,

12.2
HowVideo
RecordingIsDone
Now thai you know aU about tnt various video-recording
systems, you need to know what 10 do with them. Thi s
section inlroduces you to the major openllionai uses of
video recording and the video-recording procedures ill
studio production and ENG/ EFP.
.... USES Of YIDfO RECORDINGAND STORAGE
BUilding a show, (, me delay, program dup fICOI lon and dimibu-
lion, and record proIeaion and reference
.... VIDEORECORDING PROOUCTION FACTORS
Prf'prQduaiol1 equipment and preparation for
poHproduCfif)n t"diring) and producrion (video leader. ! ecord
in g chech time code, ff'Corc1kef'tJing. and lpeci(J( Dip eC!, of
dilHx,srci video f!'Cording!
USES OF VIDEO RECORDING AND STORAGE
Video recording is primarily used (or ( 1) bllilding a show,
(1) lime delay, (3) program duplication and distri bution,
and (4)the creati on of a protection copy of a video record-
ing for re(crellct ;md slUdy.
BUILDING It. SHOW
One of Ihe major uses of videotape is to build a televi -
sion show from previously recorded tape segment s. This
bui lding process is done through poslprodu((;()I1 editlllg.
The building process may include assembling multiple
segment s shot at di!f,..rent times and 10" lIion5, or it lIIily
276
simpl y involve condensing iI news story b)' (; uttingout Ihe
nonessential parts. [t also includes stringing together longer
multicamera seem's that were switched (instantaneously
edit ed) and recorded on videotape. Agood examplr of this
technique is the recordi ng of relat ively long and unint er-
rupted studio segment s of soa p operas and then tditing
them together in a post production session.
TIME DELAY
Through video recording an eVent can be slOred and played
back immediately or hours, days, or even years after its
occurrence. In spurts many key Vlays aTe recorded and
shown right after they occur. Because the playback of the
recording happens so quickly afrer the act ual even t, they
are call ed i ll$/a ll l replays. Net work shows thai you C;ln
wat ch at tht: same schedule ti me in each ti me lOne are
time delayed through videotape. For example, through
vi deo re,ording you ca n delay the ai rtime so that the same
awards show broadcast at 6 p.m. in New York is seen at
6p.m. in San Francisco.
PROG.RAM DUPUCATION
AND DISTRIBUTION
Video recordings ca n be easil y duvlica .. :d and distri buted
to a vari ety of televi si on outl ets by mail , couri er, cable, tel e-
phone line, coa'( or fibe r-optic cable, satellite, or Internet
streaming. Wit h satellit e or Internet streaming, a single
video recording c;tn ()(, distributed simultaneousl y to mul-
ti ple destinati ons <lround the world with minimal effort.
RECORD PROTCTION AND REFE.RENCE
To prot ect the recordings of important events, make
protecti on copies right alier the dClUal tapi ng. Make these
dubs with equipment that has the SlI meOr better recording
qual.ity as that which you used to shoot the original (ootage.
DVDs arean e.xceUeni archival recording device. They take
up very lillie space, and the playback equipment small
and readi ly available.
The problem with digital recordkeeping is the rapidly
changing technology that one recording device
obsolete in just a (ew years. You have probabl)' run into
thi s problem with floppy disks or with the ever-chang
ing systems soft wa re. Unl ess you transferred your digit al
records periodicaUy to the latest system, yOUf archives arc
worthl ess.
VIDEO-RECORDING PRODUCTION FACTORS
There are certain operational steps in video recording that
i1 re necessa ry for effecti ve preproduct ion. production,
Section 12.2 How Vid eo Recording Is Done
and poslproouClion postproduction is
explored ext ensively in chap ter 13, tllis di scussion focus.es
on the major preproducti on and production factors of
video recording.
PAEPAODUC.TlON
Prod uct ion efficiency is determined to a large extent by
llOW well prepared you are. This production prepariltion
caned preproductioll . Its steps indude: (1) preparing the
schedul e, (2) maki ng an equipment checklist, and (J) edit
preparation.
Unless you are ,,>,orking in news, where the equipment
and [he people are scheduled 10 respond immediately In
unexpected situations, you need to tollow sOnl e procedures
Ihat wit] guarantee you the availabilit y of the equipment
and the lime you need to get your video-recording project
done. But even the most careful scheduling will not help
if the ca mcorder banery is dead or you forget 10 bri ng Ihe
ri ght connecti ng cable for the e.'l: tl.' rnal !Oics duri ng a field
product ion.
