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I did a couple of school projects on linear tape to tape stations. But it was Avid when I started, then FCP.
www.strypesinpost.com
3/4" Umatic tape to tape systems. Then Video Toaster (which was painful). Then Adobe Premiere...then finally Avid. Eventually FCP...
www.shanerosseditor.com Listen to THE EDIT BAY Podcast on iTunes [itunes.apple.com]
Dubbing 1" open reel to Beta, 3/4 and VHS
Loading 1" open reel in a central rack/playback room 3/4" U-matic tape to tape Beta tape to tape (D5 robot arm playback/editor) BetaSP 900 series switcher tape to tape AVID 4.2 to AVID 7.2 (AfterEffects) (Premiere edit rescue consultant) FCP 1.2 ak Sleeplings, AWAKE!
My first was 3/4 U-matic and VHS tape to tape. I think the first software Editor I used consistently was Premiere. Oh, wait, there was something I mucked about with at home .. what was that called .. it was about the time Quicktime first came out, and there was a trial for Mac. Exceedingly simple, but still mind blowing at the time to think of editing IN YOUR OWN HOME!
So, no one cut their teeth on Heavyworks or Media 100?
JVC VHS to VHS editor - 1991-1993
Adobe Premiere - 1993-1995 Video Toaster (A/B Roll with 3/4" tape) - 1995-1997 Video Toaster Flyer - 1997-1999 DPS Velocity - 1999-2005 Newtek Toaster2 - 2000-2001 Final Cut Pro - 2005-present (am transitioning to Premiere, either used in tandem or as a replacement to FCP) Adobe Premiere - present-?
1" "online" which was tape to tape to tape.
3/4" Umatic tape to tape systems. Ahh remember having to lay back the 3 and 4 channel of audio over the existing audio for multi tracks.. only to have the producer say.. I need to change the VO. Then there came "8mm" tape to tape by Sony BetaSP Tape to Tape.. was telling an intern the other day about "insert editing" Video Toaster Media 100 Avid (box that had built in CG, Animation, Sound Effects - was tape to tape then went digital) Adobe Premiere. FCP (until it does not work anymore) Now back to AVID
Let's see.
Tape to Tape on IVC 9000 2" machines Tape to Tape on 3/4" Tape to Tape on Quad and 1" machines with CMX Tape to Tape on 1" machines and BetaCam using CMX, Grass Valley, Sony, Editware Quantel Harry Avid Panasonic Postbox FCP EVS IPEdit and probably a few more I have forgotten or blocked out. Every few years brings a new adventure. I would guess that my 10 years or so with FCP may be one of the longer relationships I have had with software. I will miss it when it is gone.
16mm News Film
Machine to Machine Ampex VR 1100's Machine to Machine U-Matic 3/4" Ampex ACR 25 Convergence 1" suite with Hitachi 1" decks Grass Valley Super Edit VPE Series suites (Editware) with 3/4", Beta, 1", D2, D3, D1, Digital Beta, Kadenza, K-Scope, DVEOUS Ampex ACE Suites CMX Sony 9100 Suites Stratasphere Affinity Avid Symphony FCP What's next?
I actually started with 16mm on an upright Moviola. You do not want to cut 16mm on a upright Moviola. You could literally rip the film. That's where the term Handbrake came from. When I got to 35mm uprights, different story. I do miss airspooling.
