Lightworks interview with Henry Stein, editor of Led Zeppelin’s “Celebration Day” concert film

Lightworks Spotlight: Henry Stein

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.

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.

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.

How did you get started with editing?

I started out as a stills photographer, and then Customer support at Olympus in London, before moving into video editing at the Olympus Gallery. 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.

What sort of equipment did you work with when you started editing?

We were using a three-machine VHS editing system — the only one in the UK at the time. 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.

What was your first experience of using an NLE?

Lightworks was my first experience of non-linear editing, previous to that I was used to editing with linear online systems. 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 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. 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.

I found Lightworks easy to get to grips with as it was the closest thing to a real editing experience available. 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.

What was the first film you used Lightworks on?

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. The band was right at the peak of their powers and it was a great experience, but definitely a challenging one. Lightworks was more than up to the job and we managed to produce a great looking, and sounding concert video.

What is it about Lightworks that makes you choose it over other NLEs?

Lightworks just lets you get on with the job of editing. 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. Above everything else Lightworks is solid, stable and it’s fast.

What would your typical workflow as an Editor be?

After receiving the rushes I spend a good deal of time preparing all the footage correctly — often up to a couple of weeks. 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.

Lightworks is very responsive to these types of changes as it’s able to easily move large sections around the timeline, if needed or requested by a client.

And do you think Lightworks is as relevant now in the days of File-based workflows as it was with film?

Yes, absolutely. Other NLE systems suffer huge problems around discipline, many of them will take in anything, with hundreds of options where only one will work, and then not be able to output it correctly. Lightworks, while fussy on its inputs, makes you import material correctly.

Do you use Lightworks’ advanced features like Multi Camera?

Yes, all the time. A good example was with 2003’s Led Zeppelin DVD which features a real mix of files in various formats, captured over a ten year period. With the footage from the 1970 Albert Hall concert being a two-camera shoot, one would expect that cutting it would be relatively easy. Not so!

It had never managed to be edited before as the cameras hadn’t been crystal locked — one being on average 101.5% and the other about 102.5%. Then there were speed changes as batteries went flat and at times both cameras had run out of film.

One month later, having worked day and night, it was finally in sync and every usable frame had been used. We then had to ‘online it’ using Lightworks Touch, as no other system at the time could accurately do the hundreds of minute speed changes needed.

What do you think of the ‘democratization’ of cinema through lower cost cinematic cameras, reusable media and free editing software?

I think it’s generally a good thing, but ultimately you still have to make a good product. There was maybe a very small window where some ‘less good’ things were being made, but essentially it’s all down to the quality of the final product. Is the story good? Is it shot well? Edited well?

What’s your favourite film that you’ve worked on?

I’d say it’s probably Bryan Adams ‘Live in Lisbon’ as it was shot exclusively on 16mm and Super8 at 15 frames for ‘the look’. It took almost a month just to vary the speed and sync up the rushes before the edit could even start!

And on a personal level it has to be The Who & Friends at the Albert Hall, as they are one of my favourite ever bands.

How do you think we can bring Lightworks back to the forefront in high-end editing?

The direction Lightworks is heading is incredible. I’m especially impressed with the level of support, help and goodwill available on the online forum — it’s staggering. Many editors I know are all Mac based and are using products made specifically for the operating system. Once Lightworks releases its Mac version I’m sure people will see the benefits of using it and jump on board.



Planning to try #Lightworks for Linux next week? These tutorial videos will help you get up to speed.

We produced this series of Lightworks tutorial videos earlier this year to help people get up to speed with the software quickly.

Watching all ten videos is an excellent crash course for getting up & running with Lightworks.

  1. Lightworks 11 Tutorial – Part 1 – Creating a Project (2:23)
  2. Lightworks 11 Tutorial – Part 2 – Importing Media Files (4:04)
  3. Lightworks 11 Tutorial – Part 3 – Organising Your Project (3:31)
  4. Lightworks 11 Tutorial – Part 4 – Searching in the Project (2:38)
  5. Lightworks 11 Tutorial – Part 5 – Playing Media (3:06)
  6. Lightworks 11 Tutorial – Part 6 – Basic Editing (6:19)
  7. Lightworks 11 Tutorial – Part 7 – Trimming on the Timeline (4:59)
  8. Lightworks 11 Tutorial – Part 8 – Simple Transitions (4:36)
  9. Lightworks 11 Tutorial – Part 9 – Working With Audio (4:30)
  10. Lightworks 11 Tutorial – Part 10 – Exporting Your Work (2:31)

Try them out and let us know what you think!

