» Posts Tagged ‘editing’

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Adam EpsteinThe Saturday Night Live Film Unit is responsible for the short films (like this Wes Anderson horror parody) that get broadcast every Saturday night. Many are written, shot, and edited in 4 days or less, which makes for a very condensed and hectic production and post schedule. Last month, we interviewed Adam Epstein, the staff editor for the SNL Film Unit, and he not only provided technical information about how he works, but also some insight into how to be creative and effective on extremely tight deadlines. But that’s not where the great info stops, because Adam is now gearing up to hit the road for his Cutting Edge Tour, in which he’ll teach you everything you need to know in order to go from an empty timeline to an effective broadcast-ready piece. 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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Lawrence of Arabia EditingThere are very few things that you can learn in film school that can’t be learned online in some form or another. The only problem is that tracking down all of that information can be a bit of, well, a pain in the ass. Oftentimes you have to dig through page after page on obscure forums, or watch YouTube video after YouTube video, just to find something that is relatively helpful in your pursuit of filmmaking knowledge. Other times however, sites like IndieWire, Cinefix, (and ours, of course) bring the film school to you, without any need for absurd tuition and a lifetime of debt, and for people wondering what kind of material is taught in college editing courses, right now is one of those times. More »

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ProRes 4444 LogoApple just recently updated Final Cut Pro X, with better options for managing optimized, proxy, and rendered media, so that they can be stored anywhere outside of the library, and also all be deleted from inside Final Cut Pro X. In addition to the changes in FCPX 10.1.2, Apple updated Compressor and Motion, and they also launched a brand new codec, ProRes 4444 XQ, which promises even higher fidelity than ProRes 4444 at the cost of additional disk space. More »

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DaVinci Resolve 11 EditingIn the early days of NAB 2014, Blackmagic Design shared a few new products that made a major splash. However, even though some of these products generated some serious excitement, their biggest announcement by far was the fact that DaVinci Resolve, the legendary color correction software, was now also a fully fledged NLE with a host of new trimming and timeline tools. Although the official release date for the software is still several months out at this point, today Blackmagic released the public beta of version 11, which can now be downloaded from their website. More »

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Premiere Pro Live Text TemplatesA few days ago, Adobe released the Creative Cloud 2014 video applications, an update that included a few extremely welcomed new features throughout the entire range of video tools. Most notably, Premiere Pro and After Effects are becoming even more tightly integrated than they were previously, with new features in Premiere like masking and tracking of effects and Live Text Templates. These templates allow editors to manipulate text assets in multi-layer After Effects compositions without ever leaving Premiere Pro, something which should end the practice of incessant round-tripping between the two programs in order to make small adjustments. In a brand new Lynda tutorial, Chris Meyer shows us how exactly Live Text Templates work, and how to incorporate this exciting new feature into your editing workflow. More »

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FCPX Workshop Larry JordanCreativeLive is one of my absolute favorite educational websites. For those of you who are unfamiliar with the site, it offers educational video workshops in a variety of creative disciplines – everything from photography and filmmaking to audio production and business tips for creatives. Like most websites of this nature, the content can be purchased and viewed on your own schedule. But the thing that sets CreativeLive apart from its competitors is the fact that all of their courses play live (and for free) before they end up in the archives. So if you’re free this coming Monday through Wednesday (June 23-25). you can watch Larry Jordan teach a three-day masterclass in FCPX without spending a dime! More »

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Adobe AuditionFew things in filmmaking are as difficult or headache-inducing as getting clean production audio while you’re on set. Hence the reason that ADR is such a widespread practice throughout the narrative filmmaking industry. In almost all cases, even with the most talented boom operators and on-set mixers, there will be imperfections in the production sound. However, before scrapping the original sound for ADR (which is an incredibly time-consuming process), there are some nifty post production tricks in Adobe’s lineup of programs that could save you hours upon hours of time with just a few clicks. More »

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CropperCapture[30]The basics of the film language are just that, basics. You’ve got your wides and mediums and close-ups, and all sorts of variances in between. You’ve got OTS shots and 2-shots, and of course some cutaways. Then you’ve got the insert, the simple, lowly insert. Usually inserts are used to provide a closer look at some detail in a scene. However, when the insert shot becomes an instrumental part of a film’s individual language, some interesting things can happen. For instance, David Fincher’s masterful and suspenseful thriller Zodiac makes extensive use of the insert shot, and it has a profound and meaningful impact on how the film’s language interacts with and supports the characters and story.  More »

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Lightworks For MacFor the past few years, we’ve been patiently awaiting the long-rumored arrival of the Mac version of the legendary NLE Lightworks. A functioning version of the Mac software was shown as far back as NAB 2013, and at that time, many of us started to get excited. Nearly a year later, EditShare, the company which now owns Lightworks, announced that the public beta of the Mac version would become available in the middle of June. Well folks, the day has finally come where Mac users can head on over to the Lightworks website and download the software for themselves. Rejoice! More »

