ASE Newsletter 1996-05 Issue 3

[Archive]

ASE Newsletter 1996-05 Issue 3
Edited by Matthew Tucker

This is an archival posting.

[Archive]

From the President

On Tuesday 16th April a meeting was organised at the Flower Hotel courtyard, Port Melbourne, for editors to get together and hear about the ASE. Although it was a wet and cold night, the response was terrific with about forty people attending and more dropping by later for a drink. I spoke for about twenty minutes, giving an account of what we have achieved in our first year.

There was a lot of support shown, particulaly by the number of application forms that were taken away, and about half of those present volunteered to meet again to begin to establish the ASE in Melbourne.

Thank you to Roberta Horslie, Katie and the team from The Cutting Room and also Tim Lewis from The Joinery for organising such a great night.



Do not forget to send in your registration for Fade to Black - Solving the Crisis in Post Production, Saturday June 1st. at the AFTRS. This will be a very important day for everybody who is involved in post production at any level. It is the first time ever that all the interested parties have got together at the same time and place to discuss the issues surrounding post production. There will be many positive outcomes from the conference. You will have a chance to have a say, particularly in the breakout session. Encourage others to attend, including production managers and producers; the conference is for everybody.



I look forward to seeing you there.



- Henry Dangar.


ASE President

[Archive]

"FADE TO BLACK"
Live on the Internet!

The Post Production Conference will be broadcast live on the Internet to allow interstate and overseas parties to participate. It will broadcast the conference in text form (and possibly with sound ) and be fully interactive, so that those who can't make it due to the tyranny of distance can still ask questions and make a statement!.

http://www.aftrs.edu.au/post

This will be a first for the industry !

[Archive]

YOU ASKED FOR IT!

You asked "When's our next meeting?" but what we think you actually meant was, "When are we all going to the pub again?"

Well, come along to the Harold Park Hotel on Wednesday 22nd May for a drink and a chat and maybe dinner ... some tables have been reserved for us from 7.30 onwards ... meet the committee and other editors, discuss current issues and of course the upcoming conference "Fade to Black" ... all the usual old things.

Don't miss it! See you there!

[Archive]

EVENTS to REMEMBER:

dAVE workshop (free)
Thursday June 6th
9.30am-12.30pm, at Digiteyes' offices in Crows Nest. Ring 9906 267x to reserve your place.

D-Vision workshop (free)
28 May 1996
APA Production offices, Film Australia building, 101 Eton Rd, Lindfield. NSW.
call Carole on (02) 9974 548x to book a place, at least five days prior to the workshop.

Frameworks
In the last issue, we forgot to mention the Frameworks contact number for those ASE members interested in getting access to that facility. Contact Steven Smith or Jason Ballantine on 9955 730x for more details.

[Archive]

AFTRS News

AFTRS is changing! Think about applying !

Next year there will be major changes to the curriculum which will give a lot more flexibility for the students in their choice of study and will give them even better training in their area of craft specialisation.
What does this mean to you ?

You can enter the school at a level that is appropriate to your experience, upgrade your skills, and leave at the end of that year.
Or you may choose to continue for a further year, - or two. The courses will have diploma and post graduate standing, but you will not have to have formal tertiary qualifications to apply - if you have been in the industry for some time this could help you qualify.
There will also be opportunities for you to develop particular projects, or learning paths specific to your interests.

The school is expanding its focus, and students can work to expand their existing knowledge. For example, if you have spent the last five years cutting commercials or corporates - you are pretty good at it , but feel it's time for a change - you may wish to come to the school and concentrate on cutting documentary with a foray into drama. From here you could go back to the industry with enough credibility to work freelance in your chosen field, or you may wish to stay on to expand your knowledge base, and get more practical experience. You do not need to commit to the three year BA program.

In the past assistants have found the "Extension" year program valuable in giving them the chance to edit in their own right and gain the confidence to call themselves "Editor". Already this years' graduates from the extension project are out there cutting. They have all formed good collaborative relationships with directing and producing students from the school, which will give them further career opportunities with a peer group.

If you are interested in learning how the school is going to operate in the future and how you might fit into the scheme, give the Editing Department a call on 805 6599 and speak to myself or Sara Bennett. Or you could call the student centre on 805 6444.

