Online & Offline Editing

The online and offline phases of editing are historically associated with videotape. Even though videotape has largely
been replaced by disk-based and solid-state recording, in many professional applications the dual online, offline process
still has significant advantages.

The goal of offline editing is to create a EDL (edit decision list) that will be used in putting together the final online version
of a production. This can be done with relatively inexpensive equipment using low-resolution copies of the original
footage.

In the offline phase a rough cut can be shown to a director, producer, or sponsor for approval. Typically, at this point a
number of changes will be made.

An important part of the creative process is trying out many creative possibilities. Hours can be spent on just a few
minutes, or even a few seconds, of a production. This can become prohibitive expensive if full online facilities and
personnel are used.

Once the major decisions are made offline, the EDL that is generated can be taken to editing personnel skilled in color
balancing scenes, audio sweetening, smoothing out transitions, visual effects, etc., to put together the final (online)
version of the production.

" The specific expectations and roles vary from place to place and job to job, but generally the offline editor cuts the
show, and the online editor finishes it for release."

-Professional editor via e-mail. However, when time is limited and optimum technical and artistic quality are not major
concerns, you can skip over the offline phase.

For example, in preparing a news segment for broadcast even a high-quality laptop computer equipped with one of the
many available editing programs can be used to create a final ▲news package for broadcast.

Handling Different Standards

One of the major problem areas in editing footage from different sources is incompatible video standards -- not only the
different broadcast standards, but the differences between the 24p and 29.97 (30 fps) shooting and editing standards.

Unless you coordinate your standards throughout the entire process of shooting, editing, and final presentation, you can
end up with some significant technical problems.

We won't get into the various compatibility issues -- they get pretty technical -- but suffice it to say, if you know you will
be dealing with different video standards, especially in editing, you need to consult a knowledgeable engineer before you
start. The basic premise of offline video editing is that the video files are digitized and downgraded for the offline editor,
and they are then able to edit the project with the lower resolution footage. The offline editor is actually the primary
creative editor, arranging scenes and segments in the way that they will appear in the film. The major choices, the
decisions about takes, and the overall structure of the film is done by the offline editor. Since they can essentially edit
quickly, in real time, and on a normal computer, they are able to experiment and try things out.

The offline vs online process is actually quite different. The online video editor the full size footage "online," working with
the real files as they are. The online editor takes the edit that has been completed by the online editor and then
reconnects the footage to the full quality video file, which can sync up well as long as the footage was captured first and
then had the resolution downgraded just for speed of editing. The edit that was then originally done with lower
resolution footage is then just simply upgraded, now referencing the full resolution original footage rather than just the
lower resolution copy. The online video editor then works on the very fine edits, and is the last person who works with
the footage. Since they can see the full size video they can see where tiny cuts, down to seconds and even frames, are to
be made, and they make sure that the offline edit comes forward correctly and cleanly. They are going to have to work on
both a high quality computer with server access, as well as have an eye for details rather than the big picture.

Online editing is a post-production linear video editing process that is performed in the final stage of a video production.
It occurs after offline editing. For the most part, online editing has been replaced by video editing software that operate
on non-linear editing systems (NLE). High-end postproduction companies still use the Offline-Online Editing workflow
with NLEs.

The term online originated in the telecommunication industry, meaning "Under the direct control of another device"
(automation). Online editors such as the Sony BVE-9000 edit control unit used the RS-422 remote control 9-Pin
Protocol to allow the computer-interface of edit controllers to control video tape recorders (VTR) via a series of
commands. The protocol supports a variety of devices including one-inch reel-to-reel type C videotape as well
as videocassette recorders (VCR) to Fast-Forward, Rewind and Play and Record based on SMPTE timecode. The
controllers have the ability to interface with professional audio equipment like audio mixers with console automation.

The video quality first introduced with Avid's Media Composer in 1989 was incapable of producing broadcast
quality images due to computer processing limitations. The term 'Online' changed from its original meaning to where the
pictures are re-assembled at full or 'online' resolution. An edit decision list (EDL) or equivalent is used to carry over the
cuts and dissolves created during the offline edit. This conform is checked against a video copy of the offline edit to verify
that the edits are correct and frame-accurate. This workprint (cutting copy in the UK) also provides a reference for
any digital video effects that need to be added.

After conforming the project, the online editor will add visual effects, lower third titles, and apply color correction. This
process is typically supervised by the client(s). The editor will also ensure that the program meets the technical
delivery broadcast safe specs of the broadcaster, ensuring proper video levels, aspect ratio, and blanking width.

Sometimes the online editor will package the show, putting together each version. Each version may have different
requirements for the formatting (i.e. closed blacks), bumper music, use of a commercial bumper, different closing credits,
etc.

Projects may be re-captured at the lowest level of video compression possible - ideally with no compression at all.

From film to tape

Film editing used an offline approach almost from the beginning. Film editors worked with a work print of the original film
negative to protect the negative from handling damage. When two-inch quadraplex video tape recording was first
introduced by Ampex in 1956, it could not be physically cut and spliced as simply and cleanly as film negatives could be.
One error-prone method option was to cut the tape with a razor blade. Since there was no visible frame line on the 2-
inch-wide (51 mm) tape, a special ferrofluid developing solution was applied to the tape, allowing the editor to view the
recorded control track pulse under a microscope, and thus determine where one frame ended and the next began. This
process was not always exact, and if imperfectly performed would lead to picture breakup when the cut was played.
Generally this process was used to assemble scenes together, not for creative editing.

The second option for video editing was to use two tape machines, one playing back the original tapes, and the other
recording that playback. The original tapes were pre rolled, manually cued to a few seconds prior to the start of a shot on
the player, while the recorder was set to record. Each machine was rolled forward simultaneously, and a punch in
recording, similar to punch in / out of early audio multitrack recordings was made at the appropriate moment. Beyond
not being very precise, recorders of this era cost much more than a house, making this process an expensive use of the
machines. This technique of re-recording from source toedit master came to be known as linear video editing.

This was the way things were for television shows shot on tape for the first 15 years. Even such fast-paced shows
as Rowan & Martin's Laugh-In continued to use the razor blade technique.