ON-LINE vs.
OFFLINE
Most
people who are not involved in the television or motion
picture industry- and even some who are- don't understand
what an editor does, (arrange a series of images and sounds
in an entertaining fashion that provokes thought or
influences decisions and most importantly, evokes emotional
response) much less the difference between on-line and
off-line editing. As an on-line editor, I generally don't
get to decide what images and sounds are used in a show or
a sequence - although I do get to reject some and I am
often asked simply to "fix this" or "make that work" or "do
something here".
But
mostly, those determinations are made by the off-line or
"creative" (heh,heh) editors in conjunction and friendly
cooperation with the writers, directors, network
executives, attorneys, accountants, agents, managers,
talent coordinators, public relations agencies, sponsors,
advertisers, music publishers, graphic artists, composers,
narrators, on-camera talent, photographers, videographers,
cinematographers, producers, executive producers,
supervising producers, associate producers, line producers,
post-producers... and virtually anyone else who has
sufficient influence on any of the above people to "leave
their artistic thumbprint" on the production. This, at
times seemingly endless procession of ideas or "input", can
sometimes change the "creative" (hah!) editor's original
vision into something nearly unrecognizable to him. This
transformation takes place through the course of many
revised versions of the project (or cuts) that must be
created, then distributed to and screened by most, if not
all, of the aforementioned "contributors" for their
approval or more likely, their "notes" (lists of things
that need to be added, omitted or re-arranged in the next
revision for sometimes inscrutable reasons).
These
off-line cuts are usually generated using low-resolution
digitizations of copies (workprints) of the original camera
and/or stock footage masters and often even temporary
images and sounds culled from a DVD, a CD, a VHS tape, a
computer file or a hastily recorded still photograph or
voice-over. In many instances, off-line editing involves
using (or being instructed to use) whatever appropriate
image or sound one can create or locate, regardless of the
source or the feasibility of its ultimate inclusion in the
end product due to legal, financial, technical or aesthetic
hindrances. Needless to say, these off-line edits are not
suitable for air, even in the latest stages of their
development.
Then...
(ideally) once a concensus of the creative contributors on
the final content of the program has been reached (but
usually long before) and once all the electronic graphic
elements have been designed, rendered, rejected,
re-designed and re-rendered (but usually long before) and
once all the necessary video and audio components have been
acquired in the highest quality formats available and
legally cleared and contracted for use in a telecast (but
usually long before) ...the on-line editor begins his work.
On-lining
essentially entails duplicating (but altering and
embellishing where necessary) the outcome of the entire
off-line process using the original master source
materials, thereby preparing the video portion of the
program for broadcast, the audio portion for the mixing
session and while adhering to the broadcasters requirements
regarding formatting and technical specifications,
ultimately ensuring that the end result of the weeks,
months or even years of pre-production, production and
post-production ends up being visually and aurally pleasing
to you,
the home
viewer.
WOULD YOU HIRE ME?
Post Production House
Director Needed
A
quickly expanding post production house is seeking a
manager/slash editing director to head up projects and
direct our editors and graphic designers to meet project
deadlines efficiently and effectively. Payment is well met
with industry standards. We will not go into duties
required to meet this position. Instead we wish you, the
potential candidate, to tell us what duties you think are
required for this position and how you can excell at
fullfilling these responsibilities. We want the best of the
best, not an employee he simply tells us he or she can meet
the duties that we require. Your in depth explanation of
what you will accomplish will assure us that you know what
your doing. A minimum of 3 years experience with a post
production house is a must however. In addition, we have a
figure in mind for the annual salary paid for this
position. But again, instead of telling you what we think
you should earn, you tell us what you deserve for your
services. Our budget is extensive and everything is
negotiable. Our company believes in great rewards to those
who deserve and demand it.
- Location: Orange County
- Compensation: Negotiable
- Principals only. Recruiters, please don't contact this job poster.
- Please, no phone calls about this job!
My Response:
Hello,
My name is Ray Wolf. I've worked in post-production, in one capacity or another, for the past 17 years. It's a bit difficult to determine exactly what your company might require from a one-sentence description of such a position, so let me begin by outlining some of the things I've done in the past.