Applications for the 1997 fulltime courses open on June 3rd 1997, and close on July 26th, 1997.

Start thinking about your application now , it can take a while to get your supporting material together, & it's worthwhile to do it well !

- Fiona Strain
Editing Lecturer. AFTRS.

[Archive]

Your vital statistics ...

After much lurking in the bottom of a cardboard box, the results of the Membership questionnaire first circulated late last year - and more recently at the COSI screening - are beginning to emerge ...
The figures are based on a survey response of 60 Members, or just under 50% of our membership, of which 45 list themselves as Editors, 13 as Assistant Editors. The two other responses gave their occupation as "other" and were only counted in general stats such as age distribution.

http://www.screeneditors.com/forums/showthread.php?s=&postid=889#post889

The age distribution chart is based on all 60 respondees.

http://www.screeneditors.com/forums/showthread.php?s=&postid=889#post890
http://www.screeneditors.com/forums/showthread.php?s=&postid=889#post891

The gender distribution charts are of limited interest due to the choice of many respondees to withhold that information, for whatever reason.

http://www.screeneditors.com/forums/showthread.php?s=&postid=892#post892

The wage distribution chart is based on "usual gross wages" and no direct relation to the type of work performed can be determined, although it is fairly safe to say that the distinct upper range is represented by feature editors.

http://www.screeneditors.com/forums/showthread.php?s=&postid=893#post893
http://www.screeneditors.com/forums/showthread.php?s=&postid=896#post896

These figures would be of greater interest if the member response was better. Also, some of the questions were hurriedly put together and the results are hard to interpret. So we will definitely do another survey in the future, probably to accompany membership renewals. Please contribute!

- MT

[Archive]

WHAT'S HAPPENING IN VICTORIA?

On the 16th of April, we had our first membership drive at The Flower Hotel, with Henry addressing the 39 editors, assistants and associates.

It was evident that people were rapt to meet others in their field, catch up with faces not seen for a long time and hear more on what the A.S.E. is about. Henry has written an article in regards to the night, so I will go onto the latest news.

Since that night, we have had our first volunteer's meeting, (over a bowl of rissotto; got to keep those editors fed) and have now formed some interim sub committee's to get the ball rolling in Victoria.

Our next interim committee meeting will be on the 30th May 1996 and we have also set a date for another membership drive and a social on the 6th June 1996. Time and place to be confirmed, but keep the date aside.
This night will be an informal "Chit Chat": centered around existing members explaining what the A.S.E. is about and what is planned for the near future. It will also be a time to catch up on the latest news in "Post" over a glass of wine: "Networking".

Also planned for the next couple of months, will be our first Frame by Frame in
Melbourne and Pamela Hammond from AAV Australia is setting up some Telecine info nights for members in July/August. (more details will be out soon when time slots confirmed.)

There is also a sub committee who are nutting out training workshops to be planned for the near future and it would be appreciated if Victorians could drop a line to me at The Cutting Room, letting us know your suggestions of what you would like to see in training. (It seems there are some definite areas of discussion, such as computer negmatching, NTSC problems, frame rates and compatibility, 3D special effects and how they can be rendered to full res. for film release etc etc etc.)

What is also important is our younger "up and comings" and students joining up as members. As an interim committee we will contact the uni's but we need our members to help spread the word to all those people hiding in dark rooms (and not so dark rooms) who may not know about A.S.E. yet.

In other areas: South Australia and Tasmania. As an interim committee that is only newly formed, we have not touched on this yet, but would love to be able to involve SA and Tas. in any events happening in Victoria. Obviously being a national membership means that these two states will be informed on whats up! BUT please make sure that the Melbourne committee know you're interested so we can get those flyers to you between national newsletters.

On a final note, for these events to be successful and to come to light we need support. And that means becoming a member. Remember that it also means you can make your point, share info and be part of a growing group of people who have needed to be represented in the industry for a long time.

So, lets get happening!

