#LIGHTWORKS VIDEO EDITOR SOFTWARE#
#LIGHTWORKS VIDEO EDITOR SERIES#

For me, this is the most important part of a project as if you have all the footage in place and looking good then you can easily add or remove anything, or react quickly to last minute changes. What would your typical workflow as an Editor be?Īfter receiving the rushes I spend a good deal of time preparing all the footage correctly – often up to a couple of weeks. Above everything else Lightworks is solid, stable and it’s fast. Other systems have too many menus and settings to confuse matters, often resulting in giving the user too many options to import - which is where things can easily go wrong.

Lightworks just lets you get on with the job of editing. What is it about Lightworks that makes you choose it over other NLEs? Lightworks was more than up to the job and we managed to produce a great looking, and sounding concert video. The band was right at the peak of their powers and it was a great experience, but definitely a challenging one. I had used Lightworks for many years for corporate, music and some television work, but the first big music project was with director Dick Carruthers: Oasis at Wembley Stadium for their ‘Familiar to Millions’ DVD. What was the first film you used Lightworks on?

#LIGHTWORKS VIDEO EDITOR SOFTWARE#

To this day, Lightworks is the only editing software I use as it lets me do everything I could possibly think of, quickly and simply. I found Lightworks easy to get to grips with as it was the closest thing to a real editing experience available. At the time I was still using online techniques, but over the years and as our client base grew it was clear I had to learn non-linear editing.

#LIGHTWORKS VIDEO EDITOR SERIES#

I started Edit Video Ltd with John Mayes in 1986 in a warehouse in Wapping, mainly editing music videos, but after four years we moved to the West End of London where we edited many popular television series – some with UK audiences of over 15 million – as well as many of the biggest concerts. Previous to that I was used to editing with linear online systems. Lightworks was my first experience of non-linear editing. What was your first experience of using an NLE? It was accurate to five frames which meant we often had to re-edit scenes over and over to ensure they were lined up correctly. We were using a three-machine VHS editing system – the only one in the UK at the time. What sort of equipment did you work with when you started editing?

It was there I learned about video editing while working on projects with Steven Berkoff, John Maybury and Derek Jarman, and was involved in producing the successful 'History of Pop Video' exhibition.

I started out as a stills photographer, and then Customer support at Olympus in London, before moving into video editing at the Olympus Gallery. Henry has recently finished editing Led Zeppelin’s new film ‘Celebration Day’ and ‘East End Babylon’ a feature-length film telling the often violent story of the Cockney Rejects – the original punk band from the streets of 1970s London. Henry Stein’s credits using Lightworks include concert films and music videos for Eric Clapton, White Stripes, The Who, Oasis, The Killers, Paul McCartney and 2003’s Led Zeppelin DVD – the biggest selling music DVD of all time. EditShare talked to long-time Lightworks user and music video editing legend Henry Stein, to coincide with the launch of Led Zeppelin’s Lightworks-edited concert film, Celebration Day.

Lightworks video editor