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Steve Porter

Behind the Title: MTI colorist Steve Porter

NAME: Steve Porter

COMPANY: MTI Film

CAN YOU DESCRIBE YOUR COMPANY?
We are a Hollywood-based post facility that specializes in TV finishing, film restoration and software development.

AS A COLORIST, WHAT WOULD SURPRISE PEOPLE ABOUT WHAT FALLS UNDER THAT TITLE?
That I am also a skin care specialist, VFX artist and therapist.

WHAT SYSTEM DO YOU WORK ON?
Digital Vision Nucoda.

Bates Motel

ARE YOU ASKED TO DO MORE THAN JUST COLOR ON PROJECTS?
This career has proven to be as much about color as it is about understanding cameras and technical workflows.

WHAT’S YOUR FAVORITE PART OF THE JOB?
Being able to put my stamp as an artist on a project and working with great DPs and clients that like collaboration.

WHAT’S YOUR LEAST FAVORITE?
Working with someone that doesn’t respect the art of it.

IF YOU DIDN’T HAVE THIS JOB, WHAT WOULD YOU BE DOING INSTEAD?
Trying to make the professional golf tour.

HOW EARLY ON DID YOU KNOW THIS WOULD BE YOUR PATH?
I’ve always loved photography and movies… it was a path that I never even knew existed when I was younger. It was something that bridged those two worlds, and I was lucky enough to have a knack for it.

CAN YOU NAME SOME RECENT PROJECTS?
Outlander, Outcast, Bates Motel, Good Behavior, The Magicians and Hell on Wheels.

Outlander

WHAT IS THE PROJECT THAT YOU ARE MOST PROUD OF?
The projects that I just mentioned above… and I love Outlander — the clients and the show, they allow great freedom to create many different worlds. I enjoy that and take great pride in being a part of it.

WHERE DO YOU FIND INSPIRATION?
Watching movies. Getting a wonderfully shot show from a great DP and seeing where something takes me — that’s inspiration.

NAME THREE PIECES OF TECHNOLOGY YOU CAN’T LIVE WITHOUT.
A cell phone, my color corrector and a set of golf clubs.

WHAT SOCIAL MEDIA CHANNELS DO YOU FOLLOW?
I really only check Facebook.

WHAT DO YOU DO TO DE-STRESS FROM IT ALL?
Did I mention I like to golf?

Post vet Russ Robertson returns to Deluxe, joins Encore New York

After a year away, Russ Robertson has returned to Deluxe as SVP of sales at the company’s Encore New York. With scripted original series reaching 455 — a record — in 2016 and more shows delivering in HDR formats, Robertson’s 20 years of post experience will support content creators as they navigate this global, multi-format market. He re-joins Deluxe after a year at Panavision, where he was VP of marketing of camera systems and production services.

Robertson first joined Deluxe in 2002 in Toronto. He spent 14 years as VP of sales in Toronto, Vancouver and New York. He helped establish the New York outpost of Deluxe’s Encore in the process. He began his 20-year post career in sales and services roles at a number of facilities in Toronto.

“I had an amazingly educational year learning about cameras and lenses, but there’s so much happening in post right now — new models, a sea change in workflows with HDR, and so much opportunity to help clients create content for worldwide audiences, I couldn’t stay away.”

G-Tech 6-15
Cory Melious

Behind the Title: Heard City senior sound designer/mixer Cory Melious

NAME: Cory Melious

COMPANY: Heard City (@heardcity)

CAN YOU DESCRIBE YOUR COMPANY?
We are an audio post production company.

WHAT’S YOUR JOB TITLE?
Senior Sound Designer/Mixer

WHAT DOES THAT ENTAIL?
I provide final mastering of the audio soundtrack for commercials, TV shows and movies. I combine the production audio recorded on set (typically dialog), narration, music (whether it’s an original composition or artist) and sound effects (often created by me) into one 5.1 surround soundtrack that plays on both TV and Internet.

Heard City

WHAT WOULD SURPRISE PEOPLE ABOUT WHAT FALLS UNDER THAT TITLE?
I think most people without a production background think the sound of a spot just “is.” They don’t really think about how or why it happens. Once I start explaining the sonic layers we combine to make up the final mix they are really surprised.

WHAT’S YOUR FAVORITE PART OF THE JOB?
The part that really excites me is the fact that each spot offers its own unique challenge. I take raw audio elements and tweak and mold them into a mix. Working with the agency creatives, we’re able to develop a mix that helps tell the story being presented in the spot. In that respect I feel like my job changes day in and day out and feels fresh every day.

WHAT’S YOUR LEAST FAVORITE?
Working late! There are a lot of late hours in creative jobs.

WHAT IS YOUR FAVORITE TIME OF THE DAY?
I really like finishing a job. It’s that feeling of accomplishment when, after a few hours, I’m able to take some pretty rough-sounding dialog and manipulate that into a smooth-sounding final mix. It’s also when the clients we work with are happy during the final stages of their project.

WHAT TOOLS DO YOU USE ON A DAY-TO-DAY BASIS?
Avid Pro Tools, Izotope RX, Waves Mercury, Altiverb and Revibe.

IF YOU DIDN’T HAVE THIS JOB, WHAT WOULD YOU BE DOING INSTEAD?
One of my many hobbies is making furniture. My dad is a carpenter and taught me how to build at a very young age. If I never had the opportunity to come to New York and make a career here, I’d probably be building and making furniture near my hometown of Seneca Castle, New York.