My previous employer was an independent television and film production company that required me to fill the pivotal position in the post-production process. In pre-production, I would meet with the producers and offline editors to help determine materials acquisition and workflow. When footage was shot in the field or in studio, or graphics elements were received from outside contributors, I was responsible for evaluating, duplicating and tracking the various media. I worked with composers and music suppliers to acquire audio elements in the proper formats and in the most efficient manner and in some cases supervised the production and recording of music, voice-overs and effects.
I was also instrumental in evaluating stock footage and archival elements and in transferring them from whatever media was available to formats that were useable in both offline and on-line editing. The transition from offline to on-line was also my responsibility, including the generation of EDL and OMFI files, the conversion of digital video to time-coded tape formats and the management and execution of the producers’ notes.
As an on-line editor, I've designed or composited numerous text and graphic elements and integrated them into the final programs. (I've created several main titles, dozens of end credit sequences and inserted thousands of lower thirds.) In conjunction, my duties also included proofreading copy and making corrections to spelling, grammar, usage and terminology.
I’ve on-lined hundreds of hours of programming of nearly every kind, from multi-hour network specials and series to concise presentations, promotional reels, press kits and commercials. In so doing, I’ve developed a keen sense for color correction, visual effects and the overall quality and continuity of the on-screen image. I'm thoroughly familiar with broadcast technical specifications, as well as general formatting and delivery requirements. As the last link in the chain of production, I have been responsible for the ultimate and final quality control of the video and audio components of all of this programming, most of it proceeding directly from me to air.
Even before I became an accredited Pro Tools operator, I supervised the entire audio mixing process from laydown to lay-back, working closely with the mixer to ensure that all notes and revisions were addressed before final screenings with the producers. My musical background gives me the knowledge and ability to produce insightful and precise music editing and as a post-production mixer I have generated audio mixes that include the 5.1 surround matrix.
I have also accrued an empirical technical understanding of editing systems, signal routing, tape machines and recording technology, having played a key role in the design, installation and implementation of the studios and hardware systems that I’ve utilized. Machine maintenance and systems troubleshooting have been necessary parts of my day-to-day duties. (Although I’m not actually an engineer, I’ve had to pass for one on many occasions; I know how to hook things up and make them work.)
I believe that my broad and varied experience in broadcast post-production has provided me with the qualifications and expertise to help execute, manage and direct the realization of nearly any type of programming project from concept to delivery. I urge you to visit my website to download my resume and review some of my credits and examples of my work.
In closing, let me describe some of the attributes that I think your ideal candidate will engender. You will need someone with excellent communication skills who can develop amicable, professional relationships with clients, contributors and suppliers simply through the use of phone calls and e-mail, if necessary. You will need someone with unique interpersonal skills who can instill confidence in the clientele and nurture a spirit of camaraderie and teamwork among the staff, yet inspire a sense of respect. You will need someone who has first-hand knowledge of the skills and the amount of time required to perform all of the various processes involved in producing whatever kind of project that may come through the door. You will need someone who can organize these processes to be executed in the proper order, so that none of them are hindered due to lack of materials or shortage of resources. You will need someone who is also flexible, open-minded and has the ability to improvise... because things often do not go as planned or scheduled in this business. Finally, and perhaps most importantly, you will need someone who knows what a well-finished product is supposed to look and sound like. I believe that I possess these attributes.
I must say, this is the darndest job application I've ever filled out. I hardly believe that anyone will actually read it. But it seems to be what was asked for, so if you have gotten this far, I've told you an awful lot about myself. I think, if it should come to that point, I'll let you tell me how much you think I might be worth. I appreciate your consideration.
my regards,
Ray Wolf
A Brief History Of Time (Code)
It
is widely known that, in general, one second of video
contains 30 frames or that one second of film contains 24
frames. But the way in which these numbers are applied to
editing is changing radically due to the digital revolution
in video production.
In
the early twentieth century, the only way to capture a
moving visual image was to use a motion picture film
camera- essentially, a device which "took" a rapid series
of photographs, strung together sequentially on a strip of
celluloid that was passed at a steady rate in front of the
lens. Of course, the earliest cameras were hand-cranked; so
that rate was often not-so-steady and in fact, could vary
drastically from film to film, operator to operator, scene
to scene- even second to second. If you've ever wondered
why the action in old silent films looks quirky and
sped-up, it's actually because a good camera operator
always cranked slower rather than faster so that upon
projection, which had a more controlled speed, it wouldn't
result in slow-motion movements of the actors. This would
not appear at all realistic.
