have two or more video players, one video recorder with insert edit capability, one edit controller, a video switcher, an audio mixer, monitors for all of the VTRs and a variety of signal processing and monitoring equipment. For nar editing on smaller projects you need at least one video recorder, one computer with an AV card (speakers if not included with the computer) and some editing software. SWITCHER Video signals Video signals MIXER Video signals Audio signals 1, 2 Video signals Audio signals 1, 2 RECORDER PLAYER Audio signals 1, 2 EDIT CONTROLLER PLAYER
4.6 <<<rewind LESSONS: 12-15 1. Which format is better suited to editing large projects and why? 2. List the advantages of nar editing. 3. What is an edit controller? 4. Describe the functions of jog and shuttle. 5. What equipment is required to edit in nar format? 6. Define the in-camera edit and its use. 2000 ParkerVision, Inc.
5.1 Editing the Program After your edit script has been prepared and your edit master tape has been blacked, you are ready to start editing. The first task is to create a leader. The leader contains test signals and other information necessary for proper playback and cueing of your story. A leader is at the very beginning of your tape and should include color bars, an audio reference tone, a slate and a countdown. The color bars and test tone provide a reference and test for anyone who will play the tape. The slate identifies the program title, length and any other information needed. No matter what, never start your actual content in the first minute. The beginning and end of the tape are the most prone to damage. Objectives: After completing this section you will be able to Create a leader for your edit master Demonstrate correct motivation to cut technique LESSONS: 16 17 Here is a rundown for a typical leader: Color bars and audio tone: 60 seconds Black: 30 seconds Slate: 10 seconds Black: 10 seconds Countdown with pulse tones:10 seconds You are now ready to edit your story. Put the raw footage tape into the player and the edit master into the recorder. If using control track for location, reset the counters on both VTRs to zero. Your first in point on the edit master will follow immediately after your leader. Select edit type (insert) Set edit points Preview the edit Adjust the audio levels Make adjustments if needed and preview edit again Perform the edit The easiest way to build a story is to start with the audio and record all the audio segments and SOTs first (using the audio insert mode). Refer to your log and record the VOs in order until you get to either the stand-up or the first SOT. For the stand-up or SOT you will select both the audio and video to be recorded. Continue editing VOs (audio only) and SOTs (both audio and video) until all the sound for the package has been recorded. Now go back to the beginning of the package and insert the video to be recorded. Following your edit script is absolutely vital! Be sure to preview each edit before performing the edit. Then check each edit before proceeding to the next. As long as you are in the insert/ audio dub mode, mistakes are easily corrected. For beginning editors it is best to start with what is called cuts only editing. A good cut is a transparent one, so natural that the
5.2 LESSONS: 17-19 audience won t notice an edit has been made. This means your audience will focus on the content of your story, not the effects used. News stories are not the place for showcasing every special effect you ve learned. Feature stories are better suited for using wipes and dissolves, but even then, don t overdo it! Cuts-only editing doesn t mean that your video will be visually boring. Learn the basic ways to use a cut and practice those before you get fancy with transitions and effects. In fact, 90% of edit transitions are cuts, no matter what the program. Watch TV and count! So what are some techniques for good cuts? The first is to always cut on action. An edit made during an action of any kind will be more transparent than an edit where no movement occurs. It gives a reason to change the camera angle and also advances the story. The audience will move naturally with the cut on action if it is done correctly. A second technique is to use clean entrances and exits. To use these as edit transitions, you often need to plan for them while you are shooting. Do this by having your subject enter the frame or exit the frame cleanly. Edit by cutting from the empty frame of the subject left to the empty frame the subject is about to enter. This is also a simple way of shooting and editing close-ups of objects and demonstrations without having continuity problems. An alternative to clean exits and entrances is matching action. Matching action requires some careful planning in both the setup of the shots and the selection of edit points. If either is not correct, the edit looks awkward and contrived. This technique moves beyond the basics and requires some practice to master. Matched action illustrates a connection between what the subject is doing from two different perspectives. 2000 ParkerVision, Inc.
5.3 The VTR area on the Control monitor was introduced in Unit 1. The VTR controls resemble the controls of a standard VCR. The controls are activated manually by left clicking the mouse on one of the icons or automatically by defining a preset. <<ACTION>> To play a segment manually: 1. Select a VTR 2. Left click the Play button to begin playback OR To play a segment automatically: 1. Assign a play segment to a preset 2. Click the assigned preset this automatically plays back the preset segment time You can use the shuttle knob, the Search button or a preset to fast-forward or rewind a video. The shuttle knob, located directly underneath the play command icons, lets you fast-forward or rewind a tape or advance or rewind a tape frame by frame. To activate the shuttle knob: 1. Left click and drag the mouse to the button in the center of the shuttle knob. 2. Drag mouse to the left to rewind or to the right to fast-forward. The scan/shuttle speed changes as Play segment preset Eject Rewind Play Fast- Forward you move the mouse farther from the center of the shuttle knob. To search frame by frame using the shuttle knob: 1. Left click and drag the mouse on one of the shuttle notches. Drag in either a clockwise (FF) or counterclockwise (REW) motion. Using the Search button to search for time code: Being able to search for a specific tape segment by time code is very helpful. Left click on the time code window, enter the desired time code, then left click either the fast-forward or rewind icon on the Search button. The tape segment specified is quickly cued. Pause Stop Record Shuttle knob Time code window Set preset button Search buttons
5.4 You can set up a VTR play segment, which tells the VTR where to automatically begin playing a tape and where to stop it. To set up a segment : 1. Click a blank play segment preset button. 2. Click the Set Preset button. The Play Segment Setup dialog box appears. 3. Enter a start and stop time. You can do this manually by typing a start and stop time in the time code box or, using the VTR controls, locate the time on the VTR where you want to start. Click the <- button to the right of the Start Time box to enter the time. Locate the time on the VTR where you want to stop. Click on the <- button to the right of the Stop Time box to enter the time. The duration time automatically appears. 4. In the Description field, enter the name you want to assign the play segment. Left click OK to accept the settings and to close the dialog box. You can use VTR macro controls to operate a VTR through basic commands, to activate play segment commands or to search for a specific time code. To set up a VTR macro: 1. Click and drag a VTR control from the macro list onto the Transition Macro time line. 2. Double click the control and make changes to the following property control page controls if needed: Start Time: The VTR plays when the time line reaches this start time Stop Time: Defaults to one second after the start time Preset, Play Segment Time: If you have dropped a preset Play Segment on the time line, this control automatically fills with the start and stop times for the preset. VTR command: select a command to operate the VTR (Play, FF, REW, Record, Stop or Eject). To enter a play segment: 1. Click on the Play Segment button 2. Enter a start time 3. Enter a stop time Note: You don t have to enter a start and stop time if you do not want to see the full duration of your tape segment. To enter a search command: 1. Click the Search button. 2. Enter a time code. The video will automatically FF or REW to this frame on the tape. 2000 ParkerVision, Inc.
5.5 <<<rewind LESSONS: 16-19 1. Explain what is meant by A good edit is a transparent one. 2. Why is it necessary to create a leader on your edit master tape?
5.6 2000 ParkerVision, Inc.