VIDEO TAPE EDITING

[Music] thank you vt1 thank you vt9 recordings are running Peter okay on the floor Keith run the clock gentlemen not to worry about shots 27 to 34 the dropable item I have plenty of time to tell you about that on TK okay 10 9 R8 7 9 8 7 6 5 4 3 2 1 on film two [Music] next here's a house here's a door windows 1 2 3 to two ready to knock start your track two and we [Music] Mi this machine is making a sound and vision recording of the Children's Program you've just been watching of people many hundreds of years videotape recording is a method of storing pictures and sound signals from television cameras in such a way that they can be reviewed immediately alterations can be made to both picture and sound and subsequently the program can be transmitted at any given time videotape recording uses in principle the same methods as an ordinary sound tape recorder which puts an electronic signal onto a piece of oxide coated tape passing at a given speed over a recording head in appearance the VTR machine looks like a vast sound tape recorder the tape it uses is much wider 2 in in and it runs through the machine at about 15 in every second these spools can take up to 90 minutes of recording before reloading when the VTR machine is in the record position the master erase head wipes all unwanted signals from the tape before it comes in contact with the recording heads the tape next comes in contact with the the vision recording head but it's physically impracticable to incorporate two highly sensitive devices in the same place so the simultaneous sound recording head has to be placed away from the vision head assembly the vision recording and replay head itself consists of a small wheel on which the four Vision heads are mounted in order that the tape will be accurately positioned in relation to these heads a small suction device bows the tape so that the rotating head wheel is always tightly in contact with it the vision signal is placed on the tape not as a continuous horizontal band but as a series of nearly vertical stripes as the tape passes horizontally through the machine at about 15 in every second the wheel rotates at a very high speed besides carrying the vision signal the tape has three other tracks the sound track which is recorded horizontally along the top of the tape and the Q and control tracks at the bottom this control track is equivalent to the perforations on a cine film and ensures that the recording runs at the correct speed on playback Incorporated in this signal is a large pulse bar known as the edit pulse there is an edit pulse recorded at the start of each picture and this is the mark which the editor requires to cut and join the tape correctly incidentally none of these signals or tracks are visible to the naked eye until they are treated with a special Solution by the videotape Editor to go over these points again the master erase head first clears the tape of all unwanted signals the video head assembly incorporates the suction device which holds the tape in position and the control track head which governs the speed and alignment of the tape the simultaneous sound recording head the sound and vision heads are some inches apart this means that although the sound is recorded and played back simultaneously its position on the tape is in advance of its corresponding picture this displacement between the sound and vision signals is 9 and 1/2 in which produces on the tape a separation of about 6 of a second if the continuous output from a studio is recorded without any adjustments the tape can be transmitted as soon as required but there are occasions when a director will want to alter a part of his program either to join one sequence to another to shorten it or to replace one scene by another this he can do by editing the tape in a number of different ways the simplest way of making an editing Point without involving ourselves in the sound and vision displacement problem would be to make a cut where both vision and sound Fade to Black and silence if we join this scene to another where the reverse happened a sound and vision fade in it would be possible to make make the actual join clear of all signals and there would then be no indication that the sections had been joined if there were a similar sound from one scene to another an edit could be made in a similar way such a join made between a Fade Out fade in would appear like this in an actual program who in fact controls search and rescue operations along the whole length of the English Channel the first thing obviously is to get the attention of someone ashore or or on a near yes well that seems to be about it doesn't it this is a very simple form of edit and a good way of joining one sequence to another if a cut has to be made in the middle of a sequence however then a rather more complicated method must be used employing the dubbing of sound consider one piece of vision and its accompanying soundtrack if the tape is cut at the vision head position then the next Vision signal to come in contact with the head will be on the left while the corresponding piece of sound will be 9 and 1/2 in to the right we'll join a different scene on the left and now look at the result of such a cut between two different sequences well he's got a clear pavement with no pedestrians are only one perhaps just there but he's got some solid wall just