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Linear editing is basically selecting a particular length of video and/or audio from one tape and copying it onto another tape. The operational principle here is copying, that is, the final programme is constructed in a linear fashion. The first shot is edited first, thel"l the second, the third, and so on. In short, it is tape-to~tape editing. Some prefer to refer to linear editing as analogue editing, owing to the transfer of footage from one tape to another.
We can perform a very basic edit by having one player and recorder. The process is very simple. Connect a player to a recorder. Insert a VHS tape of a film of your choice into the player. Insert an empty tape into the recorder. Now press the play button on the player and the record button on the recorder simultaneously. The film on the VHS tape will be transferred into the recorder tape. Now stop both machines and fast forward the player a bit. Start playing and press record on the recorder simultaneously. The second portion of the film on the player will be transferred to the recorder tape. This is, of course, a very simple edit.
However, professional linear editing machines are a bit more complex and require practice to handle them efficiently. A linear editing set up will require one or two players, an edit controller, a recorder, an SFX generator, an audio console to mix audio from the two video players, a vision mixer, and a minimum of two video monitors to observe the actual process of editing. A schematic diagram of a linear editing setup is given in
The picture shows a typical A/B-roll linear editing setup. An A/B-roll editing uses two players to play two shots simultaneously to edit them onto the recorder. (A simpler system will use only one player.) Such a system is called an A-roll editing set up. The players are connected to the edit controller. The edit controller enables us to select the precise length of the shot we want to edit onto the recorder. Some edit controllers also come with special effects inbuilt in them; for others, we need to connect a special effects (SFX) or digital video effects (DVE) generator. The two playback machines send a signal to the vision mixer (not shown here), which will decide on the signal to be sent to the record deck. This technique also allows for chroma keying and picture-in-picture effects, among others.
A titling machine is also connected to the controller to super titles onto the edited programme. One output from the edit controller is connected to a monitor that enables us to see and select from the shots we are playing back. Another output is connected to the recorder. The output from the recorder is connected to another monitor that enables us to see what we have edited so far.
Therefore, what we are essentially doing in linear editing is copying desired portions from raw footage onto an empty tape to create a programme. Remember, linear editing can result in what is known as generation loss. The quality of footage on the master tape (the tape on which the programme is edited) may be slightly lesser than the quality of raw footage. However, depending on the tape format, our programme can be of broadcast quality.
Linear editing is a complex process and requires some practice for smooth working. Linear editing works on what are known as two-point edits, three-point edits, or four-point edits. Linear editing requires a minimum of two 'in' points (one on the player and one on the recorder) to select a length of video/audio. When the desired length of video has been edited, the editor stops the edit controller. The edit controller helps the editor punch in the 'in' and 'out' points on the player or recorder. Marking three of the four points needed to place a source clip into a programme is called a three-point edit. For example, an editor identifies an in and out point in the source clip (on the player) and an in point in the programme (on the recorder) and allows the editing machine to calculate the out point in the programme. This technique allows for complex multi-track synchronised video/audio editing. Marking all the four in and out points on the player and recorder to place a source clip into a programme is called a four-point edit.
While it is pretty easy to do assemble edits on linear editing suites, insert editing, which is a common requirement of most video productions, will require practice.
Insert Editing on Linear System
First record a black signal on the entire source tape and rewind it to the beginning. It is important for a cameraperson or an editor to record at least 25 sec. of colour bars and 10 sec. of black. If the cameraperson happens to have recorded footage ri.ght from the first second on the tape, pre-roll (explained shortly) is not possible and therefore editing becomes difficult. The same applies for an editor for the tape in the recorder. On the recorder tape, first record 25 sec. of colour bars and 10 sec. black.
Next, select the shot from the player, using the edit controller, and mark the in point. You may want to select the desired length of the shot and mark
Most producers prefer a cut-to-cut editing (without adding transitions and special effects) to get an idea of how the video has developed. All transitions and special effects are added later to give the video track a finished look. Once we are through with video editing, we can work on sound. The track has to be properly laid out with each nuance adding to a strong sound. The more we work on such subtleties, the better will be the presentation. After audio-sweetening, we add graphics to the video. The final product is now ready for telecast/viewing. We make sure we have at least two copies before submitting the master. It is important to ensure that our video has the best resolution possible before we actually present it to the client or even send it for telecast.
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