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 3rd 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.