Roberta Horslie

[Archive]

FADE TO BLACK - Conference Update

There are only a limited number of places available so get your registration in as soon as possible! The following Speakers have bee confirmed for each session:

Keynote Address: Tony Buckley
Moderator: Dennis Watkins
Session 2
Chair: Malcolm Smith ABC
Richard Franklin ASDA
Bob Weiss SPAA
Peter Best AGSC
Steve Murphy ASSG
Henry Dangar ASE
Dominic Case SMPTE
Session 3
Chair: Antonia Barnard
Steve Jodrell ASDA
Nerida Tyson-Chew AGSC
Sylvia Walker-Wilson Postproduction
Supervisor
Phil Judd ASSG
Denise Haslem ASE
Greg Ricketson SPAA
David Noakes FFC
Session 4: Hypothetical
Chair: Dennis Watkins
Catherine Miller ASDA
Chris Neal AGSC
Robert Gibson ASE
Andrew Plain ASSG
Ross Matthews SPAA
Bevan Lee Nine Network
Session 5&6
Chair: Maureen Barron
John Pleffer ASE
Martin Armiger AGSC
John Patterson ASSG
Matt Carroll SPAA
Stephen Wallace ASDA

For further information on the conference contact Fiona Verge c/o National Postproduction Conference, PO Box 522, Paddington, NSW, 2021, Tel: (02) 332 2599 Fax: (02) 331 7145

- Marc Van Buuren

[Archive]

Avid Training Workshops a Success!

ASE's first creative training workshop held on april the 20th has been an unqualified success. After meeting for coffee & introduced to their mentors the 5 trainees went off with scripts and logs in hand to their own dedicated Avid.

Kevin Hinchey tries to hypnotise the Avid ...

[Archive]

... Kevin Hinchey and Lindy Monson attacked 2 scenes from the up coming documentary "Somebody Now" (courtesy of David Goldie); and Derry O'Rourke, Bronwyn Gower and Sasha Madon slipped into some pretty intensely covered scenes from "Singapore Sling".

Trainers Marc Van Buuren, Richard Hindley and John Pleffer winged between 2 students each to offer hard won trade secrets, friendly encouragement, creative tips and techniques.


Lindy Monson & John Pleffer

[Archive]

The scenes were pretty challenging, providing lots of scope for interpretation and many tricky moments. 6 hours later they were so into their work it was hard getting them to stop!

Sasha Madon and Marc Van Buuren trying to stop

[Archive]

We plan to keep these scenes to start our own archive of training rushes, complete with all logs, scripts, continuity and notes. These will be made available to members if they have access to systems after hours.

Bronwyn Gower, having stopped successfully!

[Archive]

Many thanks to Mark Spessot and Sasha Madon who did the hard yards, logging, digitising and photocopying and of course to the tireless Barbara Bedford for making us feel at home. Also to Mike Honey for answering the phones and rounding up all the troops and of course to our trusty trainers.

The next (June) workshop is fully booked, however if you are interested in future sessions contact Mike at ASE (02-413-1759) to put your name on the waiting list.

Thanks again to Gints and Barb at the ABC. Happy cutting!

- John Pleffer

Derry O'Rourke and trusty trainer Richard Hindley share a joke ... but not with us!

[Archive]

The Van Buuren, Pleffer, Hindley Experience. WOW WHAT A DAY!!!

Thank you Marc, John and Richard for your time, energy, enthusiasm and invaluable experience you gave to the first of the Creative Training Workshops.
For me, attending the workshop was a rewarding experience. An entire day to ask EDITORS "those questions" about cutting a scene that as an assistant you don't normally have the opportunity due to the variables of the working day.
To have an editor's attention & creative input on an assistant's assembly in the current work climate is extremely rare. I feel that it is this attention which nourishes the passion in assistants to follow editing as a career path.
I would also like to thank the EDITORS at ABC who willingly set aside space on their drives to make the day a reality. A special thank you to Barb for her undying energy & enthusiasm, and to Matthew for showing me the ropes on Pipedream and the use of Film Australia facilities

- Sasha Madon.

[Archive]

STAYING IN SYNC ... THE CONTINUING SAGA

Here's the scenario ...

You've locked off your cut. You're dumping your cut to tape for audio sweetening video guide. You're also dumping your audio tracks to tape as an audio guide for your online.

Here's the question ...