But
even back then, a reel of film (obviously) contained a
finite number of these photographs, which became known as
frames, and they could be counted and marked in order to
locate various action or designate takes and edit
points.With the advent of motorized film transports, this
"frame rate" became standardized and the action in front of
the camera was captured much more authentically. This also
led to the most important breakthrough in motion picture
history, to that point, the "talkie". Film cameras - even
today - do not record audio. And though early filmmakers
had the technology to record sound separately, there was no
way to assure that its playback would be "in time" with the
action on the screen.
Enter:
time code. The organization that eventually became known as
the Society Of Motion Picture And Television Engineers
(SMPTE) developed a system to coordinate the frame rate of
the film camera and projection device to the speed of the
audio recorder and playback system. Then, picture and sound
could be (almost) perfectly synchronized (most of the time)
and the era of the silent film was over. Unfortunately,
this put a lot of piano players (and even some actors) out
of work.
When
television and eventually videotape were invented, SMPTE
time code came to include a frame rate of 30 frames per
second. (Video color-framing and new digital technology
actually allow for several variances in this standard, but
that’s a whole different topic.) In simple terms, time code
is an audio signal, a pulsed sound at a constant specific
interval that can be recorded on a designated track of
either an audio or video tape machine. This allows every
frame of video and/or audio to be “counted” and assigned a
specific number. When a videotape recorder captures images,
it assigns these frame numbers randomly, although
consecutively, unless it is instructed to start at a
pre-set point. A time code generator enables the
designation of this point beginning with the desired hour
from 0 through 23. For example, most broadcasters require
that programs begin at exactly hour 1 of the time code on
the tape. This is shown as 01:00:00:00 with each set of
digits separated by colons specifying hours, minutes,
seconds and frames respectively. Every frame that follows
on the tape is assigned the next sequential number, thereby
allowing the machine to “read” the code and locate any
point on the tape.
Obviously,
this has been an invaluable tool for editing, even back in
the days when videotape edits were done by actually cutting
and splicing the tape itself. The invention of computer
controlled tape decks did away with that practice, as two
machines could then be rolled in synchronization with each
other and one of them switched into (and out of) record
mode at specified frame numbers.
But
another basic, yet crucial, aspect of time code is the
ability it provides to make an exact duplicate of a tape
with precisely the same image and sound at precisely the
same frame location as the original. This single critical
fact allows for the exchange of information between editors
(or anyone working with these tapes) and between editing
systems. Since most off-line editing takes place using
copies of the master tapes, if those workprints do not
contain the correct matching time code, the edits performed
with them will be incorrect (or at the least, inexact) when
the on-line editing is done using the masters.
With
digital non-linear editing systems, even when the time code
on the tape is correct, if it is not captured properly,
problems can easily result. And because these systems and
their operators don’t directly use the time code on an
edit-by-edit basis once the content is captured, these
problems may not be readily recognized.
Now,
with so many new ways to acquire content, these problems
can be compounded by the divergence of the different
media’s specifications. The digital videotape formats DVCAM
and mini DV can use SMPTE code but also utilize another
type of time designation termed DV Time. The newest
acquisition method is direct to drive (or disc) recording,
in which the camcorder actually creates digital video files
that do not necessarily even use time code in the
conventional sense. And of course, digitally created video,
graphics and animation for instance, have no inherent SMPTE
time code other than what is assigned for use in their
placement in the editing software’s timeline.
Due
to all of this revolutionary new technology, a surprising
number of editors who work with “desktop video” do not
really have an understanding what SMPTE time code really
consists of, other than numbers on a screen; or know that
it is something that can actually be heard and seen on a
tape recording. More than one university broadcast school
graduate has winced when I first introduced them to its
shrill song.
Many
people are forecasting the disuse and demise of magnetic
recording tape altogether. But until high capacity digital
storage is made crash-proof and safe for archival purposes
and until the major networks and other broadcasters start
accepting delivery of their on-air programming on HD-DVD or
some other type of media, tape and time code will continue
to play an integral role in the world of video
production.