Pyro Industries API-1394PCI Uživatelský manuál stáhnout pdf (Strana 33)

CHAPTER 1: INTRODUCTION TO AVID AND EDITING ■

Editing Workflow

How many times have we heard that age-old saying, “If you don’t know where you’re

going, you’ll never get there!” The same can be said for the workflow required for non-

linear editing. A little planning can go a long way. But remember, we are working in a

nonlinear fashion, which presents more opportunities. Even though we might have a

good cut of our program, if the phone rings and someone tells you that he or she has

found a good replacement for one of your shots, you can do it with no penalty except

a few extra moments.

Earlier, I alluded to the fact that video editing is something of a mutant of the

creative process. Let’s talk for a moment about that process and why nonlinear editing

works so much better.

I know a lot of artists. Artists are, for the most part, very creative. Some don’t

feel that they quite fit in. They see the world differently from others. And they spend a

lot of time changing things around. For example, I know one young artist who likes to

rearrange her furniture. She does this frequently, much more than others. I get the feel-

ing that she is looking for something of a perfect environment, but I am not sure that

she’ll ever find it. For her, the process is more important than the solution.

Take that simple idea and apply it to video editing. When we start on an edit,

we have an idea of how it begins, how it develops, and how it ends. But with nonlinear

editing, you have the power to do so much more! Any ideas that come during the process

of editing may beg for change. If you were editing in a linear fashion, change is so

much harder. From a nonlinear standpoint, any last-minute changes are easy.

Now let’s look at it from an artist’s viewpoint. If you read the original first draft

of a screenplay or a famous novel, you would undoubtedly be disappointed. That’s

because (to paraphrase Hemingway) first drafts are all pretty bad. But when we edited

video using linear equipment, the first draft of that edit was almost always the final

draft. What a mutated way of creating! It could be so much better if we had taken the

time to change it. And yet the difficulty of change necessitated very few changes. It was

a compromise on creativity.

When Rodin sculpted The Thinker (see Figure 1.8), he started out with a big

block of media. And he started carving what appeared from a distance to be a man sit-

ting and thinking. He didn’t carve the fingers perfectly or etch the toenails precisely. It

was just a big hunk of rock that eventually was shaped into a man. Eventually, of course,

the details were made, but his “first draft,” or initial carving, didn’t look all that great.

And so it goes with your nonlinear editing process. The first edit can look very

bad, indeed. Most of mine are awful. But given the tools to change and mold the edit

into something good, this can be done over time, whether you’re dealing with just one

day’s work or a major months-long project. To film editors, this may sound ordinary.

But any video editor who has done a machine-to-machine edit, the idea of nonlinear

editing is freedom to unlock your mind to a world of possibilities.

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Pyro Industries API-1394PCI Uživatelský manuál Strana 33