Timeline Analog 2

John Buck

Description

Timeline Analog 2 (1971-1981) traces the amazing story of editing's evolution. Read how filmmakers like Coppola and Hitchcock used editing to craft masterpieces and how inventors and teams built wondrous editing machines for editors. Timeline is often updated with new material at no extra cost.

Sujets

• Loisirs
• Histoire de la photographie
• Photography
• History

Informations

• Publié par: Tablo Pty Ltd
• Date de parution: 10 décembre 2014
• Nombre de lectures: 0
• EAN13: 9781925108583
• Langue: English
• Poids de l'ouvrage: 1 Mo

Extrait

Foreword by William (Bill) Butler
After decades within the video industry, I landed at Memorex Corporation in 1970 - a critical time as it joined forces with the CBS Television Network to create a joint venture called CMX Systems.
In the following year our amazing team discovered and solved the key problems associated with creating a digital video editing machine. They confronted the hurdles to building an 'electronic Moviola', like how to achieve frame-by-frame storage of sufficient analog video in a large random access memory system; how to record analog video in real time in a digital storage system with individual frame identity; and how to design a user interface that looked familiar to a film editor.
The small group of engineers developed unique video processing and disc storage solutions over the course of 1970. Inventions like the brilliantly simple EDL (edit decision list) were so groundbreaking that they defined the editing industry for decades to come.
Although received with great acclaim it quickly became apparent that CMX's end product, the CMX 600, was too radical. I believe Joseph Flaherty and others at CBS knew this from the beginning but they needed the CMX 600 as a lever to get things moving.
In the intervening twenty years, the editing industry reverted to a mix of analog and video machines built by former colleagues like Jim Adams and Dave Bargen as well as startups like Datatron and Convergence. This period also saw the emergence of Sony of Japan, first with its U-Matic and then 1" recorders that helped revolutionise access to broadcast images.
We knew all along that the limiting factors in electronic editing were video memory and videotape recorders. We also knew that the principal of exponentially increasing chip memory density and speed, with decreasing cost, was eventually going to solve both.
Moore's Law held true and eventually the economic digitization and rapid processing of video became a reality. The videotape machine, which had supplanted film as editing's medium, gave way to the personal computer as the preferred platform.
This book, Timeline Analog 2, concludes with George Lucas' plan to mesh technology and imagination to create affordable digital video production. One that CMX 600 had already led the way. Bill Butler, January 2018
William (Bill) Butler's career spans 1955 to 1995 at Brush, Precision Instruments, Westel, Memorex, CMX Systems, Robert Bosch and Lucasfilm.
Dedication
The Timeline books are dedicated to Adrian Ettlinger (1925 - 2013)
Adrian was a brilliant engineer, ground breaking inventor, astute observer and a much loved father during his life and career. In retirement he was a friend, advisor and mentor to me. Adrian is without question the father of nonlinear digital editing and his contributions to the editing field have been recognised by industry bodies and editors alike.
Thank you Adrian, rest in peace.
About the Author