Schedule ls the videotaping equipment actuall y avail-
able for the studio production or remOle shool? Most likel y,
your operation \viU have more than one type of video re-
corder avaiJable. Which VTR do you need? Be reasonable
ill your request. You will find (hal recording equipment is
usually available for the actllal studio or fi eld product ion
but not always for your playback demands.
If you need a V'rR simpl y for revicwi uK" Ihe scenes
shot on loca\ion or for timing purposes, have ,he material
dubbed down to a regular Vi -inch VHS formal and watch
il on your home VCR. That 'yay )'Ou free the hi gh-qualit y
machi nes for mor(' important tasks and you are n Ol lied
to 3 precise schedule when reviewing your tapes.
Unless you li se the camcorder 3S the source VfR when
doing an), dubbing, you must .iChedlile not onl y t he record
YTR (the machine doing the dub) bUI also the VTR that
pl ays the source lapes. Always try 10 USt' a regul ar stand-
alone VTR and not the VTR of your camcorder when
viewing the source footage. The studio VTRs are obviously
much more rugged than the smalle r camcorder VTRs.
Couldn' t YO LL import the footage {rom the camcorder
10 the hard drive of your comp UTer without making a
pre\' iew dub? Yes, this is a good idea but onl y if you have
relatively brief footage or un.limited storage on )'Our hard
drive-even a brief scene takes up 3. generous amount
of gigab)'tt' s.
In aU of your timeandequipmellt rC(JuesIS, be sensitive
to the other production people who need to work with the
same mach ines yo u do.
Efflh... Equipment checklist Like a pilot who goes
EW t hrough a che<klist before: every flight , yo u should
have your own equipment checklist every lime you do 3.
production. Such a li st is especiall y important in fi l:"ld pro-
ductions. This brief checklist is limited to video recording.
and uses the generic term VTR throughout , referring 10
tape-based li S wel l as disk based systems.
VTR srat llS. Does the VTR actuall y work? rf at all pos-
sible, do a brief test recording to ensure that it functions
properl y.
Power supply. If you lise a VTR ill the field, or if you
use a camcorder, do you have enough baHeries for t he e n-
l ire shoot? Are they full ),<harged? Wh en using household
current (or Iht' po, '>'e r supply, you need the appropriate
transformer/adapter. Be fore leavi ng (or Ihe field locatio n,
check Ihat the c.onne<: ling cable from the power supply
fi ts the j;lck on the VTR or ca mcorder. Do not tr y to make
a connector fit if il is nol designed for Ihat ja.-:k. You may
blo,,, mote thall a fllse if you do.
Corfeel lape. Do you have the cOHect l apt: , that is, the
cassette formatlhal filS the camcorder or VT R? Although
ihe di fferenci' between a Lh -inch mini-cassette and a
DVCPRO cassett e i.s obvl (lu:" you may not (juile as
readil y the difference between a DVCAM and a DVCPRO
fult-sized cassett e. Videotapes Cilll look si mil ar or even
identical wht"1I you're in a hurry. Al so check thal lhe vari-
ous boxes cQnt ain the correct tapes. For example, the Sony
DVCAM VTRs and the Pallasonic DVCPRO systems use
different-sized C;lWlt es that OlaynOI fil the Qmcordcr you
are using. Because even same-sized cassettes call be loaded
with various lengths of (ape, check the suppl y reel \0 see
if it contains the amounl of tape indi cated on the label. If,
lor example, the box says that it contaillS J 184-minute lave
but your check shows only a relati vely SlllaU amount of tape
on thl' supply reel, {he box obviously mislabeled.
EIiOIISh tapes. Do yo u have enough tapes for the pro-
posed production? This is espe<:: iali y important when you
record a muhicamera live event in it s entiret y (o( a li l'e-
on-tape production or for playback at a later time. If the
la rgest cassette does not hold enough tape for the ent ire
event, you need to schedule two machines or you will lose a
few minutt's during the tape change. upeciaUy,,,, hen doing
multi.ple recordi ngs for instant replay, you need three or
four lim es the normal tape suppl y. Tapes do not take lip
much room and, compared wit h other production costs,
are rel ati vely inexpensive. Always take al ong more tha n
you think rOlI'll need.
