OWC 12.4

Category Archives: Editing

The editing and tech behind Netflix’s Black Mirror: Bandersnatch

This interactive film’s editor talks challenges as well as how Netflix’s Branch Manager tech made it all possible.

By Karen Moltenbrey

In any film, or web/television series for that matter, the final presentation is the culmination of many choices. The director’s, the scriptwriter’s, the editor’s… just about everyone’s but the viewers. However, Netflix changed that with Black Mirror: Bandersnatch, a special interactive TV movie during which viewers are prompted to make selections that affect the decision-making and, ultimately, determine the fate of the main character: a young video game programmer.

Alas, while the viewer is tasked with making certain decisions at various intervals in the movie, that certainly did not mean the workload was any less for those on the project. In fact, they had to devise a plethora of paths that could be selected — so many, in fact, that a new tool, called Branch Manager, was devised and integrated into the workflow to maintain order and elegance to what could easily have become a tangled web on so many fronts.

Black Mirror, a British science-fiction series of stand-alone stories, mostly focuses on the consequences of new technologies. It was created by Charlie Brooker, who serves as showrunner along with Annabel Jones. The very first episode debuted in late 2011, and after four “series,” the pair introduced the interactive movie Black Mirror: Bandersnatch on December 28, 2018, in which reality and fantasy merge together for programmer Stefan Butler (Fionn Whitehead) as he adapts a choose-your-own-adventure type novel into a video game. Soon Butler’s life begins to resemble that of the tragic author, and he begins to break down mentally, slipping further down the rabbit hole as he tries to make a seemingly impossible release date for the game.

Within this storyline, viewers are tasked with making certain decisions, each leading them along various paths in the narrative. In addition, there are a number of possible story endings. Viewers have 10 seconds to make decisions or one is made for them. But, once a play-through ends, viewers can go back and make a different choice. According to Netflix, the average viewing time for the movie is 90 minutes.

Tony Kearns

With 150 minutes of unique footage divided into 250 segments, just about every aspect of production was impacted in some way, perhaps none more so than editing. And that task was given to Tony Kearns, a veteran editor who calls Bandersnatch “the biggest challenge of my editing career” thus far. In terms of production, Kearns estimates the shoot to have been two to three weeks longer than a regular Black Mirror episode, and the edit took five to seven weeks longer than a show of similar duration, lasting 17 weeks.

“When we started working on Bandersnatch, we realized we were doing something that none of us had done before by making an interactive movie — especially one of such complexity,” says Kearns. “I think everyone who had a major role in the production grasped quite early on the need to be very organized and to get our heads around the structure of the script and the segments, as well as the implications of a nonlinear storytelling based on viewers’ choices at every choice point.”

Then, as the group worked through the movie and began getting more footage in the can, “it was obviously clear we had to work out a way of keeping track of things and getting the right results from the edit and how we were constructing it,” he continues. “Having the Branch Manager software [developed in-house by Netflix] enabled us to watch the movie with the various choices, and while making them, seeing the implications for editing — particularly at the end of a segment and when starting another. That’s because you weren’t moving to just one thing; you were going to two things, and both had to work. Some of the segments had six variations, so you had to make sure they all worked. It was a novel experience and very intense. We had to be on our toes all the time.”

Bandersnatch is not Netflix’s first interactive show. In fact, the company has experimented with more simplified interactive, or “branching narrative,” children’s shows since 2017. However, Bandersnatch marked the first time it has done so for live action and for an adult audience — and to resounding success based on audience reaction. On the heels of that success, Netflix has followed up with the live-action interactive show You vs. Wild, putting viewers into the tracks of adventurer Bear Grylls as they make decisions for him while he tries to survive an adventure in the wilderness.

