Editor’s Wake – Fast Video Machine

The year was 1994 when Fast Multimedia AG (Munich Germany) announced the Fast Video Machine. The Fast Video Machine was a hybrid editor, which is a product category that’s now all but disappeared to the filmmaking world.

Linear Editing was the standard, two or more video tape recorders (VTR’s) connected to a device that allowed you to record video linearly in real time from deck to deck. The new wave, of course, was Non-Linear Editing, which was the full digitization of your video assets which allowed you to cut entirely within the computer. For 1994 though, Non-Linear Editing was impossibly out of reach for most editors, besides the quality of the digitized video was not all that great, and you needed to go back to tape for the online edit. Hybrid-Editing was a crazy marriage of linear deck control, and the select digitization of certain parts of video (such as transitions), which allowed you to use the actual video tape signal for high quality, and married it with the digital transitions for flexibility. It actually worked remarkably well.

Here’s some words of advice at the time from Bob Noyle in Videomaker Magazine in 1994:

“Digital nonlinear enthusiasts will tell you, “Tape is dead!” Don’t believe them. Videotape is cheaper; 10 cents a minute compared to $100 for disk storage of one minute of high-quality digital video. Videotape is higher quality; going straight from tape to tape keeps you free of artifacts from digital video compression. And camcorder videotape itself may soon become digital, with the new DVC (digital video cassette) coming next year. So there will probably be a videotape edit controller in your future.”

I started editing with the Fast Video Machine when I was cutting the Videomaker TV show, and our production was shot on Hi8 tape, and then “mastered” to S-VHS  for distribution to our broadcaster (the USA network at the time). Of course now I cringe to think of the quality of second-generation S-Video going out, but hey those were the days… Still let’s break down the Fast Video Editing workflow and see where Hybrid-Editing came into its own.

Editing with Fast was, well fast. What’s amazing to me is that all the way back in 1994 we had actual real time computer based editing. The key was, that your master tape in your edit deck was essentially “online” the entire time you were cutting. The timeline consisted of clips that, instead of referencing digitized media, simply referenced timecode ranges on the tape. If you changed tapes, the Fast Video Machine would remember that too. The really cool part was that if you were doing a transition, like a dissolve, then the editor would actually just digitize the clips involved in the transition, and play only that back from the hard disk. You could also add titles and graphics to the timeline as well.

What would happen at the end was a true assembly. The Fast Video Machine would collect all the data on clips, transitions, and graphics and then assemble them from beginning to end on your record deck. If it was a straight cut, it was a simple tape to tape transfer. If there was a transition it would play back from the hard disk. If there was a graphic involved, the video signal would go through the computer and have it overlaid in real time. The record deck would start and stop several times. Scene by scene your program would be added to the record tape. There would be prompts to switch source tapes, and pre-rolls and post rolls would occur, but at the end you would have a completely finished master. The Fast Video Machine took the actual editing process and made it non-destructive inside the computer, but kept the speed and quality of an online linear edit for output.

The glue that held all this together was frame accurate deck control. Which always turned out to be the major issue we had with the system. It was not uncommon back in the day to have +/- 1 or 2 frames of accuracy in the prosumer VTR’s which lent itself to the occasional flash frames. To really use the system you needed professional quality decks.

The interface is pretty self evident, you had two (TWO!) video tracks and an FX track to work with, as well as audio that made up a timeline, and several selections of transitions. I remember back in the day one of the major selling points of any editor was how many transitions it could do, Fast Video Machine had over 300 transitons and you could roll your own as well.

From the hardware side it was a pretty impressive piece of technology, even for today’s standards. It came on one card and a breakout box. You had six inputs, on a two bus switcher. It had two time base correctors (TBC’s) so you could lock a max of three video signals together, with two separate frame buffers for titles and graphics. At full tilt, this baby could mix three video sources and two separate graphics channels together at the same time.