beyond there which he could try car that you and I drive is compelled by law to have a certain standard of braking this is laid down in the regulations for the annual test let's look at it again note the join between the two scenes just there but he's got some solid wall just beyond there which he could try car that you and I drive is the overlap in the soundtrack between the pictures is due to the fact that the sound has been cut at exactly the same point as the picture as the cut in the tape passes the vision head the sound being played is still that belonging into the previous picture with a straight cut from one scene to another there must be some way of ensuring that the sound cut can be made in advance of the vision cut so it is heard in synchronization with the picture change in this sequence we have two tapes containing scene a and scene B which are to be joined together the cuts are to be made at X and Y and the two sections join together in order that the cut is to be seen and heard correctly the sound from the beginning of scene B must be transferred by the use of a sound tape recorder to the end of scene a when this is done the Section runs through the machine with the sound and vision changing simultaneously in the correct way just beyond there which he could try the private car that you and I drive is compelled by law to have a certain standard go over these points again the sound signal on the tape is 9 1/2 in ahead of its corresponding picture signal that is 6 of a second in time if two sections of tape are joined together then the sound belonging to the start of scene B will be cut off this is avoided by transferring this sound section to the end of scene a by the use of a sound tape recorder having to dub the sound forward over the going scene with the use of a sound tape recorder is a complicated and timec consuming process a more satisfactory and efficient way of coping with a sound Advance problem is to ensure that the overlap is prepared beforehand in the studio this sequence shows the sound and vision signals of three consecutive shots if we wish to replace shot 39 with a retake it means cutting at X and Y if we made a straight cut through the tape at these points we would lose part of the sound of shots 39 and 40 however if we recorded in the studio the sound of shots 38 39 and 40 but only the vision of shot 39 held for the length of all three shots this would enable us to make our cuts at X and Y replay shot 39 and at the same time be sure that the sound position is correct this method could be used to improve this sequence which didn't satisfy the director during his recording which I think you'll see better if I take this cloak off it's a tied with a cord that's got a bit caught up around a button or something dear there see the director decided to retake the closeup at the end of his recording and he went about it in this way right gentlemen there is a retake and I I think probably Keith you guess which one it is um in fact if so wter had taken that much long to take his cape off to put in the puddle for Queen Elizabeth should have about knees in Water by the time he got it off he knows which one it is uh for it's what shot is it uh 39 it's shot 39 the close shot on four please Brian and I shall need the sound from 38 and 40 [Music] and go through it until the end Shop 40 and um end of Shop 40 be okay W it yeah just at the time at the end of Shop 40 now there you can see my you understand you yeah yeah as long as it's okay this time you're sure it'll undo this time it will undo okay fine then stand by okay recording's all right recording R okay then stand by Keith ient it please9 K him there's another large around my neck I take this cap off I think you'll see it more easily yeah see it better now it's made of the same material as the roughs on my cff and it makes me keep my chin up okay that's enough fine thank you that's all I need for the edit thank you very much for work to stop the recording there thank him very much indeed and relax in please after the recording the original shot 39 was replaced by the retake shot and the result was viewed as braid and gold buttons all the way down the front there's a cloak to cover it there's another another rough as well around my neck which I think you'll see better if I take this cloak off see made of the same material as the roughs on the Cuffs up to this point we've examined the way in which videotape works and if edits have to be made how they can be done by physically cutting the tape having if possible prepared a sand overlap first we'll now see how the editor actually makes this join having cut through the tape approximately at the editing point he unlaced it from the machine and paints it with the magnetic developer this doesn't show him the picture content which can only be seen by running the tape through the video tape machine at normal speed but under the microscope it does reveal the vision recording track and the position of the edit pulse the editor adjusts the video tape in the editing block for his exact edit point and clamps the tape in the correct position cutting off any excess tape with the guillotine in the same way the editing point is found on the incoming piece of tape the excess tape is cut off with the guillotine by lifting the tape ends the adhesive splicing tape is positioned beneath them they are then pressed