Jay Ankeney

Super Bowl XXXVI was a bittersweet broadcast this year, given the pallor of 9/11 looming over everything from the coin toss to the halftime ceremonies.

Not every editor felt the earth rumble, but our universe changed at NAB2003 when Editware announced that it would no longer develop its DPE line of linear edit systems.

There was 4:41 left in the third quarter of Super Bowl XXXVII with Tampa Bay up 34 over Oakland's 3 when suddenly amid the crash of helmets and shoulder pads -- convergence happened.

Let's kick off our annual analysis of the most striking of this year's Super Bowl ads by celebrating the editing principles behind these mixtures of entertainment and hype.

This is a story of a lot of pluck, a little luck, and a great deal of talent that is inspirational to every editor.

The original idea was "HD for the Masses" when JVC introduced its prosumer GR-HD1 camera last March based on a new recording format called HDV.

Tape reels give way to nonlinear editors over the past two decades.

Hot enough for ya? Let's chill with a bit of post-production perspective.

Sometimes it's not only the big splashy award-winning products you see introduced at the annual NAB fest that catch your eye.

At NAB2004, a lot of the excitement was generated by companies who have come up with very clever ways of wrangling that high bandwidth HD signal into an NLE's software.

Kick back with a cold one and journey with me under the guidance of the good folks at Pinnacle Systems into the mystical world of low bit-rate editing.

For this last "Focus on Editing" installment in 2004, we're going to look back on the most significant post-production watershed crowning the calendar--the move toward tapeless editing.

This has been a pivotal year for the video production industry; fighting a sour economy on one hand and the soaring challenge of HD migration on the other.