ABSTRACT
Let us, as an example, take a television documentary off–line edited in one of the latest generation Avids. With a shooting ratio of 20:1, the pictures were digitised into the machine at low non–broadcast quality. When the creative decisions have been made and the picture has been locked–off, the editor takes the alarming step of deleting all the pictures from the system! He or she then tells the machine to re–digitise the pictures, this time at broadcast quality, with, say, a one–second handle at the beginning and end of each shot. (A ’handle’ is a small overlap to allow slight changes to be made.) The computer will then ask for the source tapes to be loaded into a VTR in order and will only digitise those parts of the shots used in the finished programme, plus a little bit at each end.