How do you KNOW its going to stay in sync ?

Here's what should be the answer ...

Timecode. You might think timecode is the easy answer - and if done correctly is is - but experience shows that's not always the case, and sooner or later someone in the postproduction chain will begin to have sync problems.

And here's why it isn't ...

Your show will be copied, laid-up, laidback, dumped-down, bumped-up umpteen times by the time it is finished ... anything can happen! The timecode, audio and vision usually travel down different wires and they SHOULD all arrive at their destination at the same time. But if any one of those signals undergoes processing such as in a timebase corrector, timecode regenerator, noise reduction or digital image processor, that signal may end up being delayed by any amount from a few microseconds to a couple of frames.
There's even an image/sound offset in the signals coming straight out of some video cameras!
Of course, these delays - which can be hard to pick* - should be compensated for, but often they're not even noticed. And then there's badly aligned machines, badly written software and (shudder) operator error. No such thing as bulletproof.

Here's what happens ...

Since no-one likes to admit that they are the cause of a problem, the buck starts to be passed and usually ends up in the editor's lap. At which point its nice to know that you've done everything correctly, and to be able to pass the buck back again, or at the very least know how to fix it all up over the phone...

So here's one simple answer ...

http://www.screeneditors.com/forums/showthread.php?s=&postid=906#post906

Pips. Editors who have cut film will know about the two-pip: one frame of 1000Hz tone cut into ALL audio tracks level with the "2" frame on the image countdown "clock" leader. Often the same deal at the end of the program. And "100ft marks"; chinagraph marks across all tracks at 100ft intervals.
All these checks shouldn't really be necessary - the tracks should stay in sync, sprocket for sprocket, all the time - but experience shows that they DO slip sometimes and it is nice to know where and when.

So What?

So we can apply the same principle to video & nonlinear editing. A couple of seconds before the cut actually starts, cut in one frame of vision - anything will do - and one frame of sound, level across all the audio tracks you are using. Do the same, two seconds after the edit ends. When you dump to tape make sure you dump the pips as well.
Make sure that any EDLs you spit out include the one-frame pip events, and that the online editor/sound editor doesn't assume that the events are a mistake. They must be compiled with the rest of the program.
Now, no matter WHAT happens to the timecode, you always have an easily accessible independent sync-point that is virtually idiot-proof. Of course everyone should use the timecode during post. But the pips are there so that when everything is put back together again you've got a double check. To be sure, to be sure, to be sure.

Then when everyone IS sure, you can go ahead and wipe the pips!

What else is on the cards?

While we're on the subject of things that should be but aren't, and following up on my "bars leak" from last month, lets look at monitors ... to be sure, to be sure, to be sure!
How many times do you see your program in a different edit suit and it looks completely different? And even when you go into a colour correction session it looks odd, and then you take your corrected show somewhere else and it looks different again? Who is right? Which monitor is correct?
Well, one way of looking at it (!?) is to watch your program only on the highest grade monitor available. It will look beautiful.
Another way of looking at it, is that its all a bit academic, as no-one can control what the end viewer will see anyway, especially if its a TV release because it depends on how all those home tellys are adjusted ...
Practically though, you have to choose one monitor you like the look of and use that as your reference. Judge the look of the shots in a "relative" fashion.

Yeah, so?

To save a lot of arguments and buck-passing there is, I believe, a simple way to know how each monitor is affecting the look of the program. Something that most film people have been using for years, but which video camera operators seem have dispensed with.

Get them to take a Kodak colour card & grey scale on the shoot. Get the camera operator to shoot a few seconds when the lighting setup changes, and at least once on every camera reel. Especially on videotape shoots!
Have an identical card in the edit room. Take it with you wherever you screen the program or the rushes. How you interpret the card vs monitor comparison is up to you, but at least you have something to compare!

I hope all that was useful.

Matthew Tucker

[Archive]

Staying in Sync .....interesting study

A recent (1996) study by the Government Communications Laboratory found that a majority of the industry professionals tested in the study could not detect a one or two-frame audio delay in videotaped speech segments. In fact, to many a small delay was perceived as more acceptable than the sync version!. On the other hand, no amount of video delay was considered tolerable.

