[QuadList] Laugh-In (was "Assemble edits vs Insert edits")

Thu Jan 28 12:36:08 CST 2010

David,

Thank you for explaining the process you went through with the shows at NBC Burbank, where I was born (coincidentally) in December 1956.  I'm sure it was of interest to many on the list, including myself.

Did you happen to work on "Rowen and Martin's Laugh-In?"  Wikipedia describes the edit process like this:  "The show was pre-recorded at NBC<http://en.wikipedia.org/wiki/NBC>'s Burbank<http://en.wikipedia.org/wiki/Burbank,_CA> Facility. Since timecode-controlled videotape editing had not been invented at the time, montage was achieved by the error-prone method of physical splicing<http://en.wikipedia.org/wiki/Linear_video_editing> of the two-inch quadraplex<http://en.wikipedia.org/wiki/Quadraplex> tape. This had the incidental benefit of ensuring that the master tape would be preserved, since a spliced tape could not be recycled for further use. Laugh-In Editor Arthur Schneider<http://en.wikipedia.org/wiki/Arthur_Schneider> won an Emmy Award<http://en.wikipedia.org/wiki/Emmy_Award> in 1968 for his pioneering use of the "jump cut" -- the unique editing style in which a sudden cut from one shot to another was made without a fade-out."

I have read elsewhere that the show was kinescoped and the film was edited into a rough-cut that was later used to edit the videotape.  Could you elaborate further on this complex process?

Steve Thomas

SENIOR EDITOR and TECHNICAL DIRECTOR
phone:  248.351.7905
e-mail:  sdthomas at cbs.com<mailto:sdthomas at cbs.com>

"This user thinks that there are too many people who don't know that they're worse than their own children at spelling!"
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________________________________
From: quadlist-bounces at quadvideotapegroup.com [mailto:quadlist-bounces at quadvideotapegroup.com] On Behalf Of dcfwtx at aol.com
Sent: Thursday, January 28, 2010 1:14 PM
To: quadlist at quadvideotapegroup.com
Subject: Re: [QuadList] Assemble edits vs Insert edits (wasOMG!!!!)

George and all,

Depending on the nature of the edit session and the time factor (how close to air time), edit sessions were insert (on time-code black tapes as NBC used to call it) or assemble. For example, in the late 70's, I worked (recorded and then edited) a load of NBC game shows (Hollywood Squares, Password Plus, Card Sharks, etc.) all on 2". If the show was a total rebuild (in the case of severe show disruptions due to gaming problems, other production issues, or technical glitches-rare in Burbank), the session would be built on time-code black tapes as an insert session. This was usually in edit two (TR 70B's with the RCA/EECO single event edit controller) or in edit three (TR 70C's with the RCA/EECO single event edit controller). Both rooms had a GVG 1600 switcher and access to an HS 200. If it was a simple pull up session, assemble edits were the fastest way to get the show done. Simply one copy (two were made at show time) was added/pulled up to the other copy, thereby generating an edit master to time. All 2" stock as 3M 400 or 420. The edit master was dubbed to three other tapes when finished. The EM and a dub went to 30 Rock, the other two were for Burbank. Game shows were never a situation where it was close to air. They were taped 5 per day (with a meal break), several weeks in advance. On the other hand, The Tonight Show was rarely a rebuild as the turnaround was too close. It was either spliced or assembled edit (as in a pull up). The turnaround time was much more critical when the show was ninety minutes as opposed to the later sixty-minute shows (thanks to Johnny's contract modification in the early 80's).

One cottage industry at Burbank was the creation of time-code black tapes (known as crystal black or black&coded tapes at some other facilities). Jake (at that time) would come in and load up every available 2" machine (there were about 40 in Burbank) and record time-code-black tapes all night (all six Ampex machines and all the TR 70's and 600's). That's all he did from about 11P to 7A. A lot of 3M 2" stock was consumed overnight, both new and low-pass. He did a great job in assessing the TCB's on hand and what was needed (30, 60, and 90 minute loads).

The entire edit department in conjunction with zone delay and production VTRs was well organized at that time.

David Crosthwait
DC Video
www.dcvideo.com

-----Original Message-----
From: georgenann at aol.com
To: quadlist at quadvideotapegroup.com
Sent: Thu, Jan 28, 2010 8:16 am
Subject: [QuadList] OMG!!!!
Hey Guys,

Just received the following from Ted, regarding one of my boo boo's:

Hi, George,

On Jan 27, 2010, at 12:30 PM, georgenann at aol.com<mailto:georgenann at aol.com> wrote:

Also if I remember correctly, at least with the Ampex machines the cap actualy freeruns momentarily in an assemble edit.  Also I think this is the reason that at least at CBS insert edits were never used, always used insert edits.  I think this stigma has stuck around for some time, even though insert edits are now OK with the newer machines.

Did you mean to say "... at least at CBS assemble edits were never used," and "even though assemble edits are now OK with the newer machines"?

Ted

My computer put in the wrong word, it must have been confused.  Had I proof read that e-mail it should have said  "CBS ASSEMBLE EDITS WERE NEVER USED."

ALso there two "L's" in actually, I apologize for that one also.

Thanks to Ted and apologies if this caused loss of sleep or hypertension among the group.

73,

George Keller

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