Cover image for Post : the theory and technique of digital nonlinear motion picture editing
Post : the theory and technique of digital nonlinear motion picture editing
Levin, C. Melinda.
Personal Author:
Publication Information:
Boston, MA : Allyn and Bacon, [2003]

Physical Description:
xi, 196 pages : illustrations ; 25 cm
Added Author:
Format :


Call Number
Material Type
Home Location
Item Holds
TR899 .L48 2003 Adult Non-Fiction Central Closed Stacks

On Order



Examines the theories and techniques of digital post-production. Providing information for both the novice and experienced people, this text explores topics such as the role of the editor on a post-production crew, the history of motion picture editing and digital nonlinear systems, and legal and ethical issues related to editing.

Table of Contents

Acknowledgmentsp. xi
1 Introductionp. 1
Computer-Based Editing Systems as Toolsp. 1
The Term Motion Picturep. 1
What Is an Editor? What Does Good Editing Mean?p. 1
The Goals and Responsibilities of the Motion Picture Editorp. 2
What Nonlinear Meansp. 3
Nonlinear Editing versus Analog Videotape Editingp. 4
Terminologyp. 4
How to Use This Bookp. 5
The Editor's Mindsetp. 6
2 A Brief History of Early Motion Picture Editing and the Introduction of Digital Nonlinear Systemsp. 8
Early Motion Picture Editorsp. 9
Groundbreaking and Innovative Early Filmmakers and Film Theoristsp. 9
Early Editing Equipmentp. 14
Digital Nonlinear Systems Enter the Marketp. 17
Hollywood Helps the Move to Nonlinear Editingp. 18
Feature Films Edited Electronicallyp. 20
Affordable Systems Catering to the Independent and Student Marketsp. 21
3 What the Editor Must Know: Basic Motion Picture Stages and Crew Positionsp. 23
The Basic Process of Productionp. 23
Shooting on Filmp. 24
Shooting on Videop. 26
Three Basic Stages of Constructing a Motion Picturep. 28
Preproductionp. 29
Productionp. 29
Postproductionp. 30
Production Positions and Usual Responsibilitiesp. 30
Producerp. 31
Production Managerp. 31
Directorp. 32
Script Supervisorp. 32
Assistant Directorp. 33
Director of Photographyp. 33
Location Sound Mixerp. 33
Some Postproduction Positionsp. 34
Editorp. 34
Re-Recording Engineer/Sound Mixerp. 34
Composer and Music Supervisorp. 35
Visual Effects Supervisorp. 35
ADR (Automatic Dialog Replacement) Editorp. 35
On-Line Editorp. 35
Foley Artistsp. 35
4 Editing Conventions and Stylesp. 37
The Lure of High-Tech Equipmentp. 37
Manipulation of Time and Spacep. 37
Timep. 37
Spacep. 38
Classical Hollywood-Style Editingp. 38
The Four Main Points of Classical Hollywood-Style Editingp. 39
Shooting for the Edit: What You Need to Consider during Productionp. 39
Establishing Shot/Master Scene Shot/Individual Shotsp. 39
Cutawaysp. 40
Parallel Editingp. 40
Match Cuttingp. 41
L-Cuts or Split Editsp. 42
Effective Storytellingp. 47
Audiencep. 47
Purposep. 48
Contentp. 48
Theory and Technique of the Editor--The Editor's Mindsetp. 48
Edit Pacingp. 49
Edit Structurep. 50
The Editor's Concerns and Goalsp. 51
5 The Digital Nonlinear Workflow and Work Environmentp. 52
Workflowp. 52
Potential Problemsp. 53
The Learning Process and Developing a Strategyp. 54
Basic Stages of Editing in the Digital Nonlinear Environmentp. 55
Work Environment: Studio Setup and Ergonomic Considerationsp. 56
Cablesp. 65
Cable Connectorsp. 67
6 Getting Your Footage into the System: What the Steps Are and What You Need to Knowp. 69
Definition of Termsp. 69
The Digital Language and Why Compression Is Required If Your Material Is Analogp. 69
System Bottlenecksp. 71
Throughput and Compression Ratesp. 72