- MT

[Archive]

SHOTLISTER TIPS

Synching and Editing of double-system film on video, and Check Assemblies before neg matching

To decrease costs and production times, many projects traditionally edited on film are now being cut on other mediums. The cost of workprints, sound transfers and stock, flatbed syncing and workprint and sound re prints are all eliminated. Other costs are introduced but they tend to rise less steeply as more film is shot. This last statement is particularly true of 35mm origination. Current methods are available that deal with the picture content but neglect the sound side of the process.

These procedures all assume the off-line editing phase (workprint) will be done on a non film medium such as videotape or a non linear edit system and the resultant Edit Decision List used to cut the negative, assemble a check cut and post produce the sound tracks.

All of the following methods have common goals:

* To produce an editable medium with the sound and pictures in synchronism.
* To edit the program on this medium and be able to use sound tapes as close as possible to the original generation to reduce or eliminate audio quality loss for tracklaying and mixing.
* To produce an negative cutting list via a computerised system.
* To produce a check cut from the final computer output BEFORE the negative is cut. This last step also produces a good quality picture tape for the sound editor.
* To produce an audio EDL suitable for tracklaying in an automated fashion.

1 - Manual syncing
Field Equipment: Nagra or other non timecode audio tape recorder, clapper and a conventional film camera.
Shooting method: Camera and sound recorder are rolled at the same time and are synced by a conventional slate (clapper or mike tap) at the head or tail of the take.
Post Production equipment.: 2 edit controllable tape machines and Shotlister.
Advantages... No special equipment needs to be used in the field. No special operator training required.
Disadvantages... Labour-intensive method in post production. Clapping the take can be time consuming and intrude on the atmosphere of the shoot especially in a documentary situation.
Syncing method... Film is transferred to videotape with timecode for off-line and/or on-line use. Displayed timecode in a window is not mandatory but is very useful. Sound tape is transferred to a high quality timecode controllable medium such as Betacam, DAT, S VHS Hi Fi or PCM. Timecode is recorded on the sound copy at this point in the process. The mute picture tape is put in the record machine in an off-line suite and the sound copy in the playback machine.
Each slate is found and the corresponding sound take set up on the off-line system. As each edit is performed and the sound synced to each picture, Shotlister is used to record each sound edit in reference to the picture timecode, resulting in a synchronised videotape for editing.

2 - Semi automatic syncing.
Equipment... Timecode capable audio recorder, smart slate (timecode display and generator) and conventional film camera.
Shooting method.. Camera and sound recorder are rolled at the same time and are synced by the camera taking a shot of the smart slate with the timecode display running at either the head tail or anywhere in the take. As little as one frame of timecode display on the film is all that is required for accurate syncing.
Post Production equipment... For syncing stations, 1 VTR with jog/shuttle ability and Shotlister. For auto syncing, 2 edit controllable tape machines with frED.
Advantages... Limited special operator training required. Multiple syncing stations may be established at little cost. Clapping the take is quick and non intrusive. Quicker and less labour intensive in post production.
Disadvantages... Timecode capable audio recorder and smart slate need to be used in the field.
Syncing method.. Film is transferred to videotape with timecode for off-line and/or on-line use Displayed timecode in a window is mandatory. Sound tape is transferred to a high quality timecode controllable medium such as Betacam, U Matic, DAT, S VHS Hi Fi or PCM . Field recorded timecode is copied to the dubs at this point.
Using only one VTR such as a VHS, the picture tape is played until a clapper is seen and the sound timecode and window timecode (picture) noted in Shotlister. Using Shotlister, the editor extends the duration of this shot forward to the end of the take if it is a head slate or backwards to the beginning of the take if it is a tail slate.
No recording takes place at this point. The film reel is marked up in this manner until complete. The resultant audio shots are converted to an EDL and loaded into frED for auto syncing, resulting in a synchronised videotape for editing.