For Kearns, though, Bandersnatch was his first interactive “adventure.” (He is currently editing the Netflix drama The End of the F***ing World, Season 2.) He found the process “very, very different from a linear experience.” Making things even more daunting was the level of interactive complexity that was introduced in Bandersnatch. “We had no idea how it was going to be received. Would people become too frustrated, or would the emotional aspects of the story come through within all the choices?”

One of the biggest considerations was in terms of structure — making sure there weren’t too many recaps and that they balanced out with the story’s complexity, lest viewers give up on the movie. Another big focus was ensuring that the performances within this structure maintained the empathy, or humanity, that would keep viewers engaged and invested in the characters and story.

As a result, the nonlinear process fostered closer communication among the group, with script supervisor Marilyn Kirby and assistant director Jay Author invaluable on set, and a particularly crowded editing room. “That prevented us from going mad while trying to get our heads around things,” says Kearns.

While the editor and director always work closely on projects, at times director David Slade, executive producers Brooker and Jones, producer Russell McLean, assistant editor John Weeks and VFX editor Will Howden were all working together in the cutting room. “Everyone was contributing. It wasn’t that it made things difficult; it was essential and made things more interesting and exciting,” says Kearns.

New Workflow
As Kearns points out, a typical TV show, drama or film has a main cut and that’s it. Not so for Bandersnatch, which had segments that at times had upward of 14 cuts, all of which had to be tracked and organized.

The script was divided into eight sections, and each segment in those sections was assigned a four-character alphanumeric number, along with the corresponding variant. “The workflow was based on keeping track of the segments. We knew by the number which section of the script it belonged to,” Kearns explains. “The workflow was dependent on us keeping a record, spreadsheets. While editing, we had to know which was the latest version, or cut, because they were constantly being reworked. And the latest one went into Branch Manager to be viewed on our laptops. That was an important part of the workflow.”

Using Branch Manager, however, required some technical savvy, and helping the editing team navigate the software was assistant editor John Weeks, who just happened to be an experienced coder and worked his magic with the QuickTime files for each segment and ingested them into Branch Manager. “He was able to be so proactive and communicate with the engineers and developers at Netflix. He really took to this like a duck to water,” Kearns says. “I know it took up a lot of his time, but it ended up being essential for us in terms of making decisions for the edit and structure.”

Kearns would receive footage to a particular segment after each day of filming, do an assembly and then integrate it into the system. Then he would work on further edits as the segment progressed and as the structure was reworked and aspects re-aligned. “The numbering system for each segment was kind of the spine of the process and helped us keep track of what we were doing,” he adds. “You have to be prepared to pull things apart and reassemble them because the experience is different.”

For the movie, Kearns edited on Adobe Premiere, since it allowed him to open more than one sequence at a time. “It was essential to have more than one segment edit up at a time and switch between them just to see how [the segments] flowed,” he says. He also used Adobe Premiere for the VFX work.

Branch Manager
The big star in terms of software on the project, though, was Branch Manager, developed by Netflix, which enabled the editing team to play with various options, choice points and timing, to ensure that the viewer was presented with the correct next segment based on the selection he or she had made. “You have a viewer’s experience, rather than looking at it on the edit system,” Kearns says of using the software. “We could view the movie in an interactive way on our laptops. We could see how the segments were working with each other, which was very useful.”

Carla Engelbrecht

He explains: “We’d basically do a pass and watch it, make notes and adjust the edit accordingly, because sometimes you see things in isolation and think, ‘Oh, they’re working,’ and then using Branch Manager, we were able to see that, well, maybe they aren’t working so well. It was an essential platform. It made the process more fluid and creative, and easy to understand the structural and editorial aspects. We wouldn’t have been able to do this movie without it.”

According to Carla Engelbrecht, Netflix director of product innovation, her team met with Brooker and Jones in May 2017 and introduced them to the interactive storytelling technology, which, at the time, enabled Netflix to tell various interactive stories. A few months later, the pair returned with what would be the beginnings of Bandersnatch, “and we could see this was going to be a much more complex story than what we had previously done for our interactive titles for kids, which contained simple maps with just 15 or so choices, and each often led to maybe three different endings,” she says.