Interesting, only one CMX person! There was a time that was the cat's arf! - Loren Today's FCP keytip: Set a motion effect keyframe instantly with Control-K! Your Final Cut Studio KeyGuide? Power Pack. Now available at KeyGuide Central. www.neotrondesign.com
Hi.... no one has mentioned the Sony video Rover system I used in high school.... model AV3400 with separate portable deck and black and white camera... I had to manually thread the 30 minute tapes in the VTR. It was heavy but then I was much younger and looked 'cool' carrying around all that equipment on my shoulder. I remember you could hear an audible click each time I hit the pause button. As I recall the Rover package was priced around $2000.00. It was followed by a color version (forgot the model number)
For 'editing', it was crash editing to another deck by hitting the record button at just the right moment. I still have my umatic decks and they work perfectly... it was a solid system and once in a while even now I still need to use some of my 3/4 inch archival footage that I shot during the 1980's. I also did editing on VHS, super VHS, betacam. As an aside, I distinctly remember that a brand new single VHS T-120 tape had a store price of about $40.00 when it first came on the market.... for the longest time I kept one of those tapes in its original shrink wrap and price tag.... wish I still had it. Nearly forgot.... I still have a few betamax tapes and a consumer high end Sony betamax deck that cost around $1600.00 new.... it has a jog shuttle dial..... amazing! Presently using FCP 7 we've all come a long way haven't we..... have a great day..... Ron
"no one has mentioned the Sony video Rover system I used in high school.... model AV3400 with separate portable deck and black and white camera..."
I started there, too, but have mostly managed to block it from my memory. Those were nasty, nasty things to try and edit with...redoing each edit 3-4 times to try and get a glitch-free edit was not conducive to inspiration. Steenbecks and trim bins were a relief. Favourite antique hardware: Linear tape to tape edit controllers (Sony RM 450s and such) Linear tape was a nasty system, but the controllers were great- your eyes virtually never left the screen, and they were wonderfully tactile. Way better than keyboards and mice, IMHO. randy
Started on manually editing 16 mm.
Later, as my job was what nowadays is called VFX, we used my airbrush foils and the famous Grass 35 mm cam to record openers, trailers etc. Then with my first Mac I used some Paint tools to create the graphics and used the onboard graphic card with a modified cable to transport frame by frame to a Paintbox - was pretty cool that you needed only a little bridge inside the cable to view either PAL/NTSC progressive or interlaced. The only thing you needed was a RGB to YUV converter. Later is wrote a little app which allowed to transfer image sequences to VTRs frame by frame and merged half height frames into interlaced frames. That time it was the fastest available, as we had sources to modify the Sony machines Pre- and Post-roll times. Unfortunately nodoby believed us, that this could be a production environment. Than I made the package design for Video Machine - never used it. Then i was on Media 100, Premiere, and sometimes on Sphere. Made quite a lot of support for Avid for some time - was actually one of the guests of the first presentation of an Avid in SF. Was same day QT was introduced by Apple. Ended on FCP. Andreas P.S. Used my old beloved Grass(build 1956 - one year after Iwas born) cam, FCP, After Effects, Synthetic aperture, a simple Apple Script, a Cinema display and a hard wired USB to electric relais switch controller to bring some movies to film with a beautiful look. Was only a very few years ago.
Over the 20 or so years I've used a variety of systems - I'm sure in the next 18 I'll be working on a few more!
Linear Edit controllers (usually Sony) with 2 and 3 machine tape-to-tape: 1" Type C U-Matic High and Low band SVHS (and occasionally VHS) BETA SP DigiBeta Also worked as a Vision Mixer (aka Technical Director or TD in the USA) Non-linear suites: Adobe Premiere 2.0 (1992 - present) LightWorks Turbo & HeavyWorks (1993 - 1998) Avid (1994 - present) Media 100 (1996 - 2002) EditDV 1997- 2000 FCP 1999 - present For instant answers to more than one hundred common FCP questions, check out the LAFCPUG FAQ Wiki here : [www.lafcpug.org]
I remember as far back as the early 90's Ampex ACE (25?), but wasn't cutting yet. You had to be lucky to get your hands dirty on one of those here. It looked so impressive too - especially with a great big mixing desk alongside. Not like today when you go to a job to find a computer and a set of headphones.
And you tell that to the kids of today, and the wooooon't believe ye.
