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CHAPTER 1: INTRODUCTION TO AVID AND EDITING ■

Into Nonlinear Editing

Editing is fun. Even before nonlinear editing applications were invented for the per-

sonal computer, it was fun. There’s a bit of empowerment that comes with determining

what the viewer sees and when they see it. Controlling the pacing of visual information

gives one a sense of both power and responsibility to the viewer. And the more material

there is to choose from, the more exciting it gets.

Finding the rhythm of a scene is something of an art form that is frequently dis-

cussed in the digital community. Thelma Schoonmaker, editor of many Martin Scorsese

movies, once mentioned that Scorsese made the cutting decisions, but she found the

rhythms of scenes.

Every editor works a little differently, and the role of each editor can vary

greatly, from project to project—even geographically. When I first moved from the Los

Angeles area to Portland, Oregon, I was surprised at some of the things editors had to

do. Much of the work was done alone. Some projects were completed alone. I had

never borne the burden of being responsible for the finished project without someone

else’s approval. Not that it was bad…just different.

When Avid Technology created its first Media Composer, editing became even

more fun. The interface was simple and primitive. Not a lot of bells and whistles. But

it had the power of being able to manipulate media in a nonlinear way. You didn’t have

to create your projects chronologically, as with most video systems during that time.

You could start in the middle of a program and cut the beginning later. As crucial scenes

were shot, you could begin cutting right away, instead of having to wait until you had

cut all the prior scenes together in order. Directors loved it because they could focus on

any scene at any given time. Editors loved it because they could stay busy and not wait

around for the next scene to be shot.

As common as nonlinear editing is today, the concept of it, at least to video edi-

tors at that time, was mind-boggling. Combining two elements into a dissolve without

checking subcarrier to horizontal phase with two playback machines was ludicrous.

Instant access to several reels at the same time was unheard-of (see Figure 1.1). In fact,

the things that most people take for granted when using modern editing equipment

were very difficult in their day.

Note: As a matter of fact,one of the first issues I faced with some of my linear clients when I switched to

nonlinear is that we never seemed to have time to schmooze.For many editors,schmoozing can make the dif-

ference between their choice of one editor and the next.

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