A PROJECT REPORT ON

“NON LINEAR EDITING SYSTEM”

( N L E )

SUBMITTED BY: MAHESH KUMAR SAHRMA 3RD. YR., 6TH SEM. (ELECTRONICS & COMMUNICATION) SKIT,JAGATPURA

SUBMITTED TO:

DOORDARSHAN KENDRA, JHALANA DUNGRI,

JAIPUR

DOORDARSHAN (A GOVERNMENT OF INDIA ENTERPRISE)

To Whom It May Concern:

Certificate that _________ _____ Student of B.Tech. Year 3rd, sem. 6th, branch E & C of college – JNIT has successfully completed 30 days practical training with effect from 15.06.2009 to 17.07.2009 to this office.

About summer training programmed and the certificate issued subject to following terms and condition:-

1. Doordarshan shall not bear any expenditure on the training.2. The candidate shall not be allowed to handle the sophisticated sensitive equipments of Doordarshan.

3. The trainee shall not claim any right for appointment in Doordarshan on the basis of this training. Mr.A.K.SUDHRANI

CONTENTS

1. CERTIFICATE

2. ACKNOWLEDGEMENT

3. PREFACE

4. INTRODUCTION

5. HISTORY

6. DIGITAL TECH.

7. MEDIA 100

8. CONCLUSION

9. BIBLOGRAPHY

PREFACE

This training report submitted by me is written on the basis of the practical training taken during my training.

I had completed this report .Its a great pleasure and satisfaction to develop the report on NLE Technology. I had learned to tackle different problem that comes while developing any report.

I have tried to include all those things that are required for a good report. But, besides my best effects, it may have few shortcomings.

AKNOWLEDGEMENT

As a part of the system department team, I am extremely grateful to the high level of support, assistance and guidance provided by my seniors, which is helped me in completion of my training in the respected field.

I thank Mr. K.C.JAIN, A.S.E. who gives me the opportunity to seek the summer training.

I am highly thankful to Mr. R.K.JAIN, A.E. for providing guidance and help during my summer training.

I am highly indebted to Mr.Sanjeev Kumar Sharma,A.E. and Mr. P.Bhatia for being the main driving force for the basics in the training.

I am also thankful Mr.O.P. Rajpuorohit for the visit of NAHARGARH f or the DOORDARSHAN transmission system of signals through out the city.

I would like to show my immense gratitude to all the employees who have helped me in completing my

project. My family also deserves warms thanks for their support and encouragement.

INTRODUCTION

Non-linear editing for film and television postproduction is a modern editing method which involves being able to access any frame in a video clip with the same ease as any other. This method is similar in concept to the "cut and paste" technique used in film editing from the beginning. However, when working with film, it is a destructive process, as the actual film negative must be cut. Non-linear, non-destructive methods began to appear with the introduction of digital video technology. It can also be viewed as the audio/video equivalent of word processing, which is why it is called desktop editing in the consumer space [1].

Video and audio data are first captured to hard disks or other digital storage devices. The data is either recorded directly to the storage device or is imported from another source. Once imported they can be edited on a computer using any of a wide range of software. For a comprehensive list of available software, see List of video editing software, whereas Comparison of video editing software gives more detail of features and functionality.

In non-linear editing, the original source files are not lost or modified during editing. Professional editing software records the decisions of the editor in an edit decision list (EDL) which can be interchanged with other editing tools. Many generations and variations of the original source files can exist without needing to store many different copies, allowing for very flexible editing. It also makes it easy to change cuts and undo previous decisions simply by editing the edit decision list (without having to have the

actual film data duplicated). Loss of quality is also avoided due to not having to repeatedly re-encode the data when different effects are applied.

Compared to the linear method of tape-to-tape editing, non-linear editing offers the flexibility of film editing, with random access and easy project organization. With the edit decision lists, the editor can work on low-resolution copies of the video. This makes it possible to edit both standard-definition broadcast quality and high definition broadcast quality very quickly on normal PCs which do not have the power to do the full processing of the huge full-quality high-resolution data in real-time.

The costs of editing systems have dropped such that non-linear editing tools are now within the reach of home users. Some editing software can now be accessed free as web applications; some, like Cinelerra (focused on the professional market) and Blender3D, can be downloaded free of charge; and some, like Microsoft's Windows Movie Maker or Apple Computer's iMovie, come included with the appropriate operating system.

A computer for non-linear editing of video will usually have a video capture card to capture analog video and/or a FireWire connection to capture digital video from a DV camera, with its video editing software. Modern web based editing systems can take video directly from a camera phone over a GPRS or 3G mobile connection, and editing can take place through a web browser interface, so strictly speaking a computer for video editing does not require any installed hardware or software beyond a web browser and an internet connection.