277
278 Chapt er 12 VIDEO- RECORDING AND STORAGE SYSTEMS
12.18 VHS CASSEn!lAB RlMOVlD
To protect VHS and S-VHS from erasure,
you need to break oft the re<ord-ptOIe<1 tab. To
reuse the for re<Ofding. put a small piece
of masking tape over
Record prorccrioll . If a VTR refuses to (ecord despite a
careful check of the ronnccting cables, remove the cassette
and see whether its recording is enabl ed. All cassettes have
a device, somet ime:'. called th.e record jllilibiror. to protect
the videotape from accidental erasure. VHS and S-VHS
'I2-inch cassettes. have a record-protect tab on the
back erll;)t' at the lower left. When this tab is broken off, the
cassette is record-protected. su 11.1. Is the cassette now
permanently disabled (or fu ture recordings? NO! al all : 10
restore its recording capabili ty, sim pl y put a small piece of
masking tape or even gaffer's tape over the t<lb opening.
Simila r to computer fl oppy disks, most digit al video-
cassenes have a tab that you can move into or o ut of a
record-protect position. SEl12. " Some, such as Zi p disks.
ca n be protected through software by cljcking the appro-
priate command. Rout inely check the record-protect (ab
befo re using a for recording. Alt hough you cannot
rf(.Ord on a record-protected tape, auy cassette wi ll play
back with or without a record-prOTect devi ce in place. "
Edi t preparation Be fore starting your postproducti on
activities. you may need to prepare the ahead of
lime [or certain types of editing. If, for example. you want
to do analog insert edit ing and the record (edit) VTR uses
a cont rol track for recordi ng the synchronization inform __ -
tion (s)'lIC pulse). you need to nxord a cont inuous control
track all Ihe etlit "IIISIe( lape(the tape onto I-'I'hich you copy
the selected portions 01 the source tapes) bt'fore you call
do any insert ediring.
The easie.s t \vay to lay down the control !rack is to
"n:cord black," that is, a black video signal. This "blacking"
RfcordptOle<t u b ..-
12.19 OIGITAl VIDlOCASSETH
IN RECORDPROTECT POSITION
Digital videocassettes have a movable tab that prevents
accidental To record On the Cds!.ette. the lab mUSt
be in the closed posit ion.
of an edit master tape takes as much time as you would
llt'"ed to record regular scenes instead of black: layi ng a
6O-minute control track takt-s 60 minutes. Nole. however,
that you need to blacken a tape onl y if you intend 10 use I t
as an edit master and then onl y if you ill tend to do insert
editing. If you edit in the assem bl e mode, or if the VTR
does not need it control track, such previous blacking OJ
the edit master tape is unnecessary. (See chapter 13 for an
in-depth discussion of postproducti on editing.)
Unlcs$ you use digital camcorders whose VTR::, dllow
limited editing in the fi eld, all di gital videotapcs--re-
gardless of wherher they store analog or digi tal infor ma-
tion- must be tra nsferred to the hard disk of the nonlinea r

Section 12.2 How Vid eo Recording Is Done 279
5i1entr OVUaudio lolle Silentt Silence Pro!!,'"m
OplJond au 0
Audiotnldl
12.20 VIDED LEADER
The video leadef helps adjustlhe playback and (ecOlO to audio and video level s.
editing system. This process, call ed alplII rillg, i.s
lime-consuming, as is the identification of til(:' captured
fUes. You may find that if )'OU are in a hurry a nd your
t ransitions are only cuts, a linear editor (see fi gure !3A )
may be the bener choice. Th(' llpside of nonlinear editing
is not necessaril y that you will save lime bUllhal you ca ll
randomly access each frame or seque nce, that yot! have
any number of transiti ons and effects at your fingertips,
and that you e m view and save multi ple ven ions of II scene
before commitltng yourself 10 Ihe fmal edit.
When using tape for editing or Oil -tile-air playback,
preview a minuteor so of each t<lpe 10 verify thaI Iht' lal>d
on Ihe box matches the one on Ihe lape and that the tape
label matches its con(enl. Though you ma ), consider such
procedures redundant and a waSte of time, they are nOt .
A habil of Ir jpl-checking wiU nOI onl y prevent costl y
producti on ('frors bur al so save time, energy, and, ulti -
mately, nerves.
