Share this Page URL

Chapter 5. Getting Ready to Edit > Choosing What to Edit - Pg. 111

Getting Ready to Edit How to dub Almost every DV camera comes with a receptacle for an analog input/output cable. You can use it for output to a VCR to make a VHS tape or to a television set for viewing. But when you use it for input to the camera, it will perform analog-to-digital conversion. 1. Hook up the output connector of your VCR (or analog camcorder) to the analog port in your DV camera, using our aforementioned "analog DV cable." 2. Set the DV camera to VCR mode. 3. Turn on the timecode display. This is a good idea in this situation, because you'll be logging the dub while it is being recorded. 4. Get your blank log sheet ready. 5. Put a clean DV tape in your camera. Label it something like A1, and label your log sheet with the same name. 6. Press Record on the DV camera. Wait until the timecode reads 3 seconds or so, then press Pause. Now you're ready to start playing the analog tape. 7. Make sure the tape you want to dub is in the VCR or analog camcorder and that it is rewound to the beginning. Then press Play on the analog device. In a couple of seconds the tape will start playing. 8. Depending on your mood, either release the Pause button on the DV camera as soon as you press Play on the analog tape side, or wait until you see the first image pop up on the camera's LCD. I like to get every frame, so I do the former. 9. Now the dub is in progress. You should see the red light on the DV camera's LCD, indi- cating that it's recording, and the images from the analog tape should be displaying there too. Start making notes on your log sheet--what you see, the timecodes, that sort of thing. Make sure the DV camera is not connected to your computer during the analog-to-digital conversion process. When the FireWire cable is connected, it's possible that the analog signal will not be recognized and the camera will appear to have no video coming into it. Discon- necting the FireWire cable will force the camera to look elsewhere for video, which it will find coming from the analog cable input. Choosing What to Edit As I said before, not everything you shoot will be edited. When you are shooting, you usually won't know when you have enough good coverage to give you something editable. When I review and log my material, I look for a few hallmarks that will drive me to edit one project over another. · Is the content compelling? It doesn't have to be footage of a train wreck or an alien landing to be com- pelling to my family, but it should have some intrinsic merit--something that entices me to cut it together and that others may want to see. (If I'm interested enough to spend a few hours editing a video, I can usually find a willing audience to view it.) · Do I have the structure? I want to know that some of my material lends itself to being a beginning, middle, and end. I can fudge a little here; it is not uncommon simply to fade up and call some random shot 111