Timeline Analog 6: 1996-2000

By John Buck

Timeline Analog 6 (1996-2000) traces the amazing story of editing's evolution. Read how Ubillos, Maltz, Bedell, McKay and Warner defined a new environment for editors. Explore the stories of Final Cut, Pinnacle, D-Vision and others.The Timeline series is often updated at no extra cost.

• Language: English
• Publisher: Tablo Publishing
• Release date: Apr 28, 2015
• ISBN: 9781925330267

John Buck

John Buck es presidente de GovernanceAlive LLC, una organización internacional de formación y consultoría con sede en Washington, DC, Estados Unidos. La firma también ofrece servicios de mediación y facilitación de reuniones. John ha realizado numerosas formaciones de sociocracia y liderado la implementación de muchos proyectos para una gran variedad de organizaciones, incluyendo proyectos de BOSSA nova. Presta servicio en la dirección de varias organizaciones. Realiza tareas de investigación y desarrollo. Por ejemplo, está trabajado con el laboratorio de software avanzado de Fujitsu para desarrollar Weaver, un software que ayuda a que las reuniones vayan mejor, tanto en persona, online y de forma asíncrona. John Buck tiene una amplia experiencia en gestión con gobiernos y corporaciones, incluida la gestión de grandes proyectos de tecnología de la información. Sus clientes están repartidos por todo el mundo e incluyen fabricantes de plásticos, escuelas, colegios y universidades, centros de atención a largo plazo, grupos de covivienda, ONGs, productores de alimentos y empresas de software. Posee un máster en Sociología Cuantitativa de la Universidad de George Washington.

Book preview

Foreword by Ivan Maltz

On a September day in 1995, Keith Thomson and I were wandering the halls at the International Broadcasting Convention in Amsterdam when we met Bill Loesch at the Pinnacle Systems booth. We clicked immediately with an engaging discussion on the future of desktop video.

We kept the conversation going over the next few months, and by the end of the year Bill persuaded us to move our families across the country to create a video editor as founders of Pinnacle's new consumer division.

It was an exciting time to come to Silicon Valley. The internet boom had begun and there were startups everywhere. We were chartered with designing a video editor for the millions of consumers with camcorders and PCs. We ran a few focus groups to categorize the nascent consumer video market. It became clear that the soccer moms and traveling seniors were not going to provide us with a feature set.

So we put the research aside and built the video editor we wanted for ourselves, our parents and our kids. We struck a common chord, as within a few years over 100 million copies of Pinnacle Studio were sold, with multiple best-in-class awards.

My story is one of the many in Timeline: History of Editing. I'm honored to have played a role in the transformation of video editing from a specialist domain to a medium where anyone with a smart phone can express themselves.

Ivan Maltz has developed video products and systems at Dubner Computer Systems, the Grass Valley Group, Pinnacle Systems and YouTube.

Dedication

Timeline is dedicated to Adrian Ettlinger (1925 - 2013)

Adrian was a brilliant engineer, ground breaking inventor, astute observer and a much loved father during his life and career. In retirement he was a friend, advisor and mentor to me. Adrian is without question the father of nonlinear digital editing and his contributions to the editing field have been recognised by industry bodies and editors alike.

Thank you Adrian, rest in peace.

About the author

John Buck has been an editor since he needed a way to cut his Super 8 mm camera rushes. Using a splicer and cement, he cut together parodies of TV shows for screening in a home cinema, and eventually graduated to local filmmaker festivals. After being fired from his first full-time job as a junior advertising agency producer, John struggled to explain his skill set to the employment official.

His father advised him to get a job that people can understand what it is that you do.

The manager of a production company saw potential, and offered him a role as an editor on the midnight shift. John turned his Super 8 mm cutting abilities to 3/4, 1 and 2" tape. He edited everything from commercials to auctions. High fashion to sheep teeth.

Having developed a skill that people could understand he left Taimac and began editing in earnest at local television station TVW-7.

With a 6pm deadline, an accommodating boss and a talented senior editor to guide him, Buck became an editor. He took those skills across the country to a job on the international TV show Beyond 2000 where he helped create award winning programs.

Eventually it was time to branch out on his own, but he was unable to afford the Avid that was so mesmerizing at a trade demo.

Backed once again by his parents, he took a chance and bought a Media 100 digital nonlinear editing system. One unit became two, and three and four. A one man band became a thriving business.

Thanks

This book series would not have been possible without the help of many people. Everyone has my appreciation but a few people deserve an extra shout out.

Candace Machein sent her father's files to make sure Kurt was remembered. Joe Roizen's family did likewise. Tom Werner, Bob Pargee and David Crosthwait shared material that others had trashed while Carter Elliot bundled up pamphlets and drove them to Fedex. Marc Wanamaker shared his amazing Hollywood archive.

Egon Grafen discovered archived KEM material, Heidi Heftburger found the best Svilova images, Ekaterina Gracheva did the same with Russian filmmakers.

Bernd Perplies helped with German inventors while Hakan Lindberg shared his images of editing in Sweden, and Christelle Naili sourced the long lost Italian Moritone. Pauline Duclaud-Lacoste ensured her great great grandfather Georges Melies was honored, while Bob Phillips shared his own photos of Jack Mullin and Bing Crosby. Sumio Yamamoto and Kyoko Takahashi found materials in Toshiba's vaults.

Tarek Atrissi designed the book and Sharleen Chen created the cover.

Thanks to Alex Eckermann and Ash Davies at Tablo.io for great support in creating an electronic and paper book series. David K Helmly shared his wonderful Premiere, Hitchcock and Radius images.

