Pyro Industries API-1394PCI Uživatelský manuál stáhnout pdf (Strana 26)

■ THE AVID PRODUCT LINE

were “good enough.” Of course, the software was updated to keep the edit system

companies in business. Nonetheless, some company was always trying to develop an

editing system that both film and video editors would like. No matter how hard they

tried, they could never get both groups to like the same equipment. A system with lots

of numbers attracted the video crowd. A system that could preview multiple images

attracted the film crowd. So it came as no surprise to me that this man, a filmmaker by

trade, liked the Avid. And it probably meant, to my own thinking as a video editor at

that time, that I would hate it.

But no editor wants to get caught behind the times. Keeping abreast of tech-

nology is essential to the working editor. Reluctantly, I went out and took a look at

this Avid.

I was surprised by how many other video editors attended that same demo, and

I was even more surprised that the Avid people understood where we came from: Video

editing was developed. We had been doing things the same way for years. Nothing

short of a miraculous development would change our minds. On the periphery, some

of my fellow video editors were working with companies such as CMX, which had

developed one of the first nonlinear systems, but I was never an early adopter. Either it

worked or it didn’t. I wasn’t interested in testing periods, and I hated going through

the “discovery” process with companies. All I wanted was to be able to edit using the

most efficient tools.

What Avid presented that day was a tool that was remarkably stable and had

some features that took a while for an old diehard to understand. Sequences were

edited on a computer (a Mac, for crying out loud!) and they could be reassembled

again and again, changing one shot or another. I was still trying to figure out how one

could reassemble an edited commercial to reflect a small change without having to

recopy all the media. It seemed so easy to use and yet very complex to understand.

These days, it sounds so easy. But in the dimly lit world of the video editor, it

was miraculous. In those days, if you started a new project, you had to edit the open-

ing first. Then came the first sequence. Insert a commercial break and then on to the

next sequence. This is how it was done. A single change usually meant a complete re-

edit. Editors prayed for no changes. When the producer announced that some “changes

need to be made,” we all slumped in our chairs. It was hard to create a better cut with-

out wanting it to change. To a great extent, the creative process was preempted by the

desire to just get the job done.

The Avid system eliminated all of this. No worries about match-frame dissolves,

effects, new opens, extending shots, and so on. It was all done in a computer, and until

it left the computer, every change imaginable was possible.

And what did it take to obtain one of these little babies? At the time, the top-of-

the-line Avid would set you back around $80,000. And it only did single-field editing.

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Pyro Industries API-1394PCI Uživatelský manuál Strana 26