I remember...88...interning at ITV in South Florida...threading Ampex 1" machines and getting to use a huge Ampex Switcher like this:
[1.bp.blogspot.com] I remember hearing in my headphones... "Ready 1 - take 1" "Ready 2 - dissolve 2" "Ready 3 - FOCUS YOU MORON - take 3" When life gives you dilemmas...make dilemmanade.
i started on Super-8! (not professionally, though)
had a hand-wound machine with a unique movement that was guaranteed to damage your film! cut double system super-8 on a motorised bench. weird. but i was 17 or 18 and had no idea how crazy it was! then got a motorised sound machine. tried super-8 flatbeds, but thought it was the wrong machine for that medium. learnt 16mm on the old Blue pic-syncs, 1st job in the industry was edge numbering 35mm by hand... oh, my... the boredom! then sound transfers from 1/4'' to 35mm mag. (Aussie film Gallipoli!) then worked at our ABC on 16mm Steenbeks for a long while: 4, 6 & 8 plates. there i also learnt tape to tape editing on VHS & then beta (would sneak into the news edit suites after hours to edit my super-8 films!) i completely agree with the comments about the Sony controllers... really great to work with, and i still fantasise about running FCP off a RM450 wound up buying an 8-plate steenbeck to finish the super-8 magnum opus then a lot of 3/4 inch U-Matic at film school, and cutting music videos, also SP Beta. this was with the Aussie "Shotlister" program that tracked your TC all though the offline. very cool could never afford avids, and tape- to tape was really great for performance-based music videos, i reckon. we cut a few on an old Abekus system that the post house had put into a back room. kind of like driving a tank, but fun once i got used to it. a couple of jobs on Avids, a coupe on Light-works, avoided the "Dave" (Aussie non-linear editor by the "Shotlister" people. their paradigm was excellent for tape, not so great for non-linear) as digital became more affordable i started looking around at something to have in the home, like my early super-8. looked casually at the Fast system, Speed razor, & 2nd hand Avids among others, but they were still too expensive for what i needed at the time. digital really clocked for me when i was standing in a queue at the post office, and saw they were selling a PC home-movie editing app for $30! looked at premiere, and then FCP came out. was still cutting on film, and cut a feature on 35mm, witch i really wanted to do before i dived into non-linear. did one last job on an old avid. as the director and i were transferring our Music CD to Digibeta so we could capture it into Avid, we looked at each other. we both had FCP at home and knew what we were doing was crazy! FCP all the way after that. (last time i physically edited super-8 was in '93) nick
God, thank you, Nick, I can't believe how far back we're going here. Yes, at 17 I started in Super-8, shooting a Vivitar and making Kodak S-splices on my spy film at a boarding school in New Hampshire.
In '64 James Bond in GOLDFINGER and soon after The Man From UNCLE on TV were taking over the media. (UNCLE btw is about to make a return trip to big screens -- one of the last of the great semiserious 60's action-thriller TV franchises yet to be "chromed". It was a great time to see great editing in the Bond films especially, (John Glen, Peter Hunt) and I emulated those best I could, but those S splices always showed up as a weird kind of wipe between scenes. I hated it so. THEN in the late 60's I moved to 16mm, started cutting on a rewind bench, then on the (ugh) upright green monster, then to flatbeds. What a blast. And stayed there for two decades, cutting a couple things on upright 35mm too. THEN I took time off in the mid 80's because computers and desktop publishing had just become affordable. I actually learned HyperCard programming! Don't laugh. Everybody was into HyperTalk scripting, it was the coolest construction kit ever made and told me Apple was the company to watch. I did a few years of offline video Umatic and JVC VHS, and wrangled with shot by shot EDL's for online, yowzer, but mostly leapfrogged linear video. Looking back, I should have done more -- it would have prepped me for digital video fundamentals sooner. THEN found an opportunity to jump in on Avid, which at version 5.1 had just become serious for TV series and longform- the first with the ABVB board, as I recall, although at the time I landed a TV series for the fledgling HGTV cable channel, they and most other broadcast companies weren't taking Avid "broadcast quality" output seriously. Producer had hoped we could do everything on the desktop in 1994. Well, producers are visionaries, eh? THEN Final Cut Pro came along... what a long strange trip it's been. If I hadn't gone digital in the mid-80's with HyperCard I'd likely be in real estate today. on mouseup! - Loren Today's FCP 7 keytip: Summon your Video Scopes with Option - 9 ! Your Final Cut Studio KeyGuide? Power Pack with FCP7 KeyGuide -- now available at KeyGuide Central. www.neotrondesign.com
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