Various editing tasks can then be performed on the imported video before it is exported to another medium, or MPEG encoded for transfer to a DVD.

Bridging broadcast and online

HISTORY

The first truly non-linear editor, the CMX 600, was introduced in 1971 by CMX Systems, a joint venture between CBS and Memorex. It recorded & played back black-and-white analog video recorded in "skip-field" mode on modified disk pack drives the size of washing machines. These were commonly used to store data digitally on mainframe computers of the time. The 600 had a console with 2 monitors built in. The right monitor, which played the preview video, was used by the editor to make cuts and edit decisions using a light pen. The editor selected from options which were superimposed as text over the preview video. The left monitor was used to display the edited video. A Digital PDP-11 computer served as a controller for the whole system. Because the video edited on the 600 was in black and white and in low-resolution "skip-field" mode, the 600 was suitable only for offline editing.

Various approximations of non-linear editing systems were built in the '80s using computers coordinating multiple laser discs, or banks of VCRs. One example of these tape & disc-based systems

The term "nonlinear editing" or "non-linear editing" was formalized in 1991 with the publication of Michael Rubin's Nonlinear: A Guide to Digital Film and Video Editing (Triad, 1991) -- which popularized this terminology over other language common at the time, including "real time" editing, "random-access" or "RA" editing, "virtual" editing, "electronic film" editing, and so on. The handbook has remained in print since 1991, currently in its 4th edition (Triad, 2000).An example of computing power progressing to make non-linear editing possible was demonstrated in the first all-digital non-linear editing system to be released, the "Harry" effects compositing system manufactured by Quantel in 1985. Although it was more of a video effects system, it had some non-linear editing capabilities. Most importantly, it could record (and apply effects to) 80 seconds (due to hard disk space limitations) of broadcast-quality uncompressed digital video encoded in 8-bit CCIR 601 format on its built-in hard disk array.

In October 1990 NewTek introduced Video Toaster, a hardware and software solution for the Commodore Amiga 2000 computer system, taking advantage of the video-friendly aspects of that system's hardware to deliver the product at an unusually low cost ($1499). The hardware component was a full-sized card which went into the Amiga's unique single video expansion slot rather than the standard bus slots, and therefore could not be used with the A500 and A1000 models. The card had several BNC connectors in the rear, which accepted four video input sources and provided two outputs (preview and program). This initial

generation system was essentially a real-time four-channel video switcher.

For the second generation NewTek introduced the Video Toaster Flyer. The Flyer was a far more capable Non-linear editing system. In addition to processing live video signals, the Flyer made use of hard drives to store video clips and audio, and allowed complex scripted playback. The Flyer was capable of simultaneous dual-channel playback, which allowed the Toaster's Video switcher to perform transitions and other effects on Video clips without the need for rendering.

The hardware component was again a card designed for the Amiga's Zorro 2 expansion slot, and was primarily designed by Charles Steinkuehler.

Until 1993, the Avid Media Composer could only be used for editing commercials or other small content projects, because the Apple Macintosh computers could access only 50 gigabytes of storage at one time. In 1992, this limitation was overcome by a group of industry experts led by Rick Eye a Digital Video R&D team at the Disney Channel. By February 1993, this team had integrated a long form system which gave the Avid Media Composer Apple Macintosh access to over 7 terabytes of digital video data. With instant access to the shot footage of an entire movie, long form non-linear editing (Motion Picture Editing) was now possible. The system made its debut at the NAB conference in 1993, in the booths of the three primary sub-system manufacturers, Avid, Silicon Graphics and Sony. Within a year, thousands of these systems replaced a century of 35mm film editing equipment in major motion picture studios and TV stations world wide, making Avid the undisputed leader in non-linear editing systems for over a decade.

Although M-JPEG became the standard codec for NLE during the early 1990s, it had drawbacks. Its high computational requirements ruled out software implementations, leading to the extra cost and complexity of hardware compression/playback cards. More importantly, the traditional tape workflow had involved editing from tape, often in a rented facility. When the editor left the edit suite he could take his confidential video tapes with him. But the M-JPEG data rate was too high for systems like Avid on the Mac and Lightworks on PC to store the video on removable storage, so these used fixed hard disks instead. The tape paradigm of keeping your (confidential) content with you was not possible with these fixed disks. Editing machines were often rented from facilities houses on a per-hour basis, and some productions chose to delete their material after each edit session, and then recapture it the next day, in order to guarantee the security of their content. In addition, each NLE system had storage limited by its hard disk capacity.

