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

Thu Jan 28 21:23:24 CST 2010

Steve,

Laugh-In came and went before my time. George Slaughter was still doing other shows though. I did playback a few Laugh-In masters for dubs. I cannot describe the sound of hearing several hundred splices go by in either play or rewind. The playback servo may have been in H just in case.

Art Schneider just passed away recently. There are not too many editors amongst us with first hand accounts. However, I just received a reply for a general description from one who was there. Here is a portion of that note:

"I did not edit on Laugh In but just recorded sometimes to give breaks and play back the ESG at times. Esg  was an audible time code to us. A matter of fact I still have the original audio tape recording of that ESG. 
Let me try to remember the process.
There were several guys on this show, Al Gage, Charlie Tant, Gus Aguilara, John Teele, Bill Gamboa, Armond Pourtris, Art Schnieder and Ken Baker.  Bill Amadon recorded the audio in the audio room.  At that time we recorded with the same quad head remember? Later a kine scope was make of the recordings with a footage counter inserted. They did edit the film first using the slates and notes, and when it was done it was conformed by editing the video tape to match. There was a special table with spool holders and an audio head so you can hear the sound. Remember there was no line switching during the recordings so the editors did the conforming by listing to the sound track and knowing the video head with 9 inches behind the sound head. So see it was simple!, haaaaaaa.
The liquid  used to expose the pulses on the video tape was freon and you squirted some in the graphite bottle then you used a small bush. You brushed the filings on the inside of the tape about one eight of an inch wide and it exposed the control track pulses. So to make a splice you had to wear white gloves so you wouldn't leave hand grease on the tape. When you looked into the smith splicer you would cut right next to the pulse and between the video guard bands.  You had to make sure you were consistent thru the whole process. When you were ready to cut you placed these tape holders on the splicer down and made the cut fast to get a nice clean edge. Once cut you flipped a lever to lift the tape up and you would then lay the sticky splicing tape straight across the cut and roll out any bubbles. Then you trimmed the sides off. I think that is it , very simple. "

More later from others.

Best Regards,

David Crosthwait
DC Video
www.dcvideo.com

-----Original Message-----
From: Thomas, Stephen D <sdthomas at cbs.com>
To: Quad List <quadlist at quadvideotapegroup.com>
Sent: Thu, Jan 28, 2010 10:36 am
Subject: [QuadList] Laugh-In (was "Assemble edits vs Insert edits")

David,

Thank you for explaining the process youwent 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 “Rowenand Martin’s Laugh-In?”  Wikipedia describes the edit processlike this:  “The show was pre-recordedat NBC's BurbankFacility. Since timecode-controlled videotape editing had not been invented atthe time, montage was achieved by the error-prone method of physical splicing of the two-inch quadraplextape. This had the incidental benefit of ensuring that the master tape would bepreserved, since a spliced tape could not be recycled for further use. Laugh-In Editor ArthurSchneider won an Emmy Award in 1968 for his pioneering use of the"jump cut" -- the unique editing style in which a sudden cut from oneshot to another was made without a fade-out.”

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

SteveThomas 

SENIOR EDITOR andTECHNICAL DIRECTOR
phone:  248.351.7905
e-mail:  sdthomas at cbs.com
"This user thinks that there are too many people who don’tknow that they’re worse thantheir own children atspelling!"

From:quadlist-bounces at quadvideotapegroup.com[mailto:quadlist-bounces at quadvideotapegroup.com] On Behalf Of dcfwtx at aol.com
Sent: Thursday, January 28, 20101:14 PM
To:quadlist at quadvideotapegroup.com
Subject: Re: [QuadList] Assembleedits vs Insert edits (wasOMG!!!!)

George and all,

Depending on the nature of the editsession 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, inthe 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 theshow was a total rebuild (in the case of severe show disruptions due to gamingproblems, other production issues, or technical glitches-rare in Burbank), the sessionwould be built on time-code black tapes as an insert session. This was usuallyin edit two (TR 70B's with the RCA/EECO single event edit controller) or inedit three (TR 70C's with the RCA/EECO single event edit controller). Bothrooms had a GVG 1600 switcher and access to an HS 200. If it was a simple pullup session, assemble edits were the fastest way to get the show done. Simplyone 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 dubwent to 30 Rock, the other two were for Burbank.Game shows were never a situation where it was close to air. They were taped 5per day (with a meal break), several weeks in advance. On the other hand, TheTonight Show was rarely a rebuild as the turnaround was too close. It waseither spliced or assembled edit (as in a pull up). The turnaround time wasmuch more critical when the show was ninety minutes as opposed to the latersixty-minute shows (thanks to Johnny's contract modification in the early80's).  

One cottage industry at Burbank was the creation of time-code blacktapes (known as crystal black or black&coded tapes at some otherfacilities). Jake (at that time) would come in and load up every available2" machine (there were about 40 in Burbank)and record time-code-black tapes all night (all six Ampex machines and all theTR 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 inassessing the TCB's on hand and what was needed (30, 60, and 90 minuteloads). 

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

David Crosthwait

DC Video

www.dcvideo.com

-----OriginalMessage-----
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 wrote:

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

Did you mean to say "... at least atCBS assemble edits werenever used," and "even though assemble edits are now OK with thenewer machines"?

Ted

My computer put in the wrong word, itmust have been confused.  Had I proof read that e-mail it should havesaid  "CBSASSEMBLE EDITS WERE NEVER USED."

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

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

73,

George Keller

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