Camcorder Masterclass Index
Use of Insert Edit

In-camera Insert Editing has its limitations and a suitably endowed VCR used during post-production affords greater creativity.

There are major advantages of post-production (as opposed to 'on location') Insert Editing:

• Any previously recorded visuals can be used, giving a greater choice of insert material
• A studied judgement can be made of what to insert and the precise location and duration of each shot.
• Mistakes or changes of mind can be rectified without endangering the original material which, being on the play machine, is not subject to alteration.
• A competent editor will incorporate a goodly percentage (sometimes 100) of inserts into the Master Edit.

Student Project

Eric, my student, devised a project to make a short family video of his elderly mother-in-law recalling certain periods of her life. Because an all talking-head affair could be boring, still photographs and relevant pictures would also be inserted.

His first task was to video tape mother-in-law as she recalled her life. Her age frustrated fluent off-the-cuff dialogue and, apart from the opening sequence most of it had to be read. Pictorially this didn't matter because these visuals would be substituted with the other material when editing. This other material was then copied and the whole shoot reviewed. It was evident that the dialogue required doctoring, there being word repetitions or unduly long gaps in mid-sentence. Conversely, pauses were needed between certain words to accommodate some of the pictures.

The above situation illustrates that this project could not have been edited in camera. Too much precision was required. Accordingly my equipment, two synchro-linked Panasonic FS90 VCRS, was used.

• About one minute of the tape was "blacked" and a sound sync. mark followed by a two second gap and the title sequence was then inserted near the end of the "blacked" area.

• The dialogue sequences, modified where necessary, were Assembly Edited into place. Amongst other things, this assembly provided the unbroken control track which is necessary for the Insert Edit process.

• The next stage was to substitute stills for most of the assembled visuals, location and duration being governed by the dialogue. The latter remained unchanged on the linear soundtrack, but not on the multiplexed stereo channels.

• Two copies of the video, (including the sync. mark) were now made. These were used to create a more comprehensive sound track adding music and sound effects to the dialogue.

Post-production Insert Editing - which buttons to press?

These tips are similar to those for the in-camera insert editing, but we'll repeat them in modified form. Some models may require a slightly different procedure - see your equipment instructions.

1. Play VCR/camcorder: Locate the starting point of the shot to be inserted and set Pause.

2. Record VCR: Locate the desired edit-out point on the tape and set Pause. Select Memory and re-set the real-time counter to 0.00.

3. Rewind tape to required entry point and set Pause. Press Insert Edit. (machine now in Pause/Insert Edit mode.)

4. Both machines: When satisfied that everything has been correctly set up, simultaneously release pause. Insert Editing should now commence with the insert stopping at the zeroed edit-out point. You may need to stop the play machine.

5. Record Machine: Check that the insert is as required and there are no disturbances (glitches). If otherwise, repeat the process.

Notes
When setting up edit-in and out points, allow for any backspacing or known inaccuracies if necessary.

Do not allow either machines to remain in the pause mode for too long to avoid undue wear on the tapes and the "heads" .

Finally, when playing back the completed video remember to switch to linear track only, i.e. don't mix with any stereo soundtrack.

Cutting-to-Music is an excellent use for the insert edit technique.

Camcorder Masterclass Index
Cutting to Music

Cutting to music (CTM) isn't technically difficult, with the right equipment. However, just like a conjurer's trick, it looks both wonderful and impossible - until you know the secret, that is.

Ideally the best set-up is two VCRs connected with a compatible synchro-link (say between two Panasonic machines) or a good edit-controller. The record VCR must have insert edit. Jog-shuttles, which allow single frame tape advance or reverse, will make it easier to find the right cutting points whilst an audio mixer helps to attain the best musical recording level.

However, both forms of linkage should automatically adjust for pre-roll/backspacing and consistently ensure that the cuts occur precisely at the selected points. A synchro-link which only simultaneously starts the play and record machines isn't very useful. The edit controller must be capable of operating insert edit and to cover just a few frames as well as longer sequences. Not all models are sufficiently endowed. Accurate cutting can be achieved with a camcorder as a player or without a synchro-link, controller or jog-shuttles. But it's liable to be a difficult and frustrating task, requiring considerable patience, skill and experience. At each insert, pre-roll/backspacing compensation is required and if the cutting is a few frames adrift, it shows.

There are no absolute CTM rules but the following guidelines are suggested:

• CTM should have a purpose, usually to give variety and additional impact to certain sequences. For example, Wimbledon TV coverage normally includes a very effective montage of amusing incidents, with crucial movements or expressions precisely coinciding with the musical rhythm. Alternatively a complete video might be CTM, to give it style. But, unless the movie is exceptionally good and varied, it needs to be kept short to retain impact.