These issues were addressed by a small UK company, Eidos plc (which later became famous for its Tomb Raider video game series). Eidos chose the new ARM-based computers from the UK and implemented an editing system, launched in Europe in 1990 at the International Broadcasting Convention.

In the early 1990s a small American company called Data Translation took what it knew about coding and decoding pictures for the US military and large corporate clients and threw $12m into developing a desktop editor which would use its proprietary compression algorithms and off-the-shelf parts. Their aim was to 'democratize' the desktop — and take some of Avid's market. In August 1993 Media 100 entered the market and thousands of would-be editors had a low-cost, high-quality platform to use.

Inspired by the success of Media 100, members of the Premiere development team left Adobe to start a project called "Keygrip" for Macromedia. Difficulty raising support and money for development led the team to take their non-linear editor to NAB. After various companies made offers, Keygrip was purchased by Apple as Steve Jobs wanted a product to compete with Adobe Premiere in the desktop video market. At around the same time, Avid — now with Windows versions of its editing software — was considering abandoning the Macintosh platform. Apple released Final Cut Pro in 1999, and despite not being taken seriously at first by professionals, it has evolved into a serious competitor to Avid.

Another leap came in the late 1990s with the launch of DV-based video formats for consumer and professional use. With DV came IEEE 1394 (FireWire/iLink), a simple and inexpensive way of getting video into and out of computers. The video no longer had to be converted from an analog signal to digital data — it was recorded as digital to start with — and FireWire offered a straightforward way of transferring that data without the need for additional hardware or compression. With this innovation, editing become a more realistic proposition for standard computers with software-only packages. It enabled real desktop editing producing high-quality results at a fraction of the cost of other systems.

Avid is still considered the industry standard, with the majority of major feature films, television programs, and commercials created with its NLE systems. Avid products were used in the creation of every film nominated in the Best Picture, Directing, Film Editing, Sound Editing, Sound Mixing, Visual Effects, and Animated Feature categories of the 2005 Academy Awards. Avid systems were also the overwhelming NLE choice of the 2004-2005 Primetime Emmy Award nominees, being used on more than 50 shows in eleven major categories. Final Cut Pro continues to

develop a strong following, and the software received an Technology & Engineering Emmy Award in 2002.[2]

DIGITAL TECHNOLOGY OF N.L.E.

This Video Viewfinder is an excerpt from our Libraries Unlimited book Educator’s Survival Guide to TV Production Equipment and Activities. One of the is about nonlinear digital video editing. This column is a brief excerpt from that chapter. Enjoy!

No phase of audio or video production has changed as much in recent years as video editing. Camcorders are basically the same – point the camera and push the record button. Sure, the videotape format might be different, but the process is the same. Ditto for the VCR – “play” still plays the videocassette, and “rewind” still rewinds it. Your video mixer has taken a giant step forward, with dozens of effects, and even digital chrome key. However, the concept of switching from camera 1 to camera 2 hasn’t changed. But video editing has made a fundamental change in the past few years. The entire process of arranging, adding, and deleting scenes to create a video program is nothing like it was a few years ago.

Advantages of Nonlinear Editing

Obviously, the biggest advantage to nonlinear editing is the nonlinear aspect – being able to edit and rearrange segments as easily as moving paragraphs in a word processor. But there are additional advantages in the nonlinear editing process.

Cost

Surprisingly, nonlinear editing systems are less expensive than traditional editing systems, and offer a real value in the school setting. An entry-level system, complete with transitions, graphics, effects, and music editing capabilities, can be purchased for less than $1500. That’s about half the price of an entry-level traditional editing system. And that traditional system would provide cuts-only editing – no graphics, no transitions, no effects.

Smaller Size

A high-powered laptop computer can serve as a nonlinear editing system. (Apple’s iBook is advertised this way – with a young man editing his vacation movies on the plane ride home.) Other systems are about the size of a desktop computer. Traditional editing systems required large tabletop space or expensive editing cabinets. Nonlinear systems fit comfortably on existing library or classroom tables and countertops.

Image Quality

One of the biggest drawbacks to traditional editing is the loss of image quality during the editing process. Because the resulting traditionally-edited program was a “copy,” the picture quality degraded. That degradation continued if “a copy of a copy” was made. Editors called this “generational loss,” and it was common knowledge that 4th generation video was embarrassing, and 5th

generation was unwatchable. Students entering video contests were constantly faced with this challenge – should they send their master tape (2nd generation) or a copy (3rd generation) to the contest? Or what if the master tape is damaged and the 3 rd

generation is the best copy that exists? You can see the problem (literally).