Because deck control was such a crucial part of the hybrid editing puzzle, the Fast Video Machine supported: Rs-422, LANC (control-L), Panasonic 5-Pin (control-M), Sony ViSCA, and RS232. It had presets for over 250 different decks and camcorders. In addition it was both PAL and NTSC capable and could even do standards conversion!

The Fast Video Machine itself would set you back about $4,000. But you’d need a pretty powerful computer to run it. Our system was pretty top of the line and consisted of:

  • Pentium 133MHz with 32 MB RAM
  • Windows 95
  • Matrox Mystique graphics accelerator with 4MB SGRAM
  • NEC Multisync XP21 Monitor
  • 4GB Seagate Cheetah Wide SCSI-2 hard drive

You also needed decks of course, and all in, an S-VHS based system would have been around $15,000-$20,000.

The Fast Video Machine died pretty quickly as the forces of computer technology conspired to make complete Non-Linear Editing possible at affordable prices. Interestingly, the editing software itself had an unusually long life and finally passed away completely only in 2010. Here’s the genealogy:

The Fast Video Machine editing software was the basis for Fast’s 1997 high-end NLE called Blue. In 2001 Fast was bought by Pinnacle Systems, who took the software and renamed it Liquid Blue. In 2003 Pinnacle reworked the program significantly and named it Liquid Edition. In 2005 Avid bought Pinnacle systems and renamed the NLE Avid Liquid, where it finally withered on the vine and was end-of-life’d on March 3, 2010.

All in all not a bad run of sixteen years for this branch of the editing family tree.

So raise a glass and toast the Fast Video Machine, and maybe the whole concept of Hybrid Editing as well. We hardy knew ye.

If you have any fond memories or horror stories about the Fast Video Machine, please leave them in the comments below.


Fast Multimeda AG is long gone, but at the time you could contact them via CompuServe, and this new fangled thing called the World Wide Web:

FAST can be reached around the clock at:
CompuServe: GO FAST
WWW: http://www.fast-multimedia.com
The FAST Compuserve forum contains free software updates and TechNotes about
our products. It also includes a forum for directing questions to our technical support
department and for exchanging ideas and information with other FAST customers. The
WWW site only offers software updates and product information.

Some old manuals are still available here: Manuals: http://www.specialeffekter.se/equipment/vmstudio.htm

And I’ll attach the Fast Video Machine tutorial manual as a PDF to this post, if you want to wander down memory lane.



  1. Joe Karapinka said:

    Have a problem with fast video machine with dpr.
    When playing from time line mc stutures at transition points sometimes leaving black video.
    Any siggestions ?

    January 28, 2013
  2. vaughnjuares said:

    I loved this system. I was one of the first to buy one back in the 90’s and successfully launched a career on it. The “Liquid” was also an amazing editor and I think back fondly to these machines. The article is dead on; good decks were everything in the linear days.

    The article didn’t mention, however, that you could do ENTIRE projects non-linearly. I edited many programs at a 5:1 compression and then simply output the final to Beta SP.

    August 27, 2013
  3. Gnome said:

    I owned a Video Machine with the so-called Double DPR consisting of two digital capture/playback cards – a true non-linear two track editor, image quality (SD, of course) limited only by HDD speed. When Seagate’s Barracuda SCSI disks with 10,000 RPM were available, you could go up to 3:1 compression which showed no artefacts. The system cost about 1/5 of an Avid but essentially did the same or more. Since Windows wasn’t that stable in those days it was quite hard to set up a running Video Machine system, but when done, it worked flawlessly. Since I lived in Munich at that time I once just went and visited Fast Multimedia: One of the DPR cards had a hardware failure. I went in to Fast and they fixed it with a soldering iron in just a few minutes – at no charge, of course. You might call that premium customer service. The system never failed again, I edited tons of corporate video on it. Most remarkable feature: Error messages could be delivered in Bavarian dialect and Klingon as well as “normal” languages.

    September 9, 2013
  4. Luis Pavia said:

    Hi. It’s october 2013, and I still have mine, carefully kept, and 100% operational. Does anyone wants to play with it? I live in Spain.

