» Posts Tagged ‘avid’

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standard-gauge-still-2When I was nine or ten years old, and not busy seeing movies I was far too young to be seeing (thanks, indulgent parenting!), I haunted the film section at any available bookstore, buying scripts, biographies of my favorite directors, books on technique and craft — it didn’t really matter, so long as it was film related. Sometime in the mid-90s, this indiscriminate process resulted in my discovery of the classic, Feature Filmmaking at Used Car Prices. The author, Rick Schmidt, had written it several years before, and its premise was that for the average cost of a used car (around $6,000), it was eminently possible to make a feature film. Recently, I reread the book, and there’s no time like the present to catch up with the past, so put on your jodhpurs, grab a megaphone, and let’s make a movie, what say? More »

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Carsten Kurpanek Editor of Earth to Echo
Have you ever had that particular project come along that completely turned your career around — a break-out job after lots of hard work, that lead to more projects you loved working on? I FaceTimed recently with editor Carsten Kurpanek, who just edited his first wide-released feature Earth to Echo (in theaters now). Carsten was kind enough to provide some keen perspective from his own career thus far, some insights into the future of NLE technology, and even some recommendations and advice to those new to editing. More »

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scott freeman online editing editor post production cinema film filmmaking movies tv television series avid symphony blackmagic davinci resolve media workflowPerhaps one of the most under-appreciated aspects of cinema production is the work that goes into post. Editing, color grading, and visual effects play huge roles in shaping the final piece, but unseen and often unsung is the important work of the supporting positions in editorial, such as assistant editor and online editor. The men and women doing this kind of work keep the media management madness at bay, steam-rolling the workflow and ironing out issues so that editors and colorists may do their jobs unimpeded. To help lessen the burden, veteran online editor Scott Freeman has shared what he believes to be the first-ever unbreakable workflow between Avid Symphony and DaVinci Resolve. If hardcore work between these two tools is common for you, his research is a must-read. More »

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musiDAvid editors and assistants working in long-format television or feature films know dealing with music can be cumbersome. Pulling large volumes of music tracks and tracking them through the licensing process can involve a lot of backtracking and headaches. Assistants need to scour the timeline to gather song titles, their start and endpoints, and how many times they were used, a manual process. It’s also limiting and inefficient for editors to sift through tracks without additional song details besides just their filenames. An AMA plugin called mus.iD that carries across the metadata embedded in the ID3 tag offers a solution. More »

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Avid LogoNot exactly. Avid received a delisting letter from the NASDAQ Stock Market earlier in the week, and while it might seem like the end of the world, this was actually expected. Companies have to maintain certain conditions to stay listed on stock markets, and while Avid was granted a reprieve last September as long as they regained compliance by March, it became clear that the situation would not be resolved in time, and thus they have been delisted from the NASDAQ. So what’s next? More »

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Media Composer 7 TutorialWe all know that the editing software you choose has little to do with how good of an editor you are. However, if you’re looking to edit as a profession, especially on a freelance basis, then an in-depth knowledge of multiple NLE’s can help you maintain gainful employment. Not surprisingly, the NLE that is still the standard in most corners of the industry, especially now that FCP7 is finally being phased out, is Avid’s Media Composer. Learning the program can be a bit challenging at first, but the benefits are tremendous. Luckily, Avid has teamed up with Toronto-based editor and educator, Kevin P. McAuliffe to create a series of videos that will get you up to speed in no time. Check it out. More »

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NLE Survey Dave DugdaleThe NLE market has seen quite a few changes over the last decade, with Final Cut digging into Avid’s dominance, and now Premiere gunning for those who fled the changes in FCP X. So which non-linear editing programs are people actually using right now? Dave Dugdale of Learning DSLR Video conducted an online survey to try to answer that very question. Here are his results: More »

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Screen shot 2013-10-20 at 2.04.10 PMAvid’s Media Composer is a powerful piece of software, especially in terms of its media management and collaborative editing capabilities. However, Media Composer also boasts a powerful palette of effects that go well beyond the effects that are included in most other NLE’s. Despite the fact that some of these effects aren’t particularly easy to use, they do give editors the ability to create temp or finalized effects without the need for a specialized compositing program. Woody from Splice Training has put together an in-depth tutorial on how to create sci-fi energy blasts directly in Media Composer. Check it out. More »

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Video thumbnail for youtube video Editing 'Minority Report' Style: Editors Keys' Gesture-Based Interface for Final Cut Pro - nofilmschoolWe’ve seen a few early attempts at touch-based editing interfaces, using devices like the iPad. It may take some time for touch-based tools to mature into something better/faster than good ol’ fashioned keyboard input, if ever, but the developments are interesting to say the least. Now, Editors Keys are working on a totally gesture-based system for the Leap Motion Controller, for ‘lift of a finger’ interfacing with Apple Final Cut Pro X, Adobe Premiere & Photoshop, Avid & Pro Tools, and beyond. As always, editors will have to judge whether Minority Report-style control over their NLEs is viable. That said, it will be quite fascinating to see where technology like this goes. Read on for a demonstration by Editors Keys. More »

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Media Composer 7The 7th installment of Avid’s powerhouse NLE, Media Composer, is an impressive upgrade to previous versions. Not only is Media Composer considerably cheaper than it has ever been, but it also takes some cues from the competing NLE’s, and adds some major time-saving features that make it a better fit into many of our editing workflows. Alex Walker, an immensely talented DP, has put together a quick video showing his favorite new features in Media Composer. Check out the video and see how MC7 can save you some time: More »

