Pyro Industries API-1394PCI Uživatelský manuál stáhnout pdf (Strana 247)

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CHAPTER 6: IMPORTING, EXPORTING, AND DIGITAL CUT ■

Editing Bars and Tone

A lot of people skip this task, but I highly encourage putting bars and tone before your

edited work. SMPTE bars work like the ISO rating on a roll of film. Using bars, you tell

the recipient of your work how to adjust the brightness, contrast, hue, and saturation

of the picture for optimal viewing. When we add tone to the sequence, we are giving

the recipient of this digital cut a level to use when setting up the audio for playback.

Of course, there are some situations in which you wouldn’t add bars and tone—

when a client receives a “viewing copy.” I’ve never been a fan of the viewing copy,

because it usually ends up creating situations in which the client comes back to the

editing suite, only to discover that the finished piece looks good, but his or her televi-

sion needs to be calibrated.

Case in point: A client came back to me, complaining that the images were too

green. After we played back the same tape on a calibrated monitor, the client realized

that his television hue had been tweaked by his four-year-old son, who apparently was

trying to make the Teletubbies change colors. But whether we like it or not, the client is

always the boss, so things like this can happen.

Some production companies have standard formats for their bars and tone.

These choices depend on who you work for and the type of finished work produced.

For example, the quiz show Jeopardy records bars and tone at timecode 58:30:00 for

one full minute, cuts to black for 10 seconds, displays the slate with announce for 10

seconds, and then cuts to black for another 10 seconds. So its setup looks like Table 6.1.

 Table 6.1 Bars and Tone Formatted for Television

Source TC In TC Out Duration

Bars and Tone 00:58:30:00 00:59:30:00 00:01:00:00

Black 00:59:30:00 00:59:40:00 00:00:10:00

Slate 00:59:40:00 00:59:50:00 00:00:10:00

Black 00:59:50:00 01:00:00:00 00:00:10:00

Program 1:00:00:00

If you do the math, you will note that the show begins at 1:00:00:00. There’s a

very good reason for this: When editing the show, timing has to be precise. When the

show begins at 1:00:00:00 and you edited 20 minutes of material, the timecode will

read 1:20:00:00.

When editing commercials, the format changes. First, we edit commercials in

non–drop frame timecode because most commercials run 30 seconds, so there’s no need

to use drop frame to stay in time. Commercials (see Table 6.2) usually have a minute

of bars, an eight-second countdown slate, and two seconds of black, followed by the

commercial.

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Pyro Industries API-1394PCI Uživatelský manuál Strana 247