• Good CTM is not just a matter of button pushing. It requires imagination, flair and planning. There should be a theme, not merely a succession of random shots. My own two minute simulated ballet with 55 shots of (mainly) flamingos, moving their various parts in time with the music, originated from an hour of material - 80 different shots. These didn't just happen to be lying around, the overall idea was planned.

• The feel, instrumentation and tempo of the music must be exactly right for the visuals. It should also have clearly defined cutting points, usually a beat. The above doesn't mean that every time the particular beat occurs the visual must be cut. That would result in a one paced, predictable product and eliminate same actions which deserve to be shown in full. Instead, like an excellent dancer, attune yourself to the rythm. Then cut or position the movement within a shot accordingly. Some shots will occupy several beats whilst others may be cut between beats. They might consist of a few frames synchronised with a "bom-bom-bom" or last several seconds.

The physical process of cutting to music is covered elsewhere.

What pictures, and which music?

There's no definitive answer. The required clearly-defined cutting points are more likely to be present in up-tempo music. That rules out most, but not all, shots needing a relatively lengthy viewing time, e.g. peaceful scenic landscapes and the like. Instead bolder actions (especially in close-up) involving, sporting events, and people at work or play, are more likely to fit the bill. A market with a montage of goods on view, tills being rung, products and money being exchanged or a carnival can greatly benefit from the treatment. Even inanimate objects, like pub signs, flags or statues can have far greater impact. The list is virtually inexhaustible, provided your imagination isn't.

Following a recent screening of members' videos at our club, someone mentioned parallel action briefly, but did not elaborate. Masterclass student Ron Nash later asked me, "What was that about ?" Whilst Ron didn't recognise the term, he has witnessed such action in countless movies, professional and amateur. It's meaning is inherent in the term: frequently in different locations, two or more actions taking place at the same time. Although the actions are separated, usually they have a related theme and converge upon each other in the end.

Parallel action might be used merely to show that more than one thing is happening at the same moment or, although that latter condition still prevails, the editor (and script-writer) wants a more dramatic effect. Let's take the first condition which was often employed in the UK TV series, "Lifeboat". One opening sequence commenced with a telephone call coming from the coastguard to the lifeboat station. A yacht was reported to be in difficulties. The visual then switched to a crew member going about his normal business when his "bleeper" sounds the alarm - he dashes out through a door. There are two or more adjacent scenes of a broadly similar nature, followed,, by shots of those individuals running, motoring, or even being held up in traffic, en-route to the lifeboat station. The convergence of the parallel action occurs as the various characters that we have been cutting between, arrive at the station.

This form of parallel action isn't particularly suspenseful, except perhaps making the audience wonder whether the man in the traffic jam will make it to the station in time. Nevertheless it provides some background information about the crew and shows who is is going to participate in this particular rescue. Eric might well adapt this as a means of initially introducing the principal characters setting out to join the fishing vessel to be featured in his forthcoming documentary.

A more dramatic form of parallel action occurs where we see a man and woman driving sedately along a country road. The scene then switches to another car speeding from the opposite direction, presumably occupying the same road as the first car. Succeeding scenes switch backwards and forwards between the two vehicles, with each shot, particularly of the speeding car, becoming shorter and shorter, as the editor conditions the viewer to anticipate a crash at any moment. Perhaps the denouement is a near miss but if so the incident should have some bearing on future events otherwise, not only will the audience feel deflated, but the whole sequence will have been pointless.

Provided there is a common bond, parallel actions can occur or be simulated, within the same location or without converging. With regards to the former, in the Trafalgar Square movie (referred to in The Dutch Tilt I linked a dozen shots which had been taken over a three week period in order to simulate parallel action within a fake incident. An explosion is heard (SFX); hundreds of pigeons take wing; various individuals look upwards in a certain direction; two kiddies run away from Nelson's Column and others start crying. The shots appear to be a reaction to the explosion and the viewer then wants to see what has occurred. Curiosity is satisfied with the aid of a little trick photography and more SFX - Nelson appears to topple from his plinth!

Non-converging parallel action frequently occurs in TV programmes such as those welcoming in the New Year. The viewer sees what is happening at different locations, as the clock strikes twelve. The participants do not meet.

Scripting requirements

Parallel action is a very useful form of movie manipulation but it does require careful scripting/editing, otherwise the switching to and fro from one location to another can be very confusing. To avoid confusion there must be an early recognisable link between the shots. That doesn't infer that people have to be doing the same or even similar things, but it does mean that there should be some clue as to the relevance of one shot following another. That was present in the Trafalgar Square movie and in the Lifeboat sequence where the first shot indicated cause for concern whilst the " bleeper" in the second one signified that someone is being called and consequently is dashing to the rescue. The audience will readily accept that successive shots of other persons rushing to the lifeboat station are for the same reason.

Remember, there must always be a logical progression from one shot to another - this should be the norm for all editing. The viewer must be led along the right track, curiosity should normally be aroused and, of course, the ultimately satisfied.