Lightworks brings Led Zeppelin’s ‘Celebration Day’ 2007 reunion concert DVD to life

London, UK – 22 October 2012 – With over 20 million people eager to get their hands on tickets to their first headline show in 27 years, Led Zeppelin’s 2007 London concert was one of the hottest events on the planet. The release of the live concert film “Celebration Day” on 19 November gives those millions who missed out the chance to experience the performance in all its glory.

Legendary music filmmaker Dick Carruthers once again turned to his editor of choice, Henry Stein, to help bring the film to life. The pair has worked together on a long and illustrious list of music projects, including 2003’s Led Zeppelin DVD – the biggest selling music DVD of all time – with Henry Stein using Lightworks exclusively to edit each and every one of these explosive live performances.

Stein explained why Lightworks is the best tool for the job. He said: “With any multi-camera project, you need a solid, stable and fast system, and Lightworks is certainly that. I particularly enjoy using Lightworks’ sync group function for multi-camera live footage, which in the case of the Led Zeppelin concert was a real mix of files – including Super 8. Lightworks allows you to run these extra files essentially as another camera, something other NLEs struggle with. Above everything else, Lightworks just lets you get on with the job of editing.”

Fans awaiting footage from the tribute concert held for the band’s dear friend and Atlantic Records founder Ahmet Ertegun have had to wait five long years. But, as is often the case with Led Zeppelin, they tackle projects when they feel the time is right, hence the 27-year wait for a live performance, and the production of this film was no different.

“The picture edit was originally started and almost finished in 2011 and was subsequently put on hold for a year at the band’s request. The original footage was then archived and put into storage, but when the time came to finish the film a year later, after un-archiving and restarting the edit we found the seven year-old Lightworks Alacrity’s hard drive was dead,” said Stein.

“The beauty of Lightworks was that we just hooked up the new computer with the latest software and everything worked seamlessly straight away. All in all we lost just a couple of hours of editing time as opposed to facing a major headache.”

The latest version of Lightworks for Windows is available to download for free at, with an upgrade to the Pro version available for only £40/€50/$60 per year, with Linux and Mac versions soon to be released. “Celebration Day” is available in multiple video and audio formats on 19 November from Swan Song/Atlantic Records.

EditShare is the technology pioneer in networked shared storage and tapeless, end-to-end workflow solutions for the post-production, TV and film industries.

EditShare’s ground-breaking products are designed to improve efficiency and workflow collaboration every step of the way. They include video capture and playout servers, high-performance central shared storage, archiving and backup systems, media asset management, and Lightworks – the world’s first three-platform (Windows/OS X/Linux) professional non-linear video editing application (NLE).

Contact details

EditShare Europe, Middle East & Africa: UK [REGION HQ]
Sean Sweet, Clifton House, Bunnian Place, Basingstoke, Hants, RG21 7JE, UK
Tel: +44 (0) 20 7183 2255 // Fax: +44 (0) 20 7183 2256 // Email: marketing @ editshare . co . uk

(The “four symbols” image is via Wikipedia’s Led Zeppelin IV article. The fact that we could use them for a Lightworks article just totally made our day.)

EditShare 6.2.1 now available, including Ark 2.2.1 & Flow 2.2.1. See for details.

New EditShare server updates are available. Please see for details & downloads.

Please note that these are part of EditShare’s 6.2.x series, with many notable changes & improvements to multiple product lines, including Storage, Flow, and Ark enhancements.

Full information about this update is available in the EditShare v6.2.1 ReadMe PDF

This release provides many important updates for Storage, Flow, and Ark. All customers are urged to update as soon as possible. Changes include Avid Style compatibility update for Media Composer and Symphony 6.5 for Windows, significant improvements in Avid Style performance in general, resolution of occasional network disconnections for OS X users who mount spaces by AFP, better Flow compatibility with Adobe Premiere, reduced memory usage by Flow and Ark leading to much better reliability during archiving and restoration operations, plus numerous overall improvements in Ark. Also, EditShare Connect and Flow clients are now “signed” for compatibility with security features in Mac OS X 10.7.5 Lion and OSX 10.8 Mountain Lion.

EditShare Storage (6.2.1) — Highlights in this version

  • Avid Style now compatible with Avid Media Composer and Avid Symphony 6.5 for Windows (OS X versions okay with previous release)
  • Increased Avid Style performance
  • AAF export resolved for Media Composer and Symphony 4, 5 and 5.5 for OS X when projects and/or media stored in Avid Style spaces
  • Automatic 10 Gigabit optimizations now applied on OS X workstations that have 10 Gigabit Ethernet adapters
  • EditShare’s Daily Backup job now include projects created in Avid Style spaces
  • Resolved occasional disconnections of AFP-mounted spaces when there was no network activity for a long time
  • EditShare Connect for OS X “signed” for compatibility with OS X 10.7.5 and 10.8.x security features