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Blackmagic DaVinci ResolveNowadays, we equate ‘DaVinci’ with the powerful color correction software Resolve. It can be easy to forget DaVinci’s hardware-based origins, just as it can be easy to forget Media Composer’s origins as the dedicated machine editors used to call “The Avid.” Even in their software forms, these systems retain media matching abilities that were vital in the stand-alone NLE days — control of metadata. Resolve is no exception, even though we think of it primarily, even exclusively, as a grading tool. Scott Freeman, online editor of the USA series Suits and Covert Affairs, has recently taken the time to illustrate Resolve’s muscular metadata abilities. His workflow reminds us that such abilities are still quite useful today – when teaming up with Avid and otherwise. More »

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Alisa LepselterWoody Allen’s films are known for many things, but editing isn’t necessarily one of them. Which isn’t to say that the cutting in a Woody Allen film isn’t excellent, it’s just not something that calls attention to itself, except for rare occasions like the beautiful black and white shots that open Manhattan. And it’s his unobtrusive cutting style that has helped subtly define his films, with simple switches from a single to an over the shoulder changing the emotional tone of a dialogue scene without the audience even noticing. Invisible editing is everywhere, of course, but Woody’s working methods are famously unique, and now Alisa Lepster, his editor for 15 years, talks about the process of this legendary writer/director and how to cut a Woody Allen movie. More »

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Media Composer 7We covered the announcement of Avid Media Composer 7 back in April at NAB 2013. Since that time, we’ve gotten new versions of all the Creative Suite applications, and Apple’s FCP-X has been gaining traction with editors around the world. Needless to say, the NLE market is more competitive than ever, and innovation is through the roof while prices are at an all-time low for professional editing solutions. Avid’s new offerings with Media Composer 7 are no exception. With some fantastic new features – alongside a drastic reduction in price – Media Composer is looking to stay competitive in the high-resolution editing future.  More »

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steenbeck editing tableI was in the last generation of filmmakers to cut their teeth on old Arriflex 16mm cameras and Steenbeck editing tables (do the math, but I’m old). Since the advent of non-linear editing hardware and software, it seems as though films have gotten — faster, but is this really the case, or an optical illusion? An exhaustive and searchable database of Average Shot Length from the birth of cinema to now is available online, and it shows the evolution of editing in cinema. Click below to see just how editors are cutting films today how they cut in the past, and what this means for you as an indie filmmaker. More »

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As most post-production folks know, Avid Media Composer is not the most intuitive piece of software. Even the simplest of tasks can take far too much time if you’re unfamiliar with the Avid interface and workflow. However, once you’ve grown accustomed to the program, it becomes one of quickest and most powerful editorial tools at your disposal. Because Avid is such a prominent tool within the industry, yet one that is shied away from by many younger filmmakers, I will be starting the “Avid Tutorial” series (and a Premiere version as well). Each post will be an aggregation of the best topical video tutorials from around the web in order help people become better oriented with the key concepts and functions within the software. So without any further ado, let’s take a peak at some of the basic color correction functionality built into Avid Media Composer, and see how you can take your shots from bland to vibrant in a few easy steps. More »

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Here’s more for editors and post-production professionals from Avid, talking about the new Media Composer 7, the Symphony upgrade, AMA linking, working with 4K footage in the HD timeline with Frame Flex. FreshDV also talks with EditShare about Lightworks and their new price-point to compete with the other NLE giants: More »

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Avid has been the leader in high-end film and television post-production for the past 20 years. Despite this fact, Avid’s primary competitors (Adobe and Apple) have been stealing customers left and right for the past few years with new innovations in their NLE offerings. However, Avid has slowly and steadily been bringing Media Composer up to modern standards with 64bit processing, support for modern GPU’s, AMA linking etc, but up until yesterday, the Media Composer platform was still limited to a 1920 x 1080 pipeline. Avid’s Media Composer 7 looks to change all of this and bring the platform into the 21st century, where 4k looks to be the new standard. Check out the product video below: More »

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NAB is an exciting time of year for us filmmaking folk. While there are certainly some exciting things on the horizon in terms of cameras, rigs, lenses, lights, and what have you, I’m making an educated guess that this will be another significant year for NLE development, especially from post-production giants Avid and Adobe. Avid is likely to make the jump to version 7 of its flagship Media Composer, and if they follow their previously mentioned product cycle plan, Adobe will release version 6.5 of their popular Creative Suite. With much of the editing market still undecided between the three major players in post-production, these new updates could be a crucial stepping stone into the future for these companies. More »

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At the end of last year, Avid announced a free webinar exploring Bad Robot, the film and TV production company co-founded by J. J. Abrams — which, judging by the success of such projects as Mission Impossible: Ghost Protocol, Lost, and Star Trek, is doing more than one thing very, very right. Don’t worry if you missed that webinar, though, because Avid has recently shared a 20-minute video breaking down Bad Robot’s studio space — and not only is it an enviable one for any independent because each step of the creative process is fostered there, but also because its Media Composer workflow of collaboration taps the future directly. More »

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The colorist’s job has gotten a whole lot easier since chemical baths stepped out of the picture in many cases. Non-destructive color timing is the future in which we now live — that said, the principles at work in creating properly balanced imagery is as important as ever. Each camera we may be shooting on has its own unique implications in chromatic reproduction, and the ability to delicately correct a given color mixture (regardless of its source) is key. Ironically, or not, tools such as waveform monitors and vectorscopes — staples of the bygone analog video world — are as relevant today as ever in filmmaking, if not more so. A recent presentation by noted color correction author Steve Hullfish demonstrates precisely this point, as well as the basics in using your scopes to full advantage. More »