As HD production was seen as a mainstay at NAB2006, the challenge of wrestling with it in post took center stage.
Starting this month, editors will be presented with the most radical evolution in editing user interfaces since GUIs began to replace timecode-based EDLs back in the 1980s.
Earlier this month at IBC, Avid announced new versions of software that will enable editing HDV in its native format.
Increasingly, it's the video elements only tangentially relevant to passing the pigskin that are becoming the hits of the show.
It's almost spring, a time when many a post pro's thoughts turn to "editor's dreams" -- speculation on innovations they would like the industry to conjure up to improve all our digicutting lives.
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.
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.
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.
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