EditShare Flow (2.2.1) — Highlights in this version

  • Drag and drop from Flow Browse to Adobe Premiere improved
  • Speed of File Ingest from XDCAM Op1a clips significantly increased
  • Enhanced memory management improves system reliability when Flow is used in conjunction with Ark
  • Better search speed when the Flow database is large
  • Flow clients for OS X “signed” for compatibility with OS X 10.7.5 and 10.8.x security features

EditShare Ark (2.2.1) — Highlights in this version

  • Enhanced memory and notification management improves system reliability, especially when Ark used in conjunction with Flow, and especially when the number of files being processed is large.
  • Running “permissions repair” from the RAID Toolkit no longer always causes Ark Tape to backup up files again.
  • Now possible to migrate files from Ark Disk to Ark Tape
  • Now possible to backup Flow database and Flow proxy files to Ark destinations
  • Multiple restoration jobs can now run simultaneously if files come from different tape pools
  • Backup from EditShare Expansion servers to Ark Disk destinations now working again

IMPORTANT – Customers using EditShare Storage and Flow with Geevs servers:

  • EditShare Storage requires your Geevs server(s) to be running Geevs version This is the version of Geevs that was released to be compatible with the previous EditShare updates ( so you may already be running this Geevs version at your facility.
  • If you are updating Storage, Flow and Ark from versions earlier than (for example, from 6.1.3.x/2.1.3.x), you may currently be running a Geevs version that is incompatible with this new update.
  • Please be sure to update all your Geevs servers to if they are not already running that version. You cannot update some servers now and other servers later. All your servers must be running compatible versions.


Please visit the updated DAVE compatibility page for new information on the latest EditShare approved DAVE builds, 9.0.2-1450 and 10.0.1. All EditShare customers running OSX 10.8 Mountain Lion must be running DAVE 10.0 or DAVE 10.0.1 (DAVE 9.0.2-1450 is incompatible with Mountain Lion). EditShare customers running Mac OS X 10.7 Lion can run either DAVE 9.0.2-1450 or DAVE 10.0.1. The original DAVE 10.0 release is not 100 percent compatible with Mac OS X Lion or Mac OS X Snow Leopard, so Lion & Snow Leopard users who wish to run DAVE 10 should only use version 10.0.1.

#Lightworks v11.0.3 for Windows is now available at

We’ve just released Lightworks v11.0.3 for Windows, with a variety of bugfixes & enhancements. Downloads & more information are available at

We’re also hard at work on the upcoming beta of Lightworks 11.1 with a number of changes, including Blackmagic I/O support, as discussed over at RedShark, EditShare’s new online magazine for moving image professionals. If you are interested in joining the Lightworks beta program, information on it will be available to registered users on shortly.

As a reminder, we’re aiming to release the initial alpha version of Lightworks for Ubuntu Linux on the 30th of October. A lot of people have been asking about it, and we’re eager to get it to you and see what you start doing with it. 

If you’re just starting out with Lightworks, you may find the Lightworks video tutorials on YouTube useful. They were produced by Peter Bridgman, a long-time professional Lightworks user, and are well worth the time if you’re getting started — or re-familiarized — with Lightworks.

For those curious about the Mac & open source versions, we’re still fully committed to these, but have no updated information at this time. Keep an eye on the Lightworks roadmap for news as it becomes available, and of course our Facebook page and @ESLightworks on Twitter.

Lightworks News: RedShark, a new online magazine with news, views, & know-how for the moving image professional, is now live and available free-of-charge.

RedShark, a new online magazine providing news, views, and know-how for the moving image professional, is now live and available free-of-charge.

Published by EditShare, the creators of Lightworks Pro, the magazine includes daily content perfect for anyone involved in production, post-production, business and technology — featuring everything from cameras and lighting all the way to how you get your video in front of viewers.

RedShark has put together a team of 50 writers from all over the globe — industry experts, journalists, and authors — whose sole mission is to provide compelling, independent and newsworthy content, updated on a daily basis. We won’t just ‘cut and paste’ press releases like other news sites.

Over a third of a million have registered and downloaded Lightworks. That’s a huge community of video makers. So big, that it has its own gravitational pull.

The Editshare team has been working hard on ways to improve communication and to keep the Lightworks community ahead of the curve.

RedShark features in-depth articles, advice, news, tips and tutorials. Not just about Lightworks, but anything to do with the industry we work in.

Our writers will be talking directly to manufacturers and seeking answers to the most evasive of topics. We’ll have opinions, expert views, thought-provoking articles, the latest thinking and the sharpest cutting-edge views.

We’re always open to ideas and suggestions, so if you’ve got something important to say, then why not write for RedShark? Get in touch with us with your ideas at editor ( at )

Visit – the home of News, Views and Know-How for the Moving Image Professional.

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