If the offline editor is the architect and the online editor is the builder we could say that the file format they share between their workstations is the blueprint.

Now, what if the architect designs a masterful blueprint and the builder has all the engineering capacity to build it but he doesn’t understand the blueprint because all the measurements are written in a strange language?

This is what typically happens when a project is moved from one type of edit system to another brand of finishing system. It is generally better to finish the project on the same type of system that was used for offline. This is not a rule etched in stone but there are plenty of issues to consider when determining how a project will be finished.

A typical edit timeline for a reality show may contain many video and audio tracks and hundreds of effects. It is difficult to retain all the effects when transferring from one platform to another. Avid does not understand the Final Cut Pro’s language and vice versa.

There are third party tools like Automatic Duck which facilitate project transfers between NLEs of different manufacturers. They can save tons of time but fall short of 100% transfer. This means that any stripped effects will have to be rebuilt by the online editor by using the offline picture reference as a guide.

In the case of our “master builder” this would mean measuring the blueprint with a small ruler and writing down the dimensions from which to build. The finished piece may look just as good as it was intended but only after many hours of tedious work.

Still there are cases where it’s perfectly acceptable to switch platforms, even desirable. In fact, switching platforms is never a big deal unless your timeline is populated with effects, titles and color corrections.

Here are some examples of types of shows that are not adversely affected by cross platform editing:

Feature films and narrative episodic shows

Film editors rarely build visual effects themselves. They may make temp effects for timing and storytelling reference. The final visual effects always come from another source as pre-rendered clips. What remains in the timeline are straight cuts, fades, wipes and off-speed effects that translate well between offline and finishing systems.

In case of DI (Digital Intermediate) there are no common brand offline-finishing counterparts so it is a given that the cut will be coming from an Avid, FCPro or any other edit system and nothing will be lost in translation.

Short format

Commercials and music videos can be effects-heavy. Regular Avids and Final Cut Pros lack the power or the ability to produce complex visuals so it makes sense to move the project to an effects-oriented finishing system like Flame or DS Nitris. Some of the original temp effects may be lost in the process but the intent is to manually rebuild and refine all of the effects anyway so that’s not much of a problem.

Documentaries

All documentaries styled like feature films in terms of cuts, fades and wipes are good candidates for cross platform finishing.

Any material regardless of format, length or genre will cross to a different finishing platform as long as the sequence is simple and free of platform-specific effects. If unsure you can always ask the post production facility. They are likely to have multiple finishing options at your disposal as well as an opinion on the best course of action. Just let the architect and the builder talk before the blueprint is drafted.

Magnetic videotape has a limited lifespan but that lifespan is not predetermined. It usually depends on the format, type and the manufacturer’s batch. However, one factor that is definitely related to the longevity of magnetic tape is the environment in which tapes are stored.

We tend to overlook simple things. For example, storing your valuable masters in an office located underneath a built in A/C unit is a bad idea because of potential leaks. Keeping tapes in a rental storage shed could also backfire as you have no way of ensuring proper air temperature.

The life of valuable tapes can be prolonged by a clean, dry and cool storage vault. Temperature oscillation should be kept to minimum. Minimize direct sunlight and exposure to electromagnetic fields. Store tapes in upright position like books and provide a bit of space between each tape if possible. Take all reasonable precautions.

Tape vaulting need not be a daunting task if you break it into simple steps.

1. Identify which tapes are good candidates for long time preservation.

Some tapes are more valuable than others. Edited and color corrected masters are of particular importance if you’re interested in continuing to exploit your product in the decades to come.

Any camera reels that contain footage of exceptional value are also important to keep.

2. Examine the selected videotapes for any signs of deterioration.

Look for signs of water damage or excessive dust inside tape boxes. Examine the way the tape is winding around the spool. Is the tape packed in an egg shape around the core? Does it appear the tape is sticking to itself? Are there loose parts inside the cassette? Does the tape smell like vinegar?

If you suspect anything may be wrong with the tapes do not attempt to play them back. Consider using a specialized video/audio tape restoration service.

3. Rent a vault space or make one yourself.

Now that you have a clear picture of how many masters need to be preserved you can price out the cost of a professional film and video vault. The advantage of climate controlled vaults is that they adhere to the best guidelines when it comes to long term storage. Of course, they can be expensive.

You could allocate an office or even part of an office for videotape storage as an alternative to a professional vault. Follow the simple guidelines and your tapes will be happier there than sitting in a garage.

4. Migrate Content

It is difficult to locate playback VTRs for old tape formats. 2″ VTRs are harder and harder to find and 1″ is to follow suit soon. Yet, there are vast libraries of open-reel videotapes in decent condition out there.

Migrating tape content before a format becomes obsolete not only ensures that you can find a playback deck easily but also extends the life of the material for another 15-25 years (as long as the new format chosen sticks around that long).

It is also possible to commit the content to non-tape media by digitizing it into a computer. This option reduces the vault footprint and simplifies future content migrations. However, it costs more and does not completely address the format obsolescence, as computer video software and hardware change rapidly.

Long-term preservation requires some kind of future playback capability. Whether it is a VTR or a specific computer system, try to understand the playback mechanism’s longevity before you commit. Simpler solutions tend to outlive the complex ones. One needn’t look further than motion picture film to find a 100 year-old projection practice that is still in place because it’s simple, cheap and it works.

