Edit Points: Editing VCRs (page 2)

If your editing aspirations are more ambitious than just condensing the good stuff from last year's vacation tapes, edit control features may be your most important consideration.

Some midrange VCRs, and most high-end edit VCRs, can control another VCR or camcorder by a cable and something called an edit protocol. Edit protocols are electronic "languages" that let VCRs and edit controllers communicate with each other to increase edit precision.

Simple protocols control only one function of a VCR, usually play or pause. Advanced protocols give access to many of a VCR's important features with one cable. That means you can program one VCR to operate another, which keeps you from pushing lots of buttons.

The more powerful the protocol, the more likely it will improve your editing. Two-way protocols, in which the two devices talk to one another, are the best. A one-way connection, though not optimum, is better than none.

Several protocol standards exist in the industry, but support on each edit deck varies. Some decks use only one protocol, others two or three. Here's a quick list of common protocols and VCRs you'll find to work with them.

• Remote pause/synchro-edit. These are the simplest control protocols, and they often go by different names depending on manufacturer. Information flows only one way, and usually performs just one function: to release the VCR's pause button. This protocol is found in some form on most midrange VHS VCRs and camcorders.
• Control-S. Common on older 8mm units as wall as a few VHS/S-VHS decks, this protocol is rarely found on new models. It's a one-way protocol only, but it controls more of a VCR's functions than remote pause/synchro-edit.
• Control-L. One of the best consumer-level edit protocols, Control-L "completes the loop" by offering two-way control of VCR functions. It's found on most Hi8 edit decks and one Sony S-VHS unit.
• Panasonic 5-pin. This protocol is similar to Control-L, but is found only on Panasonic Broadcast's AG- series edit VCRs. Though exclusive to Panasonic, several stand-alone and computer-based edit controllers will work with this protocol.
• RS-232. This protocol bridges the gap between consumer and professional worlds, offering a flexible two-way link between machines. Unfortunately, few lower-priced S-VHS and Hi8 edit decks support it.
• RS-422. This is the professional protocol standard, and it's even more powerful than RS-232. Thankfully, it's showing up more and more on reasonably-priced consumer edit decks.

Time code is a system that assigns every frame on a videotape a unique number or address. These numbers let edit controllers and decks find exact edit points easily when performing edits. The result: greatly improved accuracy over non-time code editing systems. Time code also makes logging and searching more efficient, because you can record where a scene starts and stops with frame accuracy. Time code values also won't slip relative to the tape, as will a real-time counter.

Several Hi8 VCRs offer Sony's RC (rewriteable consumer) time code, a flexible system that sits on a special area of the Hi8 tape. Other time code systems include longitudinal time code (LTC) and vertical interval time code (VITC). LTC requires a spare audio track and a dedicated audio output. Because it's recorded as a part of the video signal, any VCR will record VITC time code. If you need time code, do some digging into a deck's product info to make sure it's time code-capable.

Some companies load their edit decks with extras you'd normally buy separately; titlers, video faders or even a second VCR transport. These are frills, things to consider if you've got a few extra bucks to spend and want added luxury in your edit VCR.

I recommend getting decks with these features only if the edit VCR will likely be the last thing you buy in your edit system. Otherwise, save your money and spend it later on a more capable, more versatile stand-alone product.

Here are some common extra features, and decks that offer them.

• Time base corrector (TBC). TBCs keep images clearer by stabilizing the invisible sync pulses in the video signal. Better TBCs let you adjust the brightness, color level or chroma, hue and black level as well. Several low-end professional VCRs offer built-in TBCs with signal correction controls.
• Titler. While typically nowhere near as flexible as stand-alone models, some edit VCRs have titlers or character generators built-in.
• Fade. If you want an easy way to fade to and from black in your videos, and don't have the cash for a separate special-effects unit or video switcher, choose an edit deck with video fade. There are several available.
• Pre-roll. Instead of triggering the start of an edit by releasing pause, some edit decks rewind the tape a few seconds before the edit and then trigger the transition at the edit in-point. It's called pre-roll, and it gives you smoother transitions between edits.
• Multiple decks & formats. A few manufacturers make edit VCR packages that have two VCRs built into one unit. Sony's EVO-9720 Hi8 Studio, with its two Hi8 decks, is an example. GoVideo makes a VHS-to-VHS system that includes standard VCR features plus editing extras like flying erase heads, titlers and a real-time counter.

GoVideo also makes hybrid systems with a VHS and 8mm deck in one package. Their GV-8050 ($1099) offers quasi-Hi8 playback, titler and multiple edit storage.

Goldstar's GVR-DD1 ($900), also a VHS/8mm hybrid, has similar features: titler, real-time counter, microphone jacks and audio/video dubbing.

The best advice for choosing an edit deck is to know what features you need, and then check the decks that have those features. Doing this assures you'll find the best model available to suit your situation and your budget.

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