“The availability of desktop editing with
a Final Cut Pro system has dramatically
changed this portion of the short-form
production process,” he says. “When
doing complicated green-screen and/or
tracking shots with special effects and
layering of elements, the spot can basically be edited — in rough form — on
set or location to assure the proper talent,
camera and lighting elements will blend
with the synthetic background graphic or
Another true believer in modern com-puter-based editing is Malcolm Karlin,
president and CEO of New York-based
Karlin+Pimsler Inc. He contends, “This
new software allows the creative to incorporate extraordinary 3-D graphics, fea-
DRTV Buyer —
the 78 Million
ture-film style special effects, or computer
animation for clients with even the most
modest of budgets. This frees up creativity
and elevates the production value, thus
engaging the viewer at a higher level.”
Improving digital technology on the
back end of the production process also
helps streamline storage and trafficking
spots to TV networks and stations.
“Electronic trafficking of spots to stations is one of the absolutely best things
to have happened in a long time,” says
Doug Garnett, president of Atomic Direct in Portland, Ore., and a Response Editorial Advisory Board member. “It saves
costs and time for distribution.”
Robert Yallen, president and chief operating officer of the Inter/Media Group
of Companies in Encino, Calif., and a
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Improving post-production editing software
has expanded the graphical capabilities of
all short-form producers — from 3-D graphics
to special effects.
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Response Editorial Advisory Board member, says digital storage capabilities are
changing the business. “Solid-state flash
memory, such as Panasonic’s P2 or Sony’s
SxS technology, is a huge step forward,”
he claims. “Tape hits and degeneration
are no longer concerns, and far less time
is spent on logging and digitizing.”
Kristy Pinand-Dumpert, vice president
of sales and marketing at Boonton, N.J.-based Concepts TV Productions, agrees.
“With the latest technology, tape stock
is starting to become obsolete,” she avers.
“Now, we can shoot and record to a drive
that hooks up directly to our editing