WHY DID YOU CHOOSE THIS PROFESSION? HOW EARLY ON DID YOU KNOW THIS WOULD BE YOUR PATH?
I think this profession chose me. When I was a kid I was really into electronics and sound. I was both the drummer and the front of house sound mixer for my high school band. Mixing from behind the speakers definitely presents some challenges! I went on to college to pursue a career in music recording, but when I got an internship in New York at a premier post studio, I truly fell in love with creating sound for picture.

CAN YOU NAME SOME RECENT PROJECTS YOU HAVE WORKED ON?
Recently, I’ve worked on Chobani, Google, Microsoft, and Budweiser. I also did a film called The Discovery for Netflix.

The Discovery for Netflix.

WHAT IS THE PROJECT THAT YOU ARE MOST PROUD OF?
I’d probably have to say Chobani. That was a challenging campaign because the athletes featured in it were very busy. In order to capture the voiceover properly I was sent to Orlando and Los Angeles to supervise the narration recording and make sure it was suitable for broadcast. The spots ran during the Olympics, so they had to be top notch.

NAME THREE PIECES OF TECHNOLOGY YOU CAN’T LIVE WITHOUT.
iPhone, iPad and depth finder. I love boating and can’t imagine navigating these waters without knowing the depth!

WHAT SOCIAL MEDIA CHANNELS DO YOU FOLLOW?
I’m on the basics — Facebook, LinkedIn and Instagram. I dabble with SnapChat occasionally and will even open up Twitter once in a while to see what’s trending. I’m a fan of photography and nature, so I follow a bunch of outdoor Instagramers.

WHAT DO YOU DO TO DE-STRESS FROM IT ALL?
I joke with my friends that all of my hobbies are those of retired folks — sailing, golfing, fly fishing, masterful dog training, skiing, biking, etc. I joke that I’m practicing for retirement. I think hobbies that force me to relax and get out of NYC are really good for me.


ACE Eddie nominees include Arrival, Manchester by the Sea, Better Call Saul

The American Cinema Editors (ACE) have named the nominees for the 67th ACE Eddie Award, which recognize editing in 10 categories of film, television and documentaries.

Winners will be announced during ACE’s annual awards ceremony on January 27 at the Beverly Hilton Hotel. In addition to the regular editing awards, J.J. Abrams will receive the ACE Golden Eddie Filmmaker of the Year award.

Check out the nominees:

BEST EDITED FEATURE FILM (DRAMATIC)
Arrival
Joe Walker, ACE

Hacksaw Ridge
John Gilbert, ACE

Hell or High Water
Jake Roberts

Manchester by the Sea
Jennifer Lame
 
Moonlight
Nat Sanders, Joi McMillon

BEST EDITED FEATURE FILM (COMEDY)
Deadpool
Julian Clarke, ACE

Hail, Caesar!
Roderick Jaynes

The Jungle Book
Mark Livolsi, ACE

La La Land
Tom Cross, ACE

The Lobster
Yorgos Mavropsaridis

BEST EDITED ANIMATED FEATURE FILM
Kubo and the Two Strings
Christopher Murrie, ACE

Moana
Jeff Draheim, ACE

Zootopia
Fabienne Rawley and Jeremy Milton

BEST EDITED DOCUMENTARY (FEATURE)

13th
Spencer Averick

Amanda Knox
Matthew Hamachek

The Beatles: Eight Days a Week — The Touring Years
Paul Crowder

OJ: Made in America
Bret Granato, Maya Mumma and Ben Sozanski

Weiner
Eli B. Despres

BEST EDITED DOCUMENTARY (TELEVISION)
The Choice 2016
Steve Audette, ACE

Everything Is Copy
Bob Eisenhardt, ACE

We Will Rise: Michelle Obama’s Mission to Educate Girls Around the World
Oliver Lief

BEST EDITED HALF-HOUR SERIES
Silicon Valley: “The Uptick”
Brian Merken, ACE

Veep: “Morning After”
Steven Rasch, ACE

Veep: “Mother”
Shawn Paper

BEST EDITED ONE-HOUR SERIES — COMMERCIAL
Better Call Saul: “Fifi”
Skip Macdonald, ACE

Better Call Saul: “Klick”
Skip Macdonald, ACE & Curtis Thurber

Better Call Saul: “Nailed”
Kelley Dixon, ACE and Chris McCaleb

Mr. Robot: “eps2.4m4ster-s1ave.aes”
Philip Harrison

This is Us: “Pilot”
David L. Bertman, ACE

BEST EDITED ONE-HOUR SERIES – NON-COMMERCIAL
The Crown: “Assassins”
Yan Miles, ACE

Game of Thrones: “Battle of the Bastards”
Tim Porter, ACE

Stranger Things: “Chapter One: The Vanishing of Will Byers”
Dean Zimmerman

Stranger Things: “Chapter Seven: The Bathtub”
Kevin D. Ross

Westworld: “The Original”
Stephen Semel, ACE and Marc Jozefowicz

BEST EDITED MINISERIES OR MOTION PICTURE (NON-THEATRICAL)
All the Way
Carol Littleton, ACE

The Night Of: “The Beach”
Jay Cassidy, ACE

The People V. OJ Simpson: American Crime Story: “Marcia, Marcia, Marcia”
Adam Penn, Stewart Schill, ACE and C. Chi-yoon Chung

BEST EDITED NON-SCRIPTED SERIES:
Anthony Bourdain: Parts Unknown: “Manila” 
Hunter Gross, ACE

Anthony Bourdain: Parts Unknown: Senegal
Mustafa Bhagat

Deadliest Catch: “Fire at Sea: Part 2”
Josh Earl, ACE and Alexander Rubinow, ACE

Final ballots will be mailed on January 6, and voting ends on January 17. The Blue Ribbon screenings, where judging for all television categories and the documentary categories take place, will be on January 15. Projects in the aforementioned categories are viewed and judged by committees comprised of professional editors (all ACE members). All 850-plus ACE members vote during the final balloting of the ACE Eddies, including active members, life members, affiliate members and honorary members.

