Not to belittle the editing process but viewing in shuttle was just common sense in a linear bay as it was when shuttling lab rolls on a flat bed. In a linear edit session cutting magazine segments it was the only chance the editor had of finding something other than what the producer/director had logged in their script, assuming there was a script and logs. At the station I started at the producer/directors had to screen their field tapes in a union staffed closet with 3 viewing stations and 3 BVU-200s. The tape machines were controlled by the union tape op and with the BVU's there wasn't anything like a shuttle control. This made the producers very focused while screening. This pre screening structure helped to force people to do their homework before coming to the bay. I do miss the tactile feel of shuttling tape to find a shot and I do think the lack of this "feel" does effect the style of pieces cut on an NLE. Shuttle viewing wasn't and isn't "magic" it just another way to keep reminding myself of the footage out there and trust me with my short term memory today I need all the reminding I can get.
--- In Avid-L2@yahoogroups.com, "oliverpetersvidy" <oliverpeters@...> wrote:
>
> I think the point that's being missed is that when Murch talks about seeing a shot in wind, he's merely talking about being REMINDED of a shot that might have been missed otherwise.
>
> His approach is to view all dailies in their entirety and take notes. This isn't a substitute for that and in fact, he's developed a whole process using FileMaker Pro for tracking info, impressions and comments for each and every shot and take. The view/shuttle approach is merely a way of spotting shots that you might have put out of your mind.
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> Secondly, because you see a number of shots quickly juxtaposed in ways that you wouldn't in normal play, you get a different appreciation for some shots.
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> - Oliver
>
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