Software and Hardware CODECs and Compression Ratesp. 72
Compressionp. 75
Audio Compressionp. 76
Lossless and Lossy Compression: Different Ways of Compressing and Saving Storage Spacep. 77
Batch Digitizingp. 78
The Digital Binp. 78
QuickTimep. 80
7 Management of Your Materialp. 82
Various Production and Postproduction Modesp. 82
Off-Line and On-Line: Different Definitionsp. 82
Expanded Responsibilities of Editorsp. 87
Control Track and Timecodep. 87
The Paperwork of Editingp. 91
Logging and Log Sheetsp. 91
Naming Your Clips or Shots: The Importance of Descriptionp. 93
Hardware and Software Supportp. 94
The Paper Editp. 95
Where Media Go on a Digital Nonlinear Systemp. 95
Tips for Managing Your Material and Saving Spacep. 97
8 Storage of Media in the Digital Nonlinear Environmentp. 99
Storage Devices for Digital Materialp. 99
Removable and Portable Storage Devicesp. 101
Capture Cardsp. 103
Three Types of Interfacep. 103
9 Graphic Interface, Areas of Action, Terms and Processesp. 107
Basic Areas of Action and Windows on the Desktopp. 107
A Few Examples of Visual Interface Elements for Various Systemsp. 110
One or More Monitorsp. 115
Some Tricks of the Digital Nonlinear Editing Tradep. 116
The Time Factor in Nonlinear Editingp. 117
10 The Edit Decision Listp. 118
Definition of the Edit Decision Listp. 118
Off-Line and On-Line: What Do They Mean When You Are Shooting and Finishing on Film?p. 118
The EDL Formatp. 121
Preparing for Editing and the EDL as Production Beginsp. 121
Timecode Burn-Inp. 122
EDL Elementsp. 122
11 Shooting Film and Editing on a Digital Nonlinear Systemp. 126
Digital versus Filmp. 126
Another Reason You Might Consider Originating on Filmp. 126
Feature Films on Digitalp. 127
Why Edit Film in the Digital Nonlinear Environment?p. 128
The Video/Film Relationship: Frames per Second and Timecodep. 130
Keycode Numbersp. 131
Transferring Film to Videotape and Videodiscsp. 132
The 3:2 Pulldownp. 133
30fps and PALp. 135
Editing Film in the Nonlinear Video-Based Worldp. 136
Preparing the Film Project for Editing in the Nonlinear Worldp. 138
Sound and Film Ratesp. 138
Alternative Location Sound Syncp. 139
Making a Flowchartp. 140
Planning for the Telecine Processp. 140
Nonlinear Editing of the Filmp. 143
12 Interviews with Film and Television Editorsp. 145
Mark Block, Editor at Crew Cuts Postproduction House, New York Cityp. 145
Wayne Derrick, Director and Camera Operator for "The Real Miami Cops" (Discovery Channel, USA, and Channel 5, UK), London, Englandp. 150
Bennett Goldberg, Vice President of Editing Services at Digital Symphony, Los Angeles, Californiap. 153
Jonathan Mednick, Founder and President of Other Picture Production Company and Co-Producer and Editor of the "American High" Television Series, New York Cityp. 156
Lisa Riznikove, Editor and Co-Owner of Absinthe Pictures, Los Angeles, Californiap. 162
Dan Sparks, Director of Post Production at Four Square Productions, San Diego, Californiap. 165
Bart Weiss, Independent Film/Video Producer and Editor and Director of the Dallas Video Festival, Dallas, Texasp. 168
13 Choosing the Right Systemp. 174
Review of Choices: Five Areas to Take into Account Based on Your Needs and Level of Usep. 174
Review of Additional Options for Your Considerationp. 176
Your Genre, Postproduction Preferences and End Goalp. 177
Working with a System Integrator or Engineer for Installationp. 178
Warranties and Support Packagesp. 178
Your Own Researchp. 179
Appendix A Editing Websitesp. 181
Appendix B Postproduction Formsp. 183
Appendix C Suggested Readingsp. 185
Glossaryp. 186
Indexp. 192