Main Image: Tilt Photo


Sight, Sound & Story takes on cinematography

By Daniel Rodriguez

Manhattan Edit Workshop’s recent Sight, Sound & Story: Art of Cinematography in New York City featured two one-hour panels: “Thinking In Pictures — Perspectives, Compositions, Lighting and Mood” and “Life Behind the Lens: DPs Talk Careers and Creativity in Film and Television.” The first focused on documentary work and the second on narrative-based storytelling. Both sparked questions and ideas in the head of this DP, including what roles and responsibilities cinematographers play in the storytelling process.

Docs
“Thinking In Pictures — Perspectives, Compositions, Lighting and Mood,” moderated by DP David Leitner, featured fellow cinematographers Wolfgang Held and Kirsten Johnson. Johnson’s documentary Cameraperson has made the Academy Awards Documentary shortlist.

The role of a cameraperson is essential to any film, narrative or documentary, but especially in the documentary world where much of the action is unplanned or out of one’s control. Johnson remarked how “we all live in a new way of filming and being filmed.” So, while much of their talk reflected on their own careers, they also looked toward the future. Her statement made me think about the current state of filming and seeing how stories are becoming much easier to tell thanks to technology that ranges from high-end digital cinema cameras to the ever-improving video quality of cellphones.

It brought to mind the saying, “the best camera is the one you have with you,” as some of the most stunning documentation of the human condition in the past decade have been on phones and lower-end cameras. Today’s ability to capture images is a far cry from a time when Super 8 and 16mm were the few feasible formats for documentary work — even then, the technology limited the possibilities due to technical skill or the unfortunate reality of a film magazine running out and the precious few minutes one might lose while reloading.

Working off older terms like “reloading,” all three on the stage expressed their distaste with the term “shooter.” They emphasized how they weren’t shooting any firearms and, if anything, the real shooters were the ones pointing guns at them — this had them reflecting on the death of Leonardo Henrichsen, a cameraperson who filmed his death while staring down a rifle’s barrel as a soldier fired at him during Salvador Allende’s rule in Chile.

Oftentimes camerapersons have to live in the moment, whether in narrative or documentary to judge the conditions they’re in and make decisions that’ll maximize their coverage and approach. To paraphrase Johnson, she made the brilliant observation that “directors work by anticipating what happens next, while a cameraperson nourishes in the present.” Regardless of filming background, whether documentary or narrative, this statement rings true because time is usually the most pressing factor in the field or on set.

While I do believe that a cameraperson must be somewhat aware of what they are striving to tell or cover, this feeling of nourishing in the present permits one to be flexible with how the given moment affects mood and emotion. I’m going to paraphrase once more — Cartel Land director Matthew Heineman has said, “If the documentary you were looking to shoot is the same one you get at the end then you weren’t paying attention.” The statement that Johnson made only enforces this idea because you must be able to fully immerse yourself in that moment in order to truly understand how to capture it.

Possibly the most simple and effective statement hat really summarized the role of a cameraperson was from moderator Leitner. He said, “Every shot matters.” While that is a very general statement, it does raise many questions regarding the cameraperson’s role in today’s world. Since we are now living in a predominantly digital age where truly cinematic images can be captured easily and on cheaper prosumer cameras, our artistic roles as cinematographers and camerapersons come down to the intuition we have as artists to make every shot matter.

With the advent of digital cinematography, excessive coverage and the ability to shoot longer has now become part of the norm; oftentimes this is a sacrifice of quality for the sake of having more to work with. Coming from analog film backgrounds, each person on the panel, specifically Leitner, emphasized how this finite length of film made the utmost care and attention go into every shot.

Wolfgang Held most effortlessly showed this approach as he screened bits from the latest film he worked on as cinematographer, Sophie and the Rising Sun was largely shot handheld, but unlike this feeling of over-coverage, each shot feels thought out and effective in adding to the story. The role of a cameraperson is an ever-changing one, especially in our current age, and as technology becomes more accessible to many the emphasis will always be on the artist and their approach.

Narrative
“Life Behind The Lens: DPs Talk Careers and Creativity in Films and Television” was moderated by cinematographer Marcin Kapron and featured Eric Lin, Eric Alan Edwards and Vanja Černjul, ASC. All four cinematographers come from a narrative-based background and they reflected on the moments that inspired their career choices and projects they’ve worked on.

I loved hearing how each panelist began in the industry. They all came from different walks of life and have built their careers in different fields, ranging from television to indie films to major blockbusters. As a young DP, it was very exciting to hear that they each shared a persistent and infinitely curious approach to creating images from early on, mostly originating through stills photography and related techniques.

