Jay Ankeney

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.

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.

Earlier this month at IBC, Avid announced new versions of software that will enable editing HDV in its native format.

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

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.

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

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.

With the vast majority of primetime scripted TV shows being shot in high definition these days, the challenge of online mastering programs containing data-intensive HD images can be daunting.

Leave it to digital video production and postproduction artists to conjure up images of inspiration that can help turn a year of such tragedy into uplifting optimism.