    October 27, 2013
    • Julio said:

      Hi Luis. I live in Spain too and in my high school there is an old Fast Video Machine, and my teachers want to move it to trash. I told them that if they’re gonna do it, they could give me the machine and do something with it. The machine looks perfect, but teachers told me that the computer got broken and is not there. Do you have any info about this device? Can we keep in contact? Thanks.

      November 25, 2014
      • Luis Pavia said:

        Hi, Julio. Sure it will be a pleasure to keep in touch, and help you with your machine. You can mail me to luis@videomagic.es. And any other one who may be interested can do it as well. I offer my help for free.

        Waiting for your mails…

        November 25, 2014
  5. old editor said:

    I used the Fast system from 1996 to about 2004. I miss the old girl. Most of what we did was fully digitized, we had the Fast+ with the rendering capability. Funny how my 30 year JX-3P is still a valid music synthesizer, but this is not the case for old computer sysatems.

    December 14, 2013
  6. H Amid said:

    I worked for FAST Multimedia in Munich for a few years before moving to Los Angeles! Amazing work environment and mind bending software and hardware. Ahead of its time until time caught up to it! I googled FAST while revising my resume just now and found this article. Seeing the VM logo brought back wonderful memories! Thank you for the VM wake!

    April 28, 2015
  7. René said:

    I worked for the Dutch subsidiary of FAST in Holland, Mediamore Data Vision. Video Machine, Screen Machine, Movie Machine and AV Master were groundbreaking products at the time. The only limit, as stated in the article, was Windows. I loved that time and think back with a smile. Now I’m working realtime on HD with an iMac with Final Cut Pro X, But articles like this bring back fond memories!

    May 27, 2015
  8. Michael said:

    I worked with FAST Silver in 2001 in Nigeria. It was an awesome experience. I believe most of my foundation knowledge in Post Production began back then. I wish they had a system like that ported into the 4k world of today.

    April 29, 2016
  9. riccardo said:

    good old Video Machine! I remember the joy when I figured out a way to use a macro to start playback without selecting the timeline range first! 🙂 I was 19 and I felt like a hero!

    June 6, 2016
  10. Ken Allen said:

    Thanks for the memories. Here in California I got a FAST video machine in the nineties and used it nearly every day till I got a Mac G5 with Final Cut and the early iMovie. I still have SVHS source and destination as well as UMatic deck configurations ready to fire up. I liked the ability to use it as a realtime camera switcher. But alas, it is not even a museum piece. Digital and HD and cheap storage changed the world.

    December 12, 2016
  11. Had this in my High School in Carleton Place Ontario Canada. loved using it we had 2 Panasonic ag1980 svhs video decks. At the time the technology blew me away.
    Thr 8 gig hard drive was a problem back in those days
    If you did not get your project done before the end of the period you would risk having the next student to use vm studio deleting your project!
    Some years later I got a Fast AV Master and made videos at home. I Wish had a desktop that i could put that huge card into today. (SEe if it would work in linux Mint).

    Today i use kdenlive in linux

    I have some videos i made with vm Studio and av master on youtube my channel is OttawaOctane

    March 14, 2017
  12. Gary Shenton said:

    Gary Shenton from Film Oxford (in Oxford UK).
    We had a VM system from about 1995, it was hybrid and full digital (3:1 compression).
    As may people have said here, it was an amazing system for the time. We were and still are and independent film making workshop and it introduced a generation to NLE.
    As a workshop that has been going for over 20 years we have amassed loads of equipment, from 16mm and 8mm to contemporary digital kit. We still have our Fast VM unit (and the miles of BNC and audio cables that go with it) . As you would expect it is no longer in service, but it’s all there (along with the Beta SP and Hi8 decks) just waiting for an enthusiast to take an interest.
    Bravo Fast Video Machine! We all loved it.
    (At the time we were called Oxford Film & Video Makers)

    September 9, 2017
    • Gary Shenton said:

      PS: We have been going for over 30 years.! Sorry for the finger trouble on the iPhone

      September 9, 2017

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