Each pro screened clips from projects and discussed their approach on set and the technical challenges they each faced. The talk eventually looked toward the future and newer storytelling formats, such as high frame rate, HDR, and 4K projection. All agreed that there has yet to be a common standard set for newer methods of displaying these new formats. Despite this, each panelist agreed that there is definitely potential in these formats, especially in HDR which Vanja has direct experience with, shooting episodes of Marco Polo for Netflix, which requesedt an HDR version for delivery.

Speaking with Vanja directly after the event and having spoken with the colorist who collaborated with him on the SDR and HDR versions, Dado Valentic, the biggest challenge with HDR is having ways of displaying and monitoring on set in a cost-effective way. Ultimately, each panelist agreed that these are simply tools to aid and provide new methods of storytelling and, as cinematographers, they’re excited for the future.

Summing Up
We currently live in an industry where the tools that were once exclusive to camerapersons and cinematographers are now affordable, compact and available to anyone. Listening to these panelists talk about their experiences and opinions on the future was exhilarating and encouraging. Regardless of whether you work on narrative or documentary fare, ultimately comes down to the role of the artist to bring their unique approach and creative work ethic to make every shot matter.


Daniel Rodriguez is cinematographer and photographer living in New York City. Check out his work here. Dan took many of the pictures featured in this article. He is credited with the photos in this piece.


Warner/Chappell intros Color TV, Elbroar music catalogs from Germany

For those of you working in film and television with a need for production music, Warner/Chappell Production Music has added to its offerings with the Color TV and Elbroar catalogs. Color TV is German composer Curt Cress’ nearly 14,000-track collection from Curt Cress Publishing and its sister company F.A.M.E. Recordings Publishing. Color TV and the Elbroar catalog, which is also from Germany, are available for licensing now.

Color TV brings to life a wide range of TV production styles with an initial release that includes nine albums: Panoramic Landscapes; Simply Happy, Quirky & Eccentric; Piano Moods; Chase & Surveillance; Secret Service; Actionism; Drama Cuts; and Crime Scene.

Following the initial release, Warner/Chappell Production Music plans to offer two new compilations from the catalog every two weeks. Color TV is available for licensing worldwide, excluding Italy and France.

“Composers have that unique talent and ability to translate what they’re feeling,” explains Warner/Chappell Production Music president Randy Wachtler. “You can hear emotion in different compositions, and it’s always interesting to hear how creators from countries around the world capture it.  Adding to our mix only adds more perspective and more choice for our clients.”

Cress began his musical career in the 1960s, performing in acts such as Klaus Doldinger’s Passport and his own band Snowball, as well as in Falco and Udo Lindenberg’s band. His solo projects involved work with local and international artists including Freddie Mercury, Tina Turner, Rick Springfield, SAGA, Meat Loaf and Scorpions, as well as releasing his own solo material. He made a name for himself as a composer for popular German films and TV series such as SK Kölsch, HeliCops and The Red Mile.

Elbroar, out of Hamburg, Germany, is a collection ranging from epic to minimal, jazz to techno and drama to fun. The catalog serves creatives in the fields of television, film and advertising, with a strong focus on trailers and daytime TV.

The catalog’s first release, “Epic Fairy Tales,” is an album of orchestral arrangements that set the scene for fantastic stories and epic emotions. Elbroar is available for licensing immediately, worldwide.


Team Player: Rules Don’t Apply editor Brian Scofield

By Randi Altman

In the scheme of things, we work in a very small industry where relationships, work ethic and talent matter. Brian Scofield is living proof of that. He is one of a team of editors who worked on Warren Beatty’s recent Rules Don’t Apply.

That team included lead editor Billy Weber, Leslie Jones and Robin Gonsalves. It was the veteran editor Weber (Beatty’s Bulworth 1998) who brought Scofield on board as a second editor.

Weber was Scofield’s mentor while he was in the MFA program at USC. “Not long after I completed graduate school, Billy helped me reconnect with the Malick camp, who I met while working in the camera crew on Tree of Life,” he explains. “I then became an apprentice on To the Wonder, and then an editor on Knight of Cups. When Billy came in as an advisor at the end of Knight of Cups, we reconnected in LA. He had just begun working on Rules Don’t Apply with Warren, and when I finished my work on Knight of Cups, he brought me aboard.”

Scofield recognizes that relationships open doors, but says you have to walk through them and prove you belong in the room all by yourself. “I think people often make the mistake of thinking that networking trumps talent and work ethic, or the other way around, and that just isn’t true.  All three are required to have a career as a film editor — the ability to form lasting relationships, the diligence to work really hard, and having natural instincts that you’re always striving to improve upon.”

Scofield says he will always be grateful to Weber and the example he’s set. “I’m only one of over a dozen people whose careers Billy has helped launch over the years. It’s in large part his generosity and mentorship that inspires me to pay it forward any chance I get.”

Let’s find out more from Scofield about his editing process, what he’s learned over the years, and the importance of collaboration.

You have worked with two Hollywood icons in Terrence Malick and Warren Beatty. I’m assuming you’re not easily intimidated.
It’s been a transformative experience in every way. These two guys, who have been making films for over 40 years, are constantly challenging themselves to try new things… to experiment, to learn. They’re always re-evaluating pretty much everything from the story to the style, and yet these are two guys with such distinct voices that really shine through their work. You know a Malick or Beatty film when you see it. The Inexhaustibility of the cinematic art form, I guess, is what I really took away from both of them.

