This is very cool. That said, it's not always a good idea to have music play constantly, don't you think? Choosing moments without music, and choosing multiple music cues to reflect a change in thought/location/idea, is very helpful, I think. You signal to the audience that there's a new thought or moment when a new cue starts, or the music stops/starts, and you give the audience a kind of sonic break by not having wall-to-wall music. That said, this is a fascinating feature -- I'm curious to try it out!
These are helpful tips. I'd like to add one thought, though: some of the shortcuts that help you when dragging a clip to the timeline are still not as fast as just using pure keyboard shortcuts. Dragging a clip onto the timeline while holding down Command for an Insert Edit isn't as fast as hitting the comma key (or in my case, V, because I have Premiere set up Avid-style).
This is a wonderful point. I sometimes see movies where the writer clearly doesn't seem currently engaged in the emotional struggle of the characters, and the ending then seems too pat -- even if it's one of the classic unresolved or semi-resolved indie movie plots. You know, where the characters walk down the street in a long wide shot having not changed that much over the course of the movie, and you can reflect on the need to just move forward despite the ongoing uncertainty of life, or a group of characters have realized (once again) that it's not your family that matters, it's the family you find for yourself along the way that's important. And all of that is important and true...except it doesn't feel important or true. It feels trite. Because the writer and filmmaking team aren't feeling the emotional journey in a fresh and current way.
Me, too! I work in an all-Avid workplace, and while I deeply hate the Avid user interface, I love much about its technical underpinnings. One big problem, though, is the lack of easy proxy creation while editing. I'm working on a UHD show right now, and it's tough; a massive amount of transcoding upfront and a trickier overall workflow than seems right.
Great article. I think it's very important to remember that shooting ratio depends enormously on whether you're shooting with multiple cameras or not. For example, I'm guessing a lot of the high shooting ratio for Mad Max: Fury Road is due to many cameras in different positions simultaneously shooting the same stunt. Which is terrific, but different from having many more whole scenes shot, or many takes of each shot in a single scene. I guess what I'm saying is that "shooting ratio" is too coarse a measure to really understand exactly what the editor has to work with. But still a fun and useful number to look at!
This is really helpful--thanks!