3 - Fully Automatic syncing.
Field Equipment... Timecode capable audio recorder, timecode capable film camera and timecode generator.
Shooting method... The camera and sound recorder record identical timecodes which are synchronised by a master timecode generator.
Post Production equipment... Special telecine capable of reading timecode recorded on film. 2 edit controllable tape machines and Shotlister.
Advantages... Timecode capable audio recorder and camera need to be used in the field. Fully automatic syncing. No clapping required.
Disadvantages... Specially equipped telecine required. More complex field equipment. Special operator training required.
Syncing method... Film is transferred to videotape, with the telecine reading film timecode and a DAT or other sound source in "chase" mode. Provided the audio source has adequate time to cue between takes, synching can be completely automatic. The same effect can be achieved in an offline suite, with the net result a synched videotape for editing.

Online & Audio Compiles

After the editing is complete, the final EDL is fed back to Shotlister. For the manual and semi-automatic systems mentioned, the EDL must be traced to return the audio timecode numbers that refer to the original timecoded sound tapes. The EDL is then split into its video and audio components and sent to Compumatch edge number software and audio post production respectively.

Check Assembly before Negmatching

Using the Digiteyes frED edit engine, the picture EDL returned from Compumatch can then be used to assemble a check cut of the final version before the negative is cut. Using frED, this tape may then be sync rolled with the final off-line tape to verify the edge numbers and EDL.

Conclusions

As with all innovations, editing film on video will have drawbacks until all the problems are ironed out, but these 3 procedures go a long way to enabling the film maker to choose a method that best suits the equipment and saves money as well.
It seems that there is something for everyone including those who have a large investment in existing film and video equipment and just want to use it smarter.

Jack Swart
Digiteyes Pty Ltd

[Archive]

AVID TIPS - The JKL Keys

The J, K and L keys on your key board can do more than just play forward (L), pause (K), and reverse (J).

Try this: With your sequence loaded, instead of pressing play with your mouse or the ~ (play) key, press the L key. Your sequence will play at normal speed as if you had used any of the usual methods.
Now, press the L key twice quickly. Your sequence will now play at double speed. Three quick hits on L will play faster still, and four even faster.

Being able to randomly access your material instantly is one of the most powerful and time saving aspects of non linear editing. It can however bring on a hyperactive "dip in and out" approach to your material especially under the pressure of a tight deadline.

One of the benefits, slow though it was, of having to spool through your rushes or assemblies on a flatbed was that you were constantly being exposed to your material and as a consequence became more familiar with it.

By using J, K and L to shuttle through your material you can emulate flatbed editing and regain some thinking time in the process.

One more use of JKL.

You can use it while in trim mode. When you are in trim, press either J or L (whatever is appropriate) to extend your shot. The advantage of this is that you are extending while playing at normal speed. You will even hear your sound at normal speed. Press the space bar to stop.

Very handy for extending an image over music, a cutaway over voice over, an interview cut away etc. In fact any time you would use trim.

Try it, you may find its the only way you use trim once you discover it.

------------------------

There is, I feel, one characteristic of non-linear shuttling that doesn't yet match flatbed capabilities! When you shuttle fast on a flatbed you see every frame. Not so with nonlinear computers - they usually skip frames so that number of frames coming from the computer remains constant. I find that its very easy to overshoot or miss things altogether!

Bill Russo
russo@ozemail.com.au

[Archive]

Lightworks Tip - Waveform Display

Whilst doing audio editing it is very useful to be able to see audio waveforms displayed on the track. However the system will start to slow down if you leave this feature turned on all the time. I find that I am usually needing this display on one or two tracks only, so here's how I handle it:

Position the Audio Waveform menu in the bottom left corner. Resize the required audio tracks until they are each about 1 cm tall. When you need to see waveforms, zoom in as closely as you need to do the edit. Click on Show Wave for the selected track. When you've done your trim, click on No Wave BEFORE zooming out. That way the system doesn't try and redraw so much of the waveforms unnecessarily.

Matthew Tucker

[Archive]

The Membership Page

New Full Members

Annette McLernon
Lee Smith
Frank Heimans
Roberta Horslie
Katie O'Brien
Alan McIlwaine

New Student Members

Debbie Sewell
Kerry-Anne King
Adam Spendlove

New Associate members

Sioux Currie

To all those listed above ... Welcome to ASE!

Australian Screen Editors acknowledges the continued support of Spectrum Films, Avid Australia, and Hart & Spira.