Photo Credit: Francois Duhamel.They are both very different kinds of filmmakers.
You would never think that working on a Terrence Malick film would prepare you to work on a Warren Beatty film. Knight of Cups is a stream-of-consciousness, meditative tome about the meaning of life. Warren’s film is a romantic comedy with a historical drama slant. Aesthetically, they’re very different films, but the process of constantly finding ways to break open the movie all over again, and the mindset that requires, is very similar.

Both Terry and Warren are uncompromising and passionate about making movies the way they want and not bending to conventions, yet at the same time looking for ways to reach people on a very deep level. In this case, both films were also deeply personal for the director. When you work on something like that, it adds another layer of pressure because you want to honor how much of themselves they’re willing to put into their work. But that’s also where I believe the most exciting films come from. That pressure just becomes inspiration.

How early did you get involved on Rules Don’t Apply?
Right after production wrapped. I was finishing up with Terry on the mix stage for Knight of Cups when Billy called. They had an assembly of the film when I joined — everything was in there — and that version was probably about four hours long. Interestingly, some things have changed dramatically since that version and some are remarkably similar.

I was on Rules Don’t Apply for just over a year, but I’ve been back several times since officially finishing. I took a good amount of time off and went back, and since then I’ve popped in and out whenever Warren has needed me. Robin became a true caretaker of the film, staying with Warren through that additional time leading up to the release.

Is that typically how you’ve worked? Coming in after there’s an assembly?
I’ve come in as an additional set eyes on some, and I’ve been on films during production, sending cuts to the director while they’re in the middle of shooting. This includes giving feedback on pick-ups they need to grab or things to be wary of performance-wise, those types of things.

Both are thrilling experiences. It’s fun to come in when there has been one specific approach and they’re open to new ideas. You kind of get to shake people out of the one way they’ve been going about the film. When I’m the editor that’s been working on the film since the beginning, that initial discovery period when you see the film take shape for the first time is always thrilling. The relationship you form with both the film and the director is hard to beat. But then, I’m always excited for someone to come in and shake things up, to help me think differently. That’s why you do feedback screenings. That’s why you bring other editors into the room to take a look and to make you think about things from a different angle.

How was it on Rules Don’t Apply?
When I came on, so much of it was working really well from the first assembly, but I did want to strengthen the love story between Frank and Marla and make their attraction more evident early in the film so that it paid off later. I started by going through all of the scenes and looking for little moments where we could build up glances between them or find little raindrops before the storm of that budding relationship.

Photo Credit: Francois Duhamel.There were a few storylines going on at the same time as well?
The story takes place over a long period of time — you’ve got Warren Beatty playing Howard Hughes, you’re dealing with a young love story, you’re dealing with an incredible supporting cast, all of whom could be bigger characters or smaller characters. When you come in a little bit later, it’s often your job to help figure out which storylines or themes are going to become the main thrust of the movie.

So there are different definitions of co-editor?
Well, it varies every day. Some days Warren would want to work on a couple of different scenes, so one editor would take one and I would take the other. Sometimes you would have worked on a scene for a long time and somebody else would say, “Let me have a stab at that. I’ve got a different idea.” Sometimes we were all together in one room with one of us driving the Avid and the others offering a different set of eyes — eyes that aren’t staring at the timeline — and they’re looking at it side-by-side with the director, almost as a viewer instead of within the nitty-gritty of making the cut. We would take turns doing that.

You’ve got to check your ego at the door, I suppose? Everybody’s on the same team these days.
There’s no pecking order, and I think Billy Weber is really the one who sets that tone because he’s such a generous and experienced editor and man. There are people out in the industry that might be protective of their work versus letting anybody else touch it, but there’s none of that in any of the editing rooms that I’ve been fortunate enough to work in. Everybody’s respectful of each other.

On this film we had Billy, myself, Leslie Jones and Robin all working at the same time. You’ve got almost three generations of editors in that room, and to be treated as an equal really opens up your mind and your creativity. You feel the freedom to really present big ideas.

How is it collaborating with Warren?
He is such a unique guy. His favorite thing to do is to have a fight — he doesn’t want people who are just going to accept what he says. He wants a fiery debate, which can make people uncomfortable, but I’m okay with it. I actually really enjoyed that, especially when you realize he’s not taking it personally and neither should I. This is about making a movie the best that it can be. He wants people that are going to challenge him and push back.

Photo Credit: Francois Duhamel.So it’s part of his creative process?
Yes, it’s all about the discourse. If he has a strong point of view, he wants to argue it to make sure that he really believes it. And if you have a strong point of view, he wants you to be able to tell him why. I would say the fiercest fights led to him being most happy afterwards. At the end of the screaming, he would always say, “That was such a productive conversation. I’m so glad we did that!” He surrounds himself with people he knows he trusts. He knows that’s what he needs to make him as productive and as creative as he can be.

It’s been a long time since Warren directed a film, how did he react to the new technology?
He was thrilled with all of the new abilities of technology. This movie was shot on the Alexa, for the most part, and we did do a good amount of combining it will archival footage. This is a very modern movie in many ways, but it also has a distinctive throwback vibe. We had to try to marry those things without going overboard.