John Buck has been an editor since he needed a way to cut his Super 8 mm camera rushes. Using a splicer and cement, he cut together parodies of TV shows for screening in a home cinema, and eventually graduated to local filmmaker festivals.
After being fired from his first full-time job as a junior advertising agency producer, John struggled to explain his skill set to the employment official. His father advised him to "get a job that people can understand what it is that you do".
The manager of a production company saw potential, and offered him a role as an editor on the midnight shift. John turned his Super 8 mm cutting abilities to 3/4", 1" and 2" tape. He edited everything from commercials to auctions. High fashion to sheep teeth.
With a skill that people could understand he left Taimac, and began editing in earnest at local television station TVW-7. With a 6pm deadline, an accommodating boss and a talented senior editor to guide him, Buck became an editor. He took those skills across the country to a job on the international TV show Beyond 2000 where he helped create award winning programs.
Eventually it was time to branch out on his own, but he was unable to afford the Avid that was so mesmerizing at a trade demo. Backed once again by his parents, he took a chance and bought a Media 100 digital nonlinear editing system. One unit became two, and three and four.
A one man band became a thriving business.
Thanks
This book series would not have been possible without the help of many people. Everyone has my appreciation but a few people deserve an extra shout out.
Candace Machein sent her father's files to make sure Kurt was remembered. Joe Roizen's family did likewise. Tom Werner, Bob Pargee and David Crosthwait shared material that others had trashed while Carter Elliot bundled up pamphlets and drove them to Fedex. Marc Wanamaker shared his amazing Hollywood archive.
Egon Grafen discovered archived KEM material, Heidi Heftburger found the best Svilova images, Ekaterina Gracheva did the same with Russian filmmakers.
Bernd Perplies helped with German inventors while Hakan Lindberg shared his images of editing in Sweden, and Christelle Naili sourced the long lost Italian Moritone. Pauline Duclaud-Lacoste ensured her great great grandfather Georges Melies was honored, while Bob Phillips shared his own photos of Jack Mullin and Bing Crosby. Sumio Yamamoto and Kyoko Takahashi found materials in Toshiba's vaults.
Sharleen Chen created the outstanding cover.
Brett Wayn chimed in measured advice. Gene Simon, John Delmont, and Barry Guisinger added humor to their notes just when I needed it. Loran Kary, Glenn Reid, Nick Schlott and Ralf Berger patiently explained the challenges of writing software code.
Steven Cohen reminded me, "Editors are people, editing systems are the tools, don't mix that up".
Phil Hodgetts gave good advice, John Maizels opened doors, Ron Barker pushed me to try harder, and Chet Schuler insisted on getting it right. Bruce Rady, Bernie Laramie and Bill Hogan remembered when others forgot. Steve Edelman filled in the gaps, Peter Barrett was enthused.
The ladies at the Jerzy Toeplitz Library inside the AFTRS in Sydney found dozens of books, manuscripts, articles and trade magazines to check facts.
The team at Stanford University had everything set for my short visit. Al Alcorn, Steve Wozniak and Steve Mayer replied when their inboxes must be full every day.
The people who helped invent desktop video Eric Peters, Jeff Bedell, Tyler Peppel, Carl Calabria, Ivan Maltz and Randy Ubillos answered all of my questions, many that they had heard before, with a smile. They never let me doubt my plan.
I have to tip my hat to the text editors, Bob Glover and Gary Buck. They improved the whole book series.They volunteered to read this book over and over, and diligently worked through the raw manuscript, corrected it and made great improvements.
Dave Pretty taught me more about filmmaking and business at Marketforce in a month, than a college course had in a year. His great advice is still ringing in my ears. Max Pepper explained the value of a flatbed and being on time and on schedule as we shot and cut lemonade and burger commercials.
Ross McDonald rescued me from an unemployment office and gave me a job. Drew Gibson taught me the online editing ropes.
My long time friend Dan Flanagan pushed me to apply for a job in broadcast news. It was advice that changed my life. I owe John Rudd a lifetime of thanks for hiring me at TVW7, and giving me the freedom to experiment. Fellow editors Ray Furness, Nick Glover and Ray Neale guided me in the craft of editing, even when I pretended to know everything.
Peter Abbott and Tim Worner encouraged me to hone my editing skills while Steve Christiansen, Jacqua Page, Dave Galloway and Michael Horrocks believed in me, and my editing company.
Laura Gohery helped me turn it into a success. Bill Orr, Pete Hammar and Ralph Guggenheim were endlessly helpful before the idea of a book even existed, and continued with insight throughout its writing. Ralph's enthusiasm is infectious, Pete's advice forthright.
Despite the fact that Thelma Schoonmaker is one of the most awarded and talented editors ever, she answered my questions as if she were unknown and idle. Ted Horton and Vincent Zimbardi supported me with editing challenges through my transition from editor to editor/author.
Andrew Morris starred in my 8mm movies, listened to my plans, gave me work and remained an unwavering friend throughout. Donna, Manny, Tillster, Miranda, Elena, Mario, the Colettes and Wild Matt encouraged and humored me.
Bill Warner changed editing forever. Without Bill there would be no Avid. There would be no book called 'Timeline'. He encouraged me at every turn, welcomed me to his home, selflessly assisted my research, lent me documents and tapes, drove me around Boston, twisted former colleagues' arms to talk, and opened up his heart to the project.
Without reservation.
Bill has faced challenges that would humble most, and never gave up. He is an inspiration.
The Bucks, Waddells and Kuehs have been hugely supportive of Timeline.
Mum and Dad gave me the freedom to dream.
Tan gave me patience and understanding.
Preface
In the spring of 1924, a small Germany company Lyta Cinema Works built the first dedicated editing device. A few months later the American made Moviola went on sale in Hollywood and become a huge success but it was sixty five years before a digital equivalent arrived for professionals.
In the intervening years individuals, and teams imagined tools that could join images together in the blink of an eye.
They trialled technology, experimented with the impossible, quit secure jobs for the unknown, and ran out of money. All the while, they tried to ship the best editing product possible. For many years their stories went untold.
Hoping to solve an amicable dispute with Boris Yamnitsky, who had just acquired Media 100, I found myself at the lo