Of course, nonlinear editing erases this problem. The edited version looks as professional as the original footage – maybe even more so, if image enhancement features were used in the editing process. In other words, the copy can look better than the original! And subsequent copies made from the program stored on the nonlinear editing system’s hard drive look as crisp as the first.

Easy to Learn

The nonlinear system is basically easy to learn. “Help” menus and graphics-based menus provide support. Certainly, some students will become more adept at nonlinear editing, and others will be more creative than their peers. But most, if not all students will be able to skillfully edit their programs after a few minutes of instruction. Advanced functions can be added as the student advances at his/her own pace.

Integrated Graphics, Effects and Transitions

Nonlinear editing systems can be thought of as “all-in-one” machines. Students can add graphics, effects, and transitions without going to a different “station” in the studio or re-configuring the equipment. Those who have edited on a traditional system can fully appreciate this advantage. In the past, schools spent thousands of dollars for two high-quality editing VCRs, two monitors, and an editing control unit, and the result was simple cuts-only editing – no effects, no graphics, no transitions. Mechanically-inclined teachers would reconfigure equipment, adding expensive character generators and video mixers in between the “source” and “record” VCRs to achieve basic effects. With a nonlinear editing system, those effects are taken to the next level at a fraction of the cost.

Correcting Mistakes/Making Updates

Mistakes made during the editing process are easily corrected using a nonlinear editing system. Segments anywhere in the program can quickly be trimmed or replaced. Also, existing programs can be updated with ease, as segments that no longer apply are replaced with appropriate segments. For example, imagine a student at your school wins the city science fair, and your video production students create a segment based on that accomplishment. After seeing the segment on your school news channel, the principal encourages you to submit the program to your local cable-TV station for broadcast on their “Student Accomplishments” program. In the meantime, the junior scientist wins the state science fair! Do you have to totally re-edit your program? No – just update the necessary elements in the nonlinear editing system.

Media 100 - Final Cut XML Interchange

Media 100 Release 13 now supports XML interchange with Final Cut Pro and with other applications that support the Final Cut Pro XML specification.

With this feature, one can export a Media 100 program timeline to an XML document and then import that document into a Final Cut Pro sequence for further editing. Exporting XML from a Final Cut Pro sequence and importing it into a Media 100 program timeline is also possible.

The XML Interchange feature supports a large subset of the Media 100 program timeline. However, there are features in Media 100 that have no direct equivalent in Final Cut Pro and vice versa. In some cases, substitutions are made for features that can not be directly transferred. For example, Media 100 transitions that have no equivalents in Final Cut Pro, such as Barn Doors, appear in Final Cut Pro as dissolves. Optionally, Media 100 can render those transitions as part of the XML export process so the Final Cut Pro timeline will still play the barn door transition.

Import dialog:

Export dialog:

and here's that program after it's been exported to XML and imported in Final Cut Pro:

Transitions Mapping

Included in the mappings are start ratio, end ratio, reversed, direction, angle, border width, color. Some transitions in M100 have more flexibility than in FCP, for example, wipes often have a border width of 0-255 pixels in M100 and 0-100 in FCP, so we have to truncate our borders when exporting. Another example, the border has a softness variable in M100 with values 0-255 where FCP has only a YES/NO choice.

Some M100 transitions have "custom data" such as the number of bands in the sliding bands wipe. No custom data is mapped to FCP in this release. The same is true for the opposite direction.

If the user chooses to render transitions (as mentioned above) M100 will export the rendered transitions as video track V2 into FCP. It's just another video track in FCP so you can remove clips from it and obtain the "raw" FCP transition beneath it if you choose.

If the user chooses to render filters on clips, Media 100 will export rendered ColorFX, RED filters, etc. Otherwise, it will export raw media. FCP can import Media 100 media or skip the media and acquire the media from the deck.

M100 supports transitions only in its V-AB track. So FCP transitions in FCP tracks 2 and above have to be imported as cuts.

Media 100 XML Interchange supports audio transitions (crossfades).

XML Interchange supports M100 programs and FCP sequences only. This release does not provide export/import of bins.