We resized frames, added a few push-ins, speed ramps, and so on. Ultimately, all of these tools just allowed him to explore the footage even more than he’s used to doing. He really loved taking advantage of new editorial opportunities that couldn’t have been done even 15 years ago, at least not as easily.

How do you organize things within the Avid Media Composer?
Any time I start a new job, I send a Google Doc to the assistant that specifies exactly how I want the project set up. It’s an evolution of things I’ve learned in different editing rooms over time.

For every scene, I have a bin with a frame view. If the bin is the size of my monitor, I should be able to see all clips in that one view without scrolling. Each set-up is separated from each other, so I can see very quickly, “Oh there are four takes of that shot, there are four takes of that shot, there are three takes of that one.” I have the assistant prepare three sequences: one that’s just a pure string-out of all of the clips, so I can, in one sequence, scrub through everything that’s there. I do a string-out “clean,” which is when you take out all the slates and you take out all the director’s talking, so I can be impartial and just look at the footage. Then I usually have one more sequence that’s just circle takes that the director chose on set. Then I go through and I make a select reel based off of everything that I watch. That’s the basic bin set-up.

For films that have multiple editors, organization is really important because somebody else has to be able to understand how your work is organized. You have to be able to find things that you did a year ago.

Any special tricks, like speed ramps, sound effects, transitions? I’m imagining that changes per project?
Yeah, it’s pretty unique to the project. There are a lot of editors who have specific effects that they go back to over and over again in their own bin. I’ve got a few of those, but I almost always end up tailoring them and sometimes just starting from scratch.  I go on the hunt for the right effect when I need it.

Photo Credit: Francois Duhamel.I’ve gotten pretty adept at tailoring the built-in effects to my needs as they come up, but people who use those effects all the time are working on more crazy action or stylized films because they’ve got a lot more demand for those than when you’re working on character-driven content.

Do you typically work with a template from a colorist, or do you do any temp color corrections yourself?
Most of the films have a look that the DP has already applied, and I do tweaking as needed. If we come up with a creative reason for color correction, I’ll do a sketch. I do a lot of work with sound, but with color, it just depends. If it needs to be changed in order to understand what the idea is or if we’re screening it for somebody that we don’t trust to be able to see what it is without color correction, then of course we’re going to go in and we’re going to tweak it. I’ve worked on a film where all the exteriors were really magenta, so we came up with our kind of default fix to be applied to all of those shots.

Can you elaborate on the sound part?
I cut as much for sound as I do for picture. I think people grossly underestimate the influence that sound has on how you watch a movie. I’m not a sound designer, but I try my best to provide a sketch for when we go into that next phase so the sound designer has a pretty clear idea of what we’re going for. Then, of course, they use their creativity to expand and do their own thing.

How do you work with your assistant editors? Do you encourage them to edit, or are they strictly technical?
It depends on the project and on the timeframe of the project. In the beginning, the priority is on getting everything set up. Then the priority is on helping me build a first sound pass after we’ve gotten an assembly. They help bring in effects and to smooth over things I’ve sketched out. Sometimes they’re just gathering effects for me and sometimes they’re cutting them themselves. Sometimes we’re kind of tossing them back and forth. I do a rough pass and I ask them to mix it, clean up the levels, add in a couple accents here and there. Once we’re through with that we kind of have at least a ground floor for sound to cut with.

When given the opportunity, I love to let my assistants get creative. I let them take a stab at scenes, or at least have them be present in the room to give feedback. When the director isn’t present, I rely a lot on my assistant just to check in and say, “Hey, is this crazy?” or try to engage them as much as I can in that creative process. It all just depends on the demands of the project and the experience level of the assistant.

Is there anything you would like to add?
Film is a collaborative art form, and in order to help a director do their best work, you need to be their friend, their antagonist, their therapist, their partner. Whatever it takes is what your job is. I was so fortunate to learn an enormous amount from Warren, but also from my fellow editors. I hope everybody has as much fun watching this crazy little movie as we did making it.

Finally, I’d just love to say that working with Warren will undoubtedly be one of the most cherished experiences of my life. Reputations be damned, he’s a kind, brilliant and uncompromising artist who it was endlessly inspiring to spend so much time with.  I’ll forever be grateful I had the opportunity to both work for him and to call him a friend.

Main Image: Robin Gonsalves, Warren Beatty and Brian Scofield.


Magix Movie Edit Pro Plus for when you want simple edits

By Brady Betzel

In the middle of 2016, Sony sold its nonlinear editing software Vegas to a 20-year-old German company called Magix. When they contacted me about reviewing their NLE Movie Edit Pro Plus, since I am always interested in the latest gear and software, I said, “sure.”

I was sent a copy of Movie Edit Pro Plus, and as I am typing this intro I am downloading around 5GB of additional content and templates to use inside the software. Immediately upon opening Movie Edit Pro Plus I get the feeling that this isn’t a professional NLE and to be honest, that isn’t a problem. Sometimes I just want to use something that is plug-and-play, so maybe that is how Movie Edit Pro Plus can work for you. Think of a Window’s version of iMovie when you don’t want to jump into FCPX to make a slideshow or family video. It even comes with prebuilt templates.

There are three versions of Movie Edit Pro: Standard, Plus and Pro. I am going over Plus, which retails for $99. The Pro version costs $129.99 while the Standard is around $49, but I was kind of confused by their site, which is running a deal where you get all the Pro benefits when you buy the $49 Standard edition. The Plus version adds features that include up to 99 tracks for video and audio, proxy video editing, shot matching, color correcting and some more templates and effects.