PRODUCTION
rf you have followed the basic prepw duclion steps, you
should linle trouble during the act ual rew rding,
although the following elemenTs su1J need attention:
( 1) Ihe video leader, (2) recording checks. (3) time code,
(4) recordkeeping, and (5) specific of disk-based
video recording.
Video leader When playing back a properly executed
video recording, you wil! nOl ice some froOl maHer at the
head of the rC{:ording: color bars, a steady tOil e, an ideo-
lineati on slate, and perhaps some numbers flashing by
with accompanying audio beeps. These items, (oiltxlivdy
caUed the video leader, help adjusttne playback and record
machi nes to st andard audio and video SfE12..J:O Let
us look at them one by one. PQ$tproduction
lead'!!
Color b(l n help the videotape opera lor malch the
colors of the pl ayback machine with those of the record
machine. !t is therefore important that you record the color
bars (fed by color-bar generators locat rd in mastlor control
or built Lil lO ENG/ EFP camecas) for a minimum ofthin y
seconds time- you uS-<' a new videolapeor begin a new
taping session. Some VOs (video operators) pref(Or to hOl ve
the color bars run for a full minule or more so t hat they do
not h,lVe to rerun Ihe bars if tnc equipment requires. further
adjusunent.
Most a udi o consoles and even some fldd can
ge-nerale a lest tvnc that you Heed in cali brating (he line-out
of the audi o console or tll i:<er with the input (record )
level of the- VTR (see chapter 10). You should record Ihis
oVU test 10n(' along with the color bars. Obviow;I),. thes('
test signals should be recorded with thc equipment that
you use for the ., ubsequent videotaping. Ot hen.,. ise, the
playb'Kk will be referenced 10 the recorded color bars .tJld
lCst 10lle btlt not 10 Ihe videot Jped material. The director
rders 10 these tesl signals oil ) "bars and lOne." \Vhen do
ing a show, you will hear the direclOe caU for bars
alld tone ri ght after the videotape roll. In EFP Ine camera
Or VTR operator \viU, hopefull y, take of Ihis refer-
\! n.::e recording.

280 Chapter 12
12.21 (HARAaER-GEHERATED SLATE
The slatt' gives pen;neol info/molion about the produ(1:iOrl.
It is recorded at the beginnl()9 of each take.
The sllllcgives pertinent produClioll informarion ,\Iong
wi th some techni cal d( laiis. NormaHy, t.he slale indicates
the fonowi ng identi fi cati on data:
SholY tide
Scene number (corresponding to that in the S<.ript )
Take number (hoI''' oMen you record the saine thing)
Recordillg dal e
Some sla lcs also list the director, the location (espe-
cially for EFP), and additi onal in-house infor mation, such
as reel numbers, editing instructions, name of pcooucer,
and so on. The essential information is Ihe name of the
show and tbe scene and take numbers.
In the st udio the slate is usuallygencratetl by the e.G.
(character generator) and recorded ri ght the color
bars. SEt U.l1 In the abscnce of a e.G., you can use a small
whiteboard with a 4 x 3 aspect ralio (4 units wide by 3 units
hIgh). Because the informati un un the slat e changes from
take to take, the slat e surface should be easily cleaned (chalk
or dr y-erase markers Nork \vell ). Tho: slate idenlifi es Ihe
scene as well as the take, so you use il ever y lime you
record a ne\v lake, regardl ess of how short or how complete
t he lake may be. Production slate
Assume that yo u are the director of the weekl y
Prcsiden r)s Chnr producti on. You have just recorded about
ten seconds of the fi rst take when the college president
stumbles over the name of lhe new dean. You StOp the tape,
keep calm, roll the tape again, and wai t for the " in-re<ord"
confirmation from the VTR operator. Before repe,lting
Ihe p resident's introduction. you need 10 record the slat e
VIDEO-RECORDING AND STORAGE SYSTEMS
agai n. It reads: scen(' I, take I. But shouldn't the slate read:
scene I , take Yes-the e.G. operator obviously forgot to
change the slate. Should you go on, or stop the lape agaill to
corrccl the sl ate? In thi s case you might as wetl keep going.
The VTR operator, who keeps the field log, can note the
false to-second start and record tne second tak!.' as take I .
If, howevcr, yOli arc breaki ng lip the president's "chat" into
several short to be assembled in postproduction. the
slate numbers must be accurate.