5. The Leftovers

What about all the other tapes that didn’t make the cut? If they have some value but not enough to warrant VIP treatment, put them in a place that’s as dry and cool as possible. Put them in a garage if you must but at least wrap the boxes in sealed plastic bags to keep the dust out. Silica desiccant bags placed inside storage boxes will minimize moisture damage.

If the content of your tapes has no value you can sell them to a tape stock recycler or degauss and reuse them.

Recent advancements in desktop editing technology make it feasible for producers to finish shows on their own instead of going to a post-production facility and while this method can save money, producers are more vulnerable to emergency back-end costs if anything goes wrong.

Prosumer cameras can cost as little as a day or two of high-end camera package rental. This kind of saving makes a world of difference especially on reality shows where multiple cameras are needed over extended periods of time.

The capabilities of Final Cut Pro and Avid Xpress Pro have increased while the price has come down. Instead of renting an offline edit bay for months at a time, producers can purchase one or more systems and complete all offline editing up to picture lock at their own production offices. This allows faster response to network notes and more time to create a sharper, more competitive product.

While offline editing requires creative finesse, online editing or finishing is mostly about technical acumen and precision. Finishing a show outside of post facility is certainly possible but it has pitfalls. The following are some issues to be aware of when deciding whether or not to finish a show outside of a traditional post facility.

Before a network can sign off on a delivery, the masters typically undergo a 100% QC process. As a QC operator once upon a time, I would feel I’d failed if I could not find any major problem with a videotape master. QC operators scrutinize every detail and every minute signal excursion outside of the specified range and take their mission very seriously.

Post facilities invest a lot of effort and money into equipment and staff who know how to create flawless masters and even then, QC departments occasionally kick tapes back for fixes. Production companies generally lack this kind of gear and expertise.

Mixing audio in an office sandwiched between a copy machine and a noisy street is not a good idea. Color correction in a room with uncovered windows on a non-calibrated, non-profiled computer screen without measuring instruments is not a good idea. You get the picture.

Final Cut Pro is a favorite tool of many production companies. It allows the editor incredible flexibility and that comes at a price. Ironically, Final Cut Pro requires more technical expertise than any Avid product in terms of immediate software skills as well as overall knowledge of SD and HD video. Final Cut Pro is like a stick shift car. You have to know how to drive it. Unfortunately, many very creative offline editors lack necessary video skills to deliver a technically sound master.

Over the last decade smaller and smaller budgets have forced producers to adopt tape formats like Mini-DV and HDV that were not exactly intended for professional use. The new high definition formats and various frame rates and standards make the whole game of online editing even trickier. A common complaint I hear from clients who suffered network rejections after taking a do-it-yourself approach is: “It looked really great on our screen. I don’t know why they are complaining.” Remember the type of equipment on which they will be inspecting the final product.

Depending on the type of show and desired quality it is possible to finish a decent looking master outside of a post house. Of course, some of the things like extensive audio mixing or color correction in a proper environment will have to be skipped and this may be acceptable for certain productions. Deciding to finish at the office is a matter of calculated risk knowing that a failure may result in additional rental expenditures, additional staff and missed deadlines.

The U.S. government is giving people free money to watch digital TV? Up to $80 per household as long as supplies last?

Actually, the “free money” is handed out in form of $40 off coupons that can be used toward the purchase of Digital Television converter boxes at participating retailers. But why should we care (outside of getting some free money) who has digital TV and why, for that matter, should the government?

As entertainment industry professionals we sometimes neglect to consider that many people view the content we create by means of broadcast television. Sure, there are movie theaters, DVDs and the Internet but according to Nielsen some 14.3 million viewers depend on over-the-air TV transmission. A good number of them still have rabbit ears and rooftop antennas.

These viewers will lose their TV signal on February 17, 2009 as broadcasters switch from analog to digital transmission. As a blizzard of static sweeps across millions of TV screens across the country that day, there will be millions of dollars in lost advertising revenue for unwatched commercials. The losses will surely trickle down to all of us in the media industry. All the content we work so hard to create will go unseen by many viewers that day and for many days after.

We can help minimize the impact of the DTV transition by arming ourselves with basic facts and advocating the options available to everyone.

The analog to digital switch is taking place on February 17, 2009. It will affect only over-the-air TV. Cable and satellite will not be affected although some channel lineups may change as broadcasters consolidate and reorganize their channels. Some low power stations are exempt from stopping analog transmission.

In order to continue to receive the new over-the-air signal viewers will need one of two things:

1. A newer TV set with a built in ATSC tuner (DTV capable tuner).
2. A converter box.

Digital signal has proven to be temperamental so in some cases where indoor antennas were sufficient for analog TV, rooftop antennas may be necessary for DTV reception.

The best part is that the U.S. Department of Commerce doesn’t want those ads to get covered by a blanket of snow either and they can help anyone who doesn’t want to throw out their old TVs. Congress has asked them to create a program that gives out up to two $40 coupons to each household regardless of income. The program is on first-come-first-serve basis and began January 1, 2008. The number of coupons is limited—only 33.5 million to be exact.

You can apply for the $40 coupons by calling 1.800.DTV.2009.

The switch from analog to digital TV is more significant in magnitude than the switch from black and white to color TV because of its potentially disruptive nature. Once again, we work very hard on creating content so we should do everything we can to educate viewers about the DTV transition through our personal and professional contacts.

For more information on DTV visit the ATSC site.