Immediately, I wanted to check out their keyboard shortcuts since I like to edit with as little clicking as possible. I found them in the help manual, but wouldn’t mind an onscreen keyboard layout/reassignment (me being a picky editor, I know). Then I loaded up their demo project that I was able to download and zoomed into the sequence using the scroll wheel on my mouse and the bar on the bottom of the timeline. It was a little strange as it zoomed into an arbitrary part of the sequence as opposed to where my edit indicator was on the timeline. To accurately zoom in you will need to use the keyboard shortcuts CTRL + Up Arrow or Down Arrow. Then I noticed you can place anything anywhere. Pretty crazy —you can put audio on video layers and put effects like timecode display anywhere you want… kind of like FCPX. It’s liberating I guess, but my OCD can’t really handle that yet. I’m really trying to get used to FCPX, I promise.

Sometimes I can’t help myself when I review products and I forget to start at the basics, like where to import your footage, audio or stills. So to back up a little bit, in the default view of Movie Edit Pro you get a few tabs on the top right: Import, Fades, Title and Effects. Each window has sub menus under the Fades menu you can see different types of transitions. It’s a little clunky but they get the job done. They have some cool preset transitions like card turns or slides. They are easy to apply by dragging them over the edit point between two clips. Once you apply it you can change the duration, for which you can only enter seconds or fractions of seconds, not frames like normal NLEs would use. By now you probably are getting the point that this is more of a beginner NLE or one for someone who wants to simply edit something without much technical thought.

On the plus side you do get a good amount of presets including title animations, subtitles, and even 3D title animations. One of my favorite plug-ins that comes with Magix Movie Edit Pro Plus is the Travel Route tool located in the Magix Tools drop down located under the Import tab. The Travel Route tool lets you set different stops along a trip, assign a way of travel like an airplane or car, and then animate your route. Animating a vacation along a map isn’t the easiest thing to accomplish, even for an After Effects wiz, so this being included is an awesome feature. You can preview your animation and, if you like it, create an export of it to use in your edit.

There are a lot of tools that come with Movie Edit Pro Plus that I haven’t mentioned yet, like Beat Based editing which allows you to automate an edit along a beat in a song, recording your actual edit so that you can create tutorials or timelapses of your edit easily, chroma key effects to key out that greenscreen you shot on, 360 video creation and much more. In the end you can share your content using the Export Wizard to sites like YouTube or even your phone.

In the end, Magix Movie Edit Pro Plus is not a professional nonlinear editor. If you are looking for a Premiere Pro or FCPX replacement this isn’t it. This isn’t bad though; sometimes I need an app that does home movie type editing fast and easy with templates — this is where Movie Edit Pro Plus might fit in for you.

Check out their website for more features, including image stabilization powered by proDAD’s Mercalli V2 technology.


Creating and tracking roaches for Hulu’s 11.22.63

By Randi Altman

Looking for something fun and compelling to watch while your broadcast shows are on winter break? You might want to try Hulu’s original eight-part miniseries 11.22.63, which the streaming channel released last February.

It comes with a pretty impressive pedigree — it’s based on a Stephen King novel, it’s executive produced by J.J. Abrams, it stars Oscar-nominee James Franco (127 Hours) and it’s about JFK’s assassination and includes time travel. C’mon!

The plot involves Franco’s character traveling back to 1960 in an effort to stop JFK’s assassination, but just as he makes headway, he feels the past pushing back in some dangerous, and sometimes gross, ways.

Bruce Branit

In the series pilot, Franco’s character, Jack Epping, is being chased by Kennedy’s security after he tries to sneak into a campaign rally. He ducks in a storage room to hide, but he’s already ticked off the past, which slowly serves him up a room filled with cockroaches that swarm him. The sequence is a slow build, with roaches crawling out, covering the floor and then crawling up him.

I’m not sure if Franco has a no-roach clause in his contract (I would), but in order to have control over these pests, it was best to create them digitally. This is where Bruce Branit, owner of BranitFX in Kansas City, Missouri came in. Yes, you read that right, Kansas City, and his resume is impressive. He is a frequent collaborator with Jay Worth, Bad Robot’s VFX supervisor.

So for this particular scene, BranitFX had one or two reference shots, which they used to create a roach brush via Photoshop. Once the exact look was determined regarding the amount of attacking roaches, they animated it in 3D and and composited. They then used 2D and 3D tracking tools to track Franco while the cockroaches swarmed all over him.

Let’s find out more from Bruce Branit.

How early did you get involved in that episode? How much input did you have in how it would play out?
For this show, there wasn’t a lot of lead time. I came on after shooting was done and there was a rough edit. I don’t think the edit changed a lot after we started.

What did the client want from the scene, and how did you go about accomplishing that?
VFX supervisor Jay Worth and I have worked together on a lot of shows. We’d done some roaches for an episode of Almost Human, and also I think for Fringe, so we had some similar assets and background with talking “roach.” The general description was tons of roaches crawling on James Franco.

Did you do previs?
Not really. I rendered about 10 angles of the roach we had previously worked with and made Adobe Photoshop brushes out of each frame. I used that to paint up a still of each shot to establish a baseline for size, population and general direction of the roaches in each of the 25 or so shots in the sequence.