LCIl(ier Iwmbers are IIsed for the accurate cueing oi
the videotape dllTing playback. The leader numhers flash
at I-second intervals from 10 to 3 or from 5 to 3 and arc
usually synchro ni z.ed \vitll short audio beeps. The last lWO
seconds are normall r kept in black and silent so Ihal they
do not accidentall y appea r on the ai r if thc videotape is
punched up earl y(sometimes Ihe IHlmbc-r... go down to the
10151 secondl. The fi rst frame of recorded program mate-
rial should appear at the zero countdown. When cueing a
vi deotape for pl ayback, you can SlOp the tape at a particular
leader llumber, say, 4; or )'ou can advance the tape ri gh t
to the fir st video frame. When you SlOp the tape at t he last
lead('r number, 4, you musl preroll the t" pe ('x;\CII ), 4 sec-
onds before the progra m ma terial is to appear on Ihe air. lf,
after stMting. the lapeon leader number 4, lher!! is 01011g('r
inlerv<ll between rhe !c,lder number 4 and the fi rst vi deo
frame. Ihe TD (technica l dir ector) will nOt MOW exact l),
when to pllnch up the videotapl' and almost cerfai nly will
mi ss the fir st second of the playback. If you start the tape
on leader number 4, the fi rst video frame should come li p
aft(' r exactl y 4 s('conds.
Recording checks As the VTR operata!, you are re-
sponsible for seeing thaI th(' pictures and the sound are
actual ly rl"Corded on the videotape. Here are some check-
points that greatl y reduce recording problems:
Always do a brief test recording, then play back the
tape to ensure t hat the whole system works properl )'. Just
because you see a picture on the VTR monitor and S('e the
VU meier fl uctuate duri ng Ihe test recording. it does nOI
m e.1Il that the video and audio signals are act ually recorded
on t ape. But once the test recording plays b,\(k all right,
you can t rust that the subsequent vi deo audio feeds
will be recorded.
Reset the (ape COllnl er on the VTR before st arting
the actual program rtxord ing. If you n('ed to recorc\ ti me
code al the actual videotaping. make sure it is recorded
wilh the pic tur('.
Section 11.1 How Video Recording Ii Done
Wail unti l t.he VTR has reached operating speed ancl
has stabilized befo re starting to record. Thi s lockup time
may lake anywhere (rom one half co (om seconds. The
VTR has a control light that flashes during the lockup pe-
riod and remains steady once the system is locked, that is,
sufficientl y stabilized for record ing. As the VTR operator,
you should walch the flashing light and, when you see a
steady light, call out, "speed" or in record." The director
wiU then proceed with the aClllal recording.
Watch the audio and video levels during the recording.
If you do not have a sepa rat e audio semp but instead feed
the micdvcrtly 10 the VTR, pay particular attention to the
audio portion. You lll ay find that a director becomes so
captivated by Ihe beauliful ca mera shots Ihal he or she does
not even hear, for example, the lalent giving an African
country the wrong name, an airplane noi se interrupting
Ihe medieval scene shot on location, or the wirel ess mic
cutting oul briefly during an especiall y moving moment
or a song.
When recording (or postproducti on, record enough
of each segment so that the action overlaps the pH'ceding
alld follow'ing scenes. At the end of each take, record a fe w
seconds of black before stopping the tape. This mll-oul
Signal act s as a pad and greatl y facilitates editing.
Ask the director whether you should videot ape the
camera rehearsals. Sometimes you gel a beller performance
during rehearsal than during the actual take. The ca mera
rehearsals (when run like full dress rehearsal) can thell be
edited into the rest of the produclion.
Again, be sure to slate every take you have on tape,
rehearsal 0 1 no t. When you are in a hurry, audio-slale
each take by having the audio operator use the console
mic. When in the field, have the fl oor manager read the
brief slate inrormation inlO the talent 's lavaliere or nshpole
shotgun mic: "President's Chat, take 12." Some directors
like an addi tional brief verbal countdown, such as "five,
(our, three" with the last two seconds silent before the
cue 10 the talent. Man)' neld produClions arc slated more
extensively only at the beginning of the video recording,
with subsequent takes being onl y verball y slated.
Do not waste time between takes. If you are properly
prepared, ),ou can keep the intervals to a minimum. Al-
though the playback of each take may occasionally improve
the subsequent performance by cast and uew, it often does
not justify the time it takes away from the actual produc-
tion. If you pay d ose att ention duri ng the videotapi ng, you
do Jlot need to review eac.h take.