HOME ENTERTAINMENT

ENVIROMENT

Each major element of the GUI is derived from a list of consumer tasks. Figure 13 is a task flow diagram 550 illustrating the manipulations a consumer may perform with the non-linear editing system 100. Each of the illustrated tasks is intra-cyclical in nature, meaning that a consumer may perform the task over and over until satisfied with the results. Note that illustrated tasks are also inter-cyclical in that a consumer may pass forward

and back to other tasks. As discussed previously, the software functionality for carrying out the tasks is located in the processor 218 (Figure 5), which loads the software instructions from the memory 220 (Figure 5). At initialization, the system automatically loads previously captured hypermedia portions from the storage 222 (Figure 5) and places them into a storyboard so that a consumer may create an edited storyboard. At task 552, a consumer may capture, or digitize for storage, hypermedia portions, or shots, from a hypermedia source. Ultimately, the hypermedia shots are stored in the storage 222 (Figure 5). During this task, a consumer may perform some "rough" editing by electing not to digitize selected portions that they do not wish to include in the finished master. At task 554, the consumer places captured shots on the storyboard. The storyboard may be thought of as a working portion of the media buffer 216 (Figure 5). As discussed previously, shots are automatically placed into the storyboard in the order in which they were captured. Similarly, when shots are placed into the storyboard, transitions between

shots are automatically generated. At task 556, the consumer may perform "fine" editing of shots, such as moving, duplicating, removing and manipulating the duration of shots. For example, in a storyboard having 5 shots with 4 interposed transitions, a consumer may move the first shot to the end, whereby the system automatically removes the transition between the first and second shots and adds a default transition between the end shot and the first shot. The consumer may likewise modify the transitions at task 558 and annotate shots with overlays, such as graphics and audio, at task 560. Moreover, the consumer may playback the storyboard at task 562 or may save a copy of the storyboard at state 564. When the consumer has completed all desired tasks on this storyboard, the consumer may create another storyboard at task 566.

The present invention provides a complete, standalone, economical system that enables consumers to create, manipulate, edit, view and output hypermedia in their homes. In contrast to the prior art, the non-linear editing system of the present invention does not require a consumer to incur substantial expenses to purchase a personal computer having expansion bus add-in cards and software to capture and edit hypermedia in their homes. Similarly, unlike current personal computers, the present invention is adapted for communication with conventional home entertainment components, such as a VCR, television, stereo, camcorder and digital still camera. Moreover, the non¬ linear editing system of the present invention provides for a wide variety of hypermedia output mediums, such as computer displays, television, printers, videotapes, DVDs, and audio speakers.

CONCLUSION

The non-linear video editing capability typically resides in a plug-in card for the NuBus or PCI expansion bus of a Macintosh architecture PC or the ISA, EISA or PCI expansion bus of an Intel architecture PC. These non-linear video editing systems typically use compression techniques developed by the Joint Photographic Experts Group (JPEG) or the Motion Picture Experts Group (MPEG). For example, in U.S. Patent No. 5,577,190, Peters discloses a media editing system that receives, digitizes, stores and edits audio and video source material, using JPEG compression, for later manipulation by a computer, such as an Apple Macintosh. Similarly, in U.S. Patent No. 5,508,940, Rossmere, et al., disclose a multimedia random access audio/video editing system including a main control unit that receives data and commands over a SCSI bus from a personal computer having an analog I/O board coupled to audio and video processing boards using JPEG compression. Moreover, Reber et al. disclose a system and method for the management of media data in a non-linear editing system that enables dynamic linking of digitized media data with a specific source reference at run time in U.S. Patent No. 5,584,006. Lastly, in U.S. Patent No. 5,438,423, Lynch, et al., disclose a system and method for continuously storing the video content of a program, using JPEG or MPEG compression, in a recirculating random access buffer having sufficient capacity to store a substantial portion of the program. Unfortunately, consumers currently have no cost effective alternatives for enhancement of their camcorder movies and digital pictures without having to incur substantial costs to purchase a personal computer with a high resolution computer graphics monitor, associated add-in cards and software for non-linear editing. In addition, conventional non-linear editing systems are designed for expert users, such as a professional movie editor,

to edit a large number of unrelated movie clips stored on the same linear film or videotape. Thus, conventional non-linear editing system tools are complex and require a high degree of manual interaction and configuration to produce a final edited result.

BIBLIOGRAPHY

1. WWW.GOOGLE.COM

2. WWW.WIKIPEDIA.COM

3. WWW.SONYBIZ.NET

4. WWW.APPLE.COM

5. WWW.MEDIA100.COM

DOORARSHAN

NON LINEAR EDITING SYSTEM

COPYRIGHT NOTICE

Copyright(c) 2009, by MAHESH KUMAR SHARMA

All rights reserved. No part of this publication may be represented, reproduced or distributed in any form or by means, or stored in a data-base or retrieval system, without the prior written permission of the publisher.

Any branch of any of these rights or conditions will entail civil and criminal action without further notice.