Did you have to play with the movements a lot, or did it all just come together?
We developed a couple base roach walks and behaviors and then populated each scene with instances of that. This changed depending on whether we needed them crossing the floor, hanging on a light fixture or climbing on Franco’s suit. The roach we had used in the past was similar to what the producers on 11.22.63 had in mind. We made a few minor modifications with texture and modeling. Some of this affected the rig we’d built so a lot of the animations had to be rebuilt.

Can you talk about your process/workflow?
This sequence was shot in anamorphic and featured a constantly flashing light on the set going from dark emergency red lighting to brighter florescent lights. So I generated unsqueezed lens distortion, removed and light mitigated interim plates to pull all of our 2D and 3D tracking off of. The tracking was broken into 2D, 3D and 3D tracking by hand involving roaches on Franco’s body as he turns and swats at them in a panic. The production had taped large “Xs” on his jacket to help with this roto-tracking, but those two had to be painted out for many shots prior to the roaches reaching Franco.

The shots were tracked in Fusion Studio for 2D and SynthEyes for 3D. A few shots were also tracked in PFTrack.

The 3D roach assets were animated and rendered in NewTek LightWave. Passes for the red light and white light conditions were rendered as well as ambient show and specular passes. Although we were now using tracking plates with the 2:1 anamorphic stretch removed, a special camera was created in LightWave that was actually double the anamorphic squeeze to duplicate the vertical booked and DOF from an anamorphic lens. The final composite was completed in Blackmagic Fusion Studio using the original anamorphic plates.

What was the biggest challenge you faced working on this scene?
Understanding the anamorphic workflow was a new challenge. Luckily, I had just completed a short project of my own called Bully Mech that was shot with Lomo anamorphic lenses. So I had just recently developed some familiarity and techniques to deal with the unusual lens attributes of those lenses. Let’s just say they have a lot of character. I talked with a lot of cinematographer friends to try to understand how the lenses behaved and why they stretched the out-of-focus element vertically while the image was actually stretched the other way.

What are you working on now?
I‘ve wrapped up a small amount of work on Westworld and a handful of shots on Legends of Tomorrow. I’ve been directing some television commercials the last few months and just signed a development deal on the Bully Mech project I mentioned earlier.

We are making a sizzle reel of the short that expands the scope of the larger world and working with concept designers and a writer to flush out a feature film pitch. We should be going out with the project early next year.

TrumpLand

TrumpLand gets quick turnaround via Technicolor Postworks

Michael Moore in TrumpLand is a 73-minute film that documents a one-man show performed by Moore over two nights in October to a mostly Republican crowd at a theater in Ohio. It made its premiere just 11 days later at New York’s IFC Center.

The very short timeframe between live show and theatrical debut included a brisk five days at Technicolor PostWorks New York, where sound and picture were finalized. [Editor’s note: The following isn’t any sort of political statement. It’s just a story about a very quick post turnaround and the workflow involved. Enjoy!]

TrumplandMichael Kurihara was supervising sound editor and re-recording mixer on the project. He was provided with the live feeds from more than a dozen microphones used to record the event. “Michael had a hand-held mic and a podium mic, and there were boom mics throughout the crowd,” Kurihara recalls. “They set it up like they were recording an orchestra with mics everywhere. I was able to use those boom mics and some on stage to push sound into the surrounds to really give you the feeling that you are sitting in the theater.”

Kurihara’s main objectives, naturally, were to ensure that the dialogue was clear and that the soundtrack, which included elements from both nights, was consistent, but he also worked to capture the flavor of the event. He notes, for example, that Moore wanted to preserve the way that he used his microphone to produce comic effects. “He did a funny bit about the Clinton Foundation, and used the mic the way stand-up comics do, holding it closer or further a way to underscore the joke,” Kurihara says. “By holding the mic at different angles, he makes the sound warmer or punchier.”

Kurihara adds that the mix sessions did not follow a conventional, linear path as creative editorial was still ongoing. “That made it a particularly exciting project,” he notes. “We were never just mixing. Editorial changes continued to arrive right up to the point of print.”

Focusing on Picture
Colorist Allie Ames handled the film’s picture finishing. Similar to Kurihara, her task was to cement visual consistency while maintaining the immediacy of the live event. She worked from a conformed version of the film, supplied by the editing team.

According to Ames, “It already had a beautiful look from the way it was staged and shot, therefore, my goal was to embrace and enhance the intimacy of the location and create a consistent look that would draw the film audience into the world of the theatrical audience without distracting from Michael’s stage performance.”

Moore and his producers attended most of the sound mixing and picture grading sessions. “It was an unusual and exciting process,” says Ames. “Usually, you have weeks to finish a film, but in this case we had to get it out quickly. It was an honor to contribute to this project.”

Technicolor PostWorks has provided post services for several of Moore’s documentaries, including Where to Invade Next, which debuted earlier this year. For TrumpLand the facility created deliverables for the premiere at IFC, and subsequent theatrical and Netflix releases.

Says Moore, “Simply put, there would have been no TrumpLand movie without Technicolor PostWorks. They have a dedicated team of artists who are passionate about filmmaking, and especially about documentaries. In this instance, they went above and beyond what was asked of them to ensure we were ready in record time for our premiere — and they did so without compromising quality or creativity. I did my previous film with them a year ago and in just 14 months they were already using technology so new it made our 2015 experience feel so… 2015.”