Long interrl1ptions not onl y wast e time but also lower
the energy level of the production team and talent. On
the ot her nand, do not rush through taping sessions at a
frenetic pace. If yo u feel Ihat another take is warranted,
do it right then and there. It is far less expensive and
consuming to repea t a t'lke immediat ely than to re-create a
whole scene later simpl y because one of your ta kes turned
out to be unusabl e.
Time code The time, or address, code is an elect ronic
mark Ihat provides each frame with a unique addre5S
(frame number). If you need to rcrord time codcsunuha-
neously with each take, verify that the time code is recorded
on it s designated address track or, if o n a free
audi o track. Unless the camera or VTR has a bl1ilt-in time
code generator, you need a separa te time code generalor for
the dddres$ srstem. Time code ca n al so be laid do\\'n later
in postproduction (as expJained in chapter 13). Ei!l!)EOO
tNG-t Postproduclion 9uidelines-t time code
Recordkeeping Keeping accurate records of what you
videotape and tht= proper labeling of videotapes may seem
insignificant whil e in the Illiddle of a production, but they
are (fit ical when you want to locate a particular scene or
a speci fic tape among the various tape boxes. You will be
surprtsed al how quickly you call foegel the "unforget-
tabl e" scene and especially the number and the sequence
of lakes.
Keeping accurate records during th .. taping saves much
time in postproduction editing. Although you will moSl
likely log the various takes and scenes whe n reviewing the
videotape after th production, you are greal Jy aided
bya rough record kept durillgthe production, called afield
log. As a VTR operator, yo u should keep a fi eld log even
when recording in the studio. A fi eld log is eSp<!cially oseful
in more-complex fidd productions (hence it s name) that
invol ve 3 number of locations. Mark the good takes (usu-
ally with a circle) and identify especiaUy those takes that
seem unusable at that time. Label each vidcolapt and box,
and mark the field log ,,, jlh the corresponding informa-
tion. SEE U.ll
Specific aspects of disk-based video recording The
preproduction and production d ements discussed here
appl y equally whether you record with an analog or a
digital Vl'R or some tapeless recording device. Then' are,
of COUTse, some different production req uirements when
you use the disl-based system for editing, which is the
subje.: t of chapter 13.
281
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Section 7].2 How Video Recording Is Done
Videorecordingisprimarilyu$edfOfbuildill9iIwhole
by pam thathavebeen rO! cordedindi fferent
andlorlocations:timedelay;dupli cat ionanddistri-
butionofprograms;aodrecordsIOf protection, re ference,
andstudy.
The productionpurpose det ermine theIypeof
videor&orderused. Simplematerialdestinedforhome
consumption notneedlop-of-thc linevideolape
recorders (VTRs).High-qualityVTRs af e for
ptoduct ionsthatrequir eagreatamO\Jnlofcolorfi del ity
andre!.Olutionandformilterialrequiring po<;\-
pr oduction.
Theimportantprepfoouctionst epsforvideorecor ding
includeSdh?dulong,equipmentcheckli sts, andspecificedit
preparat ions.Takealon9enoughtapeandbe that;t
fit st hespecifi ccamcorderorVTR. Checkthatnoneofthe
cassenesus.ed forrecordingisrecord-pi' oteo:: (oo.
ThemJj orproductionfactorsinvideorecordingar ethe
videoleadE'!" (colorbar S. t est tOIle, inforM<lt ion,<lnd
leadernumbers andbeeps). re<;ordi09check.s. timecode,
accura tert'Cordkf' cpm9,andspecificaspectsofdisk-based
operat ions.SlateaUtakes,eithervisuallyandlorver bally.
Thefieldlogiskeptduringt heacwalstudioorfield
P'"OOUCl ion.ltlistsalllapenumbers.scenes, lak.es, and
commentsaboutshot sandaudio.

Foryourreference,ortotrackyourWOI k, eachVideo-
Lob programcueinthischapterislistedhere withits
correspondingpagenumber.
EDI TING-7 Postproductionguidelines-?
!rlD
tapebasics 266
tED
EDITING-7Postproductionguk!elines-? leader 219
tED
EDITING-? Productiongui delines-7 slat e 280
!l!l!:) EDITING-tPost productionguidelines-7
t i mecode 28'
283