Brett Wayn chimed in measured advice. Gene Simon, John Delmont, and Barry Guisinger added humor to their notes just when I needed it. Loran Kary, Glenn Reid, Nick Schlott and Ralf Berger patiently explained the challenges of writing software code. Steven Cohen reminded me, Editors are people, editing systems are the tools, don't mix that up.

Phil Hodgetts gave good advice, John Maizels opened doors, Ron Barker pushed me to try harder, and Chet Schuler insisted on getting it right. Bruce Rady, Bernie Laramie and Bill Hogan remembered when others forgot. The ladies at the Jerzy Toeplitz Library inside the AFTRS in Sydney found dozens of books, manuscripts, articles and trade magazines to check facts.

The team at Stanford University had everything set for my short visit. Al Alcorn, Steve Wozniak and Steve Mayer replied when their inboxes must be full every day.

The people who helped invent desktop video Eric Peters, Jeff Bedell, Tyler Peppel, Carl Calabria, Ivan Maltz and Randy Ubillos answered all of my questions, many that they had heard before, with a smile. They never let me doubt my plan. I have to tip my hat to the text editors, Bob Glover and Gary Buck.

They volunteered to read this book over and over, and diligently worked through the raw manuscript, corrected it and made great improvements. Dave Pretty taught me more about filmmaking, and business at Marketforce in a month, than a college course had in a year. Max Pepper explained the value of a flatbed as we cut dozens of lemonade and burger commercials.

Ross McDonald rescued me from an unemployment office and gave me a job. Drew Gibson taught me the BVE ropes.

My long time friend Dan Flanagan pushed me to apply for a job in broadcast news. It was advice that changed my life. I owe John Rudd a lifetime of thanks for hiring me at TVW7, and giving me the freedom to experiment. Fellow editors Ray Furness, Nick Glover and Ray Neale guided me in the craft of editing, even when I pretended to know everything.

Peter Abbott and Tim Worner encouraged me to hone my editing skills while Steve Christiansen, Jacqua Page, Dave Galloway and Michael Horrocks believed in me, and my editing company.

Laura Gohery helped me turn it into a success. Bill Orr, Pete Hammar and Ralph Guggenheim were endlessly helpful before the idea of a book even existed, and continued with insight throughout its writing. Ralph's enthusiasm is infectious, Pete's advice forthright.

Despite the fact that Thelma Schoonmaker is one of the most awarded and talented editors ever, she answered my questions as if she were unknown and idle. Ted Horton and Vincent Zimbardi supported me with editing challenges through my transition from editor to editor/author.

Andrew Morris starred in my 8mm movies, listened to my plans, gave me work and remained an unwavering friend throughout. Donna, Manny, Tillster, Miranda, Elena, Mario, the Colettes and Wild Matt encouraged and humored me.

Bill Warner changed editing forever. Without Bill there would be no Avid. There would be no book called 'Timeline'. He encouraged me at every turn, welcomed me to his home, selflessly assisted my research, lent me documents and tapes, drove me around Boston, twisted former colleagues' arms to talk, and opened up his heart to the project.

Without reservation.

Bill has faced challenges that would humble most, and never gave up. He is an inspiration.

The Bucks, Waddells and Kuehs have been hugely supportive of Timeline.

Mum and Dad gave me the freedom to dream.

Tan gave me patience and understanding.

This edition

In this edition Timeline: Analog Six (May 18), I have added more material plus revisions, corrections, slight additions and spell checks.

There's a few new shout-outs namely Ash and Alex from Tablo.io plus David Gleason at American Radio History.

Despite being an Australian author, versed and schooled in UK English, I have adopted US spellings and grammar for the Timeline series.

Last but not least, I have added Ivan Maltz's foreword. What an amazing contribution to editing that he and his teams made.

The right of John Buck to be identified as the author of this work has been asserted by him in accordance with the Copyright, Designs and Patent Act, 1988. Any unauthorized distribution or use of this text may be a direct infringement of the author's and publisher's rights and those responsible may be liable in law accordingly.

Besides it's uncool to copy. I have made recorded contact with all known copyright owners. Email me if you wish to make corrections.

(c) Copyright John Buck 2019

Timeline 6

The hardest thing about editing and the most challenging is, Why isn't this working? And then How do you fix it?

Dede Allen, editor

35: Very frustrating

In 1996 Nintendo released their newest gaming system the Nintendo 64 and Time Magazine named it Machine of the Year.

At that year's NAB it was obvious that the sense of wonder created by EMC and Avid's digital editing products some seven years earlier had begun to fade. It seemed all companies now made nonlinear systems. Jim Bennet wrote:

There were over 150 non-linear editing systems shown at NAB. The choices were mind-boggling and attendees were trying to wade through all the format and systems choices. In mixing this with the expanded Internet and Multimedia exhibits, most people were having difficulty figuring everything out. PC based Windows systems seemed to be in predominance, with a fair representation of Mac and SGI systems

D-Vision Systems debuted '3 new families' of editing tools.

As a company with its roots in the film equipment division of Bell and Howell, it made sense that the FilmCUT product line (FilmCUT, FilmCUT-XE, and FilmCUT-XED) was film-centric and allowed for 24 fps digitising and editing.

FilmCUT is an upgradable set of film-style editing tools for film professionals. The tools are designed to be hassle-free, thus allowing film editors to become more creative.

In contrast D-Vision also launched the OnLINE, OnLINE-XE and OnLINE-XED products for video editors.

OnLINE used the standard D-Vision interface on an open-systems architecture, which allowed buyers to team it with a wide variety of video and audio hardware technologies. Clyde Tressler and Robert Lamm for SMPTE New England described their test:

We tried an experiment to see whether this was truly the case, this time with a D-Vision Online XED sytem with