<html><body style="word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space; "><head></head><div><blockquote class="webkit-indent-blockquote" style="margin: 0 0 0 40px; border: none; padding: 0px;"><div></div><div style="font-size: 12px; "><b>Reel from "An Evening with Fred Astaire"during restoration process in 1988. (Screen capture from KTLA News video)</b></div><div><br></div><div>Called "Editor's Sync Guide" (or ESG), the process used 16mm kinescopes of the video and magnetic film transfers of the audio. Long-time editor Art Schneider A.C.E said the word of mouth from Astaire "literally opened up the flood gates to producers and directors who wanted their shows edited at NBC. "</div><div><br></div><div>Schneider described how it worked in this webpage first posted on the late engineer/edit system designer Jack Calaway's "Museum of Early Video Editing Equipment and Techniques," preserved after his passing by the UK videotape website, VT Oldboys:</div><div><br></div><div><a href="http://www.vtoldboys.com/editingmuseum/esg.htm">http://www.vtoldboys.com/editingmuseum/esg.htm</a></div><div><br></div><div>The Quad tape was physically spliced to conform to the film edit. (Would be good to know more about some of the audio sweetening process used.)</div><div><br></div><div>Conforming the tape required the use of a special reel-holding set up. It allowed the videotape editors who conformed the tape to roll through the reels much like film while hearing the audio from the ESG and show. When splicing, they had to account for the physical offset between the sound head stack and video head.</div><div><br></div><div>The ESG system was used to create many shows in the late 1950's to the early 1970s. </div><div><br></div><div>It enabled Schneider to win two Primetime Emmys: One was shared with Craig Curtis in 1966 for <span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; ">Individual Achievements in Electronic Production - Video Tape Editing—they</span> cut the 1965 Julie Andrews special.</div><div><br></div><div>Schneider second Primetime Emmy was solo in 1968 for <span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; -webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; ">Outstanding Individual Achievement in Electronic Production. The program: </span> The pilot of "Rowan and Martin's Laugh-In," which aired as a special on September 9, 1967. </div><div><br></div><div>"Laugh-In" took the number of cuts per hour from perhaps 80 to something like 400. </div><div><br></div><div>In 2009, Schneider commented about ESG to QuadList member John Buck in connection with John's book about videotape editing, "Timeline." </div><div><br></div><div>John shared Art's comments in a Feb., 2010 post to the QuadList:</div><div style="font-size: 13px; "><a href="http://mail.quadvideotapegroup.com/pipermail/quadlist_quadvideotapegroup.com/2010-February/002208.html">http://mail.quadvideotapegroup.com/pipermail/quadlist_quadvideotapegroup.com/2010-February/002208.html</a></div><div><br></div><div>The show became a mid-season entry on January 22, 1968 using the ESG system for editing, and ran 141 episodes through March 12, 1973.</div><div><br></div><div>Others who worked at NBC at the time recalled the process to QuadList member/former NBC Editor David Crosthwait in this January, 2010 posting:</div><div style="font-size: 13px; "><a href="http://mail.quadvideotapegroup.com/pipermail/quadlist_quadvideotapegroup.com/2010-January/001931.html">http://mail.quadvideotapegroup.com/pipermail/quadlist_quadvideotapegroup.com/2010-January/001931.html</a></div><div><br></div></blockquote><b>Burbank Adds Timecode Editing:</b><br><blockquote class="webkit-indent-blockquote" style="margin: 0 0 0 40px; border: none; padding: 0px;"><div><br></div><div>By the late 1960's, time code based editing was making its way into video editing. </div><div><br></div><div>At NBC Burbank, the RCA TRT-1AC's, RCA Labs heterodyne color, and Low Band recording had been replaced by RCA TR-70 series machines with High Band Color. </div><div><br></div><div>As outlined in the June, 1971 issue of "RCA Broadcast News," NBC looked into the new technology in 1967, and implemented a special edit room in Burbank with two VTRs. Completed in the summer of 1968, the room successfully edited a season of several prime time programs.</div><div><br></div><div></div></blockquote></div></body></html>