firmly onto this with a swab stick the trimming block is placed on the video tape and the Surplus splicing tape cut off after the tape is unclamped and lifted out of the editing block the join is complete a more immediate way of making edits to a recording would be by caring them out in the studio at the time the recording was being made this can be done by an electronic device which is part of the videotape machine and is linked to the studio by a remote control in fact the machine itself makes the edit by changing from the playback to the record function at a predetermined point this is done by the director pressing a button in the studio Gallery what happens is that a signal is recorded onto the Q track of the tape at the point at which the edit is to be made there is no physical cutting of the tape involved and the Machine makes the necessary compensation for the sound displacement when the tape is Rerun the machine will switch at this point from playback to record however in order that the position of the Q signal is exact this changeover can be rehearsed on the studio monitors and altered if necessary this method of editing allows the director to deal with planned or even unplanned Brakes in the recording of this program a Brak has been planned to allow a costume change to be made so that the girl will appear to have changed instantaneously from one dress to another oh all right I know I'll put them on by Magic you say abracadabra close your eyes and turn around cut Abra 48 and that's the point we edit okay stop the recording okay Keith on the floor will you get Julie into a costume as quickly as possible please uh Mark Brown where he is stay where he is all cameras stay exactly where they are and we'll rewind please vnd while the editor rewinds the tape the girl makes her costume change when she is ready the tape will be rerun showing the previous scene at the point of the predetermined changeover the director will cue the studio action and from the electronic queue already recorded the videotape machine will monitor the change from tape playback to Studio output there is available an advanced Q signal from the video tape machine relayed to the gallery and floor manager 1.2 seconds before the edit Point occurs and this allows the performers to take up their queue R Studio VT has one back now and we've got a 20 second playback Julie's ready and organized to go on on her marks yes Keith yes okay run VT VT is running you will take the que from the Q pulse 15 seconds Abracadabra close your eyes and turn around once right Abra there oh I wish ID used magic to put mine on they're rather Splendid aren't they finally this is how that sequence looked you better hurry up these clothes take a long time to put on you know oh all right I know I'll put them on by Magic you say abracadabra close your eyes and turn around once right Abra there well I wish I'd used magic to put mine [Music] on if there are a large number of known edits to be carried out before the program can be completed it would be more practicable and also save student time to have these carried out afterwards this does however involve the use of two machines or possibly more if the program is very complicated and this method normally means the making of second generation tape one of the most usual examples is the assembly editing of a program that has been shot in a number of separate sequences the original recording is transferred to another tape which is to be our transmission copy up to the point where the first edit is to be made as in the studio the Q button is pressed at this moment Amber and white the editor playing the original tape finds the editing point in the scene to be transferred next then both machines are spooled back about 2 second they will then be started simultaneously and the point at which the edit will be made can be rehearsed until it's satisfactory okay Ron we'll do a rehearsal because the p refle that's this film has dealt with the basic properties of videotape recording if a program has to be edited there are certain difficulties to be considered and it must be decided which method will deal with them most effectively the simplest way is to make the edit where picture and sound Fade to Black if this can't be done a direct cut gives rise to certain technical problems which can be overcome by transferring The Sound by the use of a sound tape recorder depending on the type of edit that has to be made it may be better to prepare a retake in the gallery with overlapping sound but all these methods will involve the physical cutting and joining of the tape by a videotape editor electronic editing can be carried out after the program recording is over on two or more videotape machines although this may involve the making of a second generation tape the electronic method carried out in the gallery is the most immediate way of making an edit this method can also cope with unexpected faults that may develop and these can be corrected at the time braks can be planned and editing becomes part of the uction procedure 6 well it's time for us to say goodbye now 2K goodbye 3 2 and on three [Music] next going to three through to three two next through to two paid to Black and stop the recording thank you from thece as can you stop recording please give me a clear on that if you would that's a whole program was 2432 ret no there no retakes for