Issue link: https://digital.copcomm.com/i/1474752
Now as a disclaimer, the jurisdiction over post- production editing falls squarely with our Brothers, Sisters, and Kin in Local 700. However, for Local 695 Video Engineers, whose responsibilities on the set include media playback, off-camera recording, transcoding media with or without previously created LUT's, quality control, and syncing and recording copies for the purpose of dailies creation, an understanding and utilization of non-linear editing technology is essential. With that out of the way, let's talk some history. The practice of digital non-linear editing began in 1989, when Avid Technologies released the Avid/1, a turnkey, all-in-one editing platform. Though crude by today's standards, the original Avid represented a monumental leap forward in editing technology. Where editors had been required to manually cut their fi lms throughout most of the twentieth century, the Avid/1 was the fi rst time a computerized system was There is a famous quote from Christopher Nolan's The Dark Knight in which Batman says, "You either die a hero, or you live long enough to see yourself become the villain." When Nolan, his brother Jonathan, and David S. Goyer wrote this line, I doubt they expected it to be applied to the wonderful world of non-linear editing software. But alas, life is funny and here we are. An Observation in the History of Editing Software powerful enough to take on the task. In 1991, Adobe Systems released Adobe Premiere as a standalone competitor to Avid and, in 1998, Apple unveiled Final Cut Pro as their entry in the non-linear editing race. For more than a decade, these three were regarded as "The Big Three" of editing platforms. While Avid quickly became and remains the industry standard for cutting fi lm and television projects in Hollywood, both Premiere and Final Cut Pro developed dedicated followings of their own. by James Delhauer