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Dave Dugdale Swim CommercialBack at NAB 2014, Dave Dugdale, who runs Learning DSLR Video, took some interview footage and b-roll he had shot previously, and sat down with editor Chris Fenwick for a three-hour editing session. The goal was to see what Chris could do with the footage having never seen it before. The video has some great tips for editing interviews down to their most powerful and interesting bits, and if you’ve never used Final Cut Pro X (or you want to know it better), Chris talks about how he uses the program effectively. More »

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final cut pro x fcp fcpx library manager media software nle non linear editing system app organization video 2Managing media requires attention and diligence — otherwise, it can become a headache. Fortunately for users of Apple Final Cut Pro X, app-makers Arctic Whiteness have just released Final Cut Library Manager 2. Expanding on the organizational capabilities of FCPX, Library Manager 2 gives editors a bird’s-eye view of all Final Cut Libraries, even if they exist on unconnected volumes. For those which are locally online, Library Manager offers a slew of features for both micro- and macromanagement of media. Check out some details below. More »

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Adam Epstein

Frequent readers of our site are likely familiar with the work of the Film Unit over at Saturday Night Live. On multiple occasions, we’ve covered the work of the Film Unit DP Alex Buono, most recently as he talked us through his work on the Wes Anderson parody, The Midnight Coterie of Sinister Intruders. As we know from Buono’s posts, the pre-production and production of these pieces are done on extremely tight deadlines due to the fact that SNL is a weekly show with multiple “shorts” per episode. However, for those of you who thought that those processes were as stressful and hectic as it gets, wait until you hear about (and watch) the post production of a few recent SNL shorts.

I recently talked with Saturday Night Live Film Unit editor Adam Epstein about some of his recent work for the storied television show. We chat about everything from how he landed at SNL to the technical aspects of his work as an editor for the show. More »

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Video thumbnail for youtube video Kevin Smith Talks About the Things You Can't Learn in Film School - No Film SchoolWhile this website might be called No Film School, we have always acknowledged that there are positives and negatives for attending or not attending film school. The mission that hasn’t changed since the site was created is to provide as much daily inspiration, knowledge, and news as possible on all sorts of topics related to filmmaking and shooting video, and this next clip is no different. Writer/director Kevin Smith, a film school dropout himself, talked during a Q&A about whether going to film school is worth it, and the skills that really can’t be taught in school. More »

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Thelma SchoonmakerLegendary editor Thelma Schoonmaker has collaborated with Martin Scorsese for essentially the entire length of both of their careers, starting with Scorsese’s feature Who’s That Knocking at My Door?. Needless to say, this 3-time Oscar winner, with nearly a half a century of filmmaking experience, has insight into the craft that you’d be hard-pressed to find elsewhere, and fortunately for us, Schoonmaker has shared 8 Golden Rules of filmmaking with MovieMaker Magazine, and we’ve selected a few to share with you. More »

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Star Wars The Editor Strikes BackApparently re-cuts of famous works by people who are in the industry isn’t anything new. We’ve got Steven Soderbergh’s re-cut of Michael Cimino’s Heaven’s Gate, and now we have something completely different. Topher Grace of That ’70s Show fame, who is a huge Star Wars fan, and he re-cut the three prequels, Episodes I, II, and III, into one 85-minute filmHe screened it just once publicly, but he’s got a trailer online, and some reactions from people who saw it. In honor of Star Wars day, we’ve also got some other new Star Wars materials just released, including a trailer for the new animated series, Star Wars Rebels. 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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Red Giant UniverseBack in March, Red Giant Software announced the public beta of Universe, their innovative online post production platform/community — a potentially endless library of free tools, plugins, transitions, and effects.  Well, today is the big day — Red Giant has officially launched Universe with 50 tools, as well as the option to join their Premium Membership that will grant users paid access to premium content, which includes 12 effects and 7 transitions. Continue on to find out more about Universe’s official launch. More »

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Heavens GateMichael Cimino’s The Deer Hunter follow-up, Heaven’s Gate, faced all sorts of obstacles during its making, and is famous in filmmaking circles for plenty of other reasons besides the movie itself, including its low box office take and over 200 minute running time. Filmmaker Steven Soderbergh has apparently been obsessed with the movie since it was announced, and he’s actually re-edited the entire film and put it online. Called “Heaven’s Gate: The Butcher’s Cut,” this new version comes in at under 2 hours, cutting out a significant amount of the film. Check it out below. More »

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Tribeca Talks Industry Master Class:The Cutting Room: An Insight to the Edit Suite - 2014 Tribeca Film FestivalOn Friday, as part of the Tribeca Film Festival, Martin Scorsese’s longtime editor, Thelma Schoonmaker, sat down to discuss what was advertised as a look at her career. What we in the audience got was a granular breakdown of the editing and film techniques, as well as other production information, about the painstaking work that went into making Raging Bull,  consistently voted one of the Best Films of the 1980s. Click through for a breakdown as well as some other inside tips from the artist who helped bring this masterful vision to the big screen. More »