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CHAPTER 1: INTRODUCTION TO AVID AND EDITING ■
Figure 1.10 Editing the media
The important thing to remember is that your sequence should be edited loosely,
leaving extra footage at the head and tail of each shot. Why? Out of sight, out of mind.
If you edit the piece together in a tight manner, you might forget something that was
on the original tape that you wanted to lose. In fact, you might consider this edit as an
assembly of sorts, in which you throw everything in that is going to be used. It doesn’t
even have to follow the right order as you see it. All this can be changed later.
The author Ray Bradbury described it this way: “I throw up in the morning and
clean up in the afternoon.” Not a particularly pretty image, but it makes sense. In the
early morning, guided by his subconscious from dreaming, Bradbury would run to his
typewriter and begin pecking away. It could be anything—a phrase, a poem, the begin-
nings of a story, or an anecdote. After lunch, he would take all of these newly created
elements and file them away where they belonged. Some would go into the wastebas-
ket; others would be developed into short stories, novels or poetry. Most importantly,
they would eventually find their place after being roughly assembled in the morning.
You can edit this way as well. Take all the elements that go into your story,
assemble them into a very rough program, and then, using the next process, trimming,
you can clean up the mess that you created into something that looks good. Chapters 3
and 4 introduce basic concepts and launch you into a new type of editing with the
Timeline.
Trim
The process of trimming is the key to the nonlinear editing experience. Using the trim
tool discussed in Chapter 5 (see Figure 1.11), you mold your program from the primi-
tive elements into something that flows naturally, is appealing to the eye, and brings
tears of joy to your audience. (This process would be what Bradbury referred to as
“cleaning up.”) The practice of trimming is basically very simple, but there are so
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