A cutting control (Engl. Editing Control Unit ) is a device that when linear editing the interplay of several coordinated setter and recorder. Editing controls for linear video editing are rarely used in the digital age; they have been replaced by non-linear computer editing systems. However, the video mixers related to editing controls are still used in television studios or outside broadcast vehicles.
The editor can use the cut control to perform frame-accurate cuts. Almost all MAZ recorders have built a sectional control; for working with more than 2 machines, however, an external control is required as an independent device. If desired, this can also be connected to a video mixer and a sound mixer, which enables automated video and audio screens. In addition, such external devices usually enable the automatic generation of a cutting list .
The word cut was taken from the film editing, in which the editing was originally really done by mechanical separation and gluing. From a technical point of view, however, linear video editing is just a copying process that almost always results in generation losses. The machines are synchronized with the help of a clock so that they run synchronously in the same cycle. This is done in the so-called preroll . Preroll is the time that the editing control has to synchronize. A time between three and seven seconds is usual, this depends on the decks used. In addition, the editing control controls the decks so that the in point of the player and the in point of the recorder coincide exactly with the individual image.
There are basically two editing modes that offer different design options and require different preparations. Both have in common that players or recorders are assigned so-called in and out points at which a cut begins or ends.
Sequences are strung together in the assemble cut. Image and sound cannot be edited independently of each other. In assemble mode, only one In point is usually required for the player and one for the recorder. Some editing controls also allow entering an out point for player or recorder or entering the length of the edit. The time code can be written as required by the in-point of new, even cuts on only partially ancodierten bands are thus possible. During the recording, all tracks on the tape are erased in front of the write heads. This inevitably creates a time code error at the end point.
The possibilities are greater with insert editing. The video and sound tracks can be controlled separately from each other, together or together with different In and Out points (Split Edit). There must be at least 2 intersections, e.g. B. an in point on the recorder and in point on the player for an open-ended cut. Additional In and Out points are required for split edit. For the insert cut, a continuous timecode must be recorded on the recording tape at least as long as the cut sequence to be made.
In the AB cut, 2 players, 1 recorder and a cross-fading option, e.g. B. an image mixer is required. In and out points are required for the first player, at least one in point for player 2 and one in point for the recorder. First the first player starts, at the out point of the first player the signal is switched from player 1 to player 2 by the video mixer.
With the pre-read cut, an AB cut is possible with just one player and one recorder. In the case of specially equipped MAZ machines, an already recorded sequence is played back on the recorder, the signal from the player is faded over by the image mixer and then recorded again. This is possible because pre-read read heads are attached to the head drum on the opposite side of the recording heads.
With most editing controls, the editing list ( EDL ) created during editing can be saved locally or on a data carrier. Many MAZ machines have an integrated editing control that can control the machine itself and another that acts as a player.
Common editing controls (selection)
- Sony BVE 900
- Sony BVE 2000
- Classic lift
- Grass Valley Group PU 151