Not so with the plans for Bandersnatch. “The complexity of the stories Charlie [Brooker] wanted to tell, as well as the complexity of the stories adults can tackle in general, was partly what really drove us to create Branch Manager.”

Initially, the Bandersnatch scriptwriters began their process using Twine, an open-source interactive fiction engine, but it was easy to see that would not be sufficient for the planned complexity of Bandersnatch. This prompted Engelbrecht’s group to begin developing its own software. Moreover, production teams were developing their own mapping systems, often using spreadsheets for the interactive content. “We knew we could smooth this out and make the process easier for everyone by creating a common language so we could all be on the same page,” she explains.

As Engelbrecht notes, Branch Manager is a visualization tool that is used throughout the production process, from viewing an outline to creating a flowchart of the story structure, within which pieces of the outline are embedded as a script is formed. During the shoot, rough (or even fine) cuts are added to the software. “Then you can start watching it and experiencing all of the pieces, whether for continuity or choices.”

After a few months, the software was up and running and ready to be migrated over for use on the project. “That become the ongoing tool, as we used it during the rest of scriptwriting through the actual production and even into post production,” she says. “We were sort of beta-testing it on the fly [with Bandersnatch]. As we got script deliveries, we would also get notes on Branch Manager and on other features they wanted us to add.”

Engelbrecht points out that for some in production and post, the new workflow was seamless, involving “just more” — in essence, one big linear file. (She estimates that the final file ingested into the system is approximately five hours long due to the various options.) But for others, like the DP and actors, scenes had to be reshot with slightly different takes, and editing had to track and assemble those different options. “Throughout development and beyond, we had conversations and tried to be mindful of where problems could occur at the various stages. We wanted the software to be as minimally disruptive [to the production workflow] as possible, given what we were doing.”

While Netflix hasn’t specifically quantified the time-savings that Branch Manager brought to Bandersnatch, Engelbrecht notes that it was significant and allows for the telling of much more complex interactive stories.


Listen to Netflix and Black Mirror execs discuss how Branch Manager helped drive Bandersnatch’s production and innovation.

An Interactive Future
Kearns attributes the project’s success to the group carefully considering how it would approach the movie and managing to avoid major “teething” problems by making the right decisions along the way. He notes it was important, as well, to stay on top of what was going on at any given moment in terms of how a particular segments of story. “There were so many dimensions that, mentally, it was really taxing, but exciting as well,” he says. “I had to be able to recalibrate my editing brain to not think of the story overall, but rather from the point of view of individual segments, and keep them coherent.”

Looking to the future, Kearns expects an uptick in interactive projects but believes the key to their success — as evidenced with Bandersnatch — is to develop good scripts that suit the format, rather than trying to do it as a gimmick. He warns: “You really need people in important roles to be at the top of their game. It’s not for the faint of heart. And, you have to be prepared to make those tough decisions, which are made even tougher due to the nature of the interactive structure.”

He adds, “No matter how difficult your next job is, it is going to be so easy after Bandersnatch.”

Meanwhile, Engelbrecht’s team is working on improvements to Branch Manager. “On Bandersnatch, we were building the airplane as we were flying it,” she says. “We’re now moving into Version 2, better integrating the software with external tools to make the work even more seamless. We’re also looking to improve the onboarding experience to make the learning curve shorter, so it’s not like learning a new programming language. We want it to feel more drag-and-drop.”

For instance, the group has made Branch Manager compatible with Final Draft screenwriting software, enabling a script to be imported directly into Netflix’s tool. The team is still working on the interface. “We have a long wish list just pertaining to the visualization experience with the tools. And, we’re working on how to better integrate it on the other end, so when we ingest files into the system, the metadata flows from Branch Manager directly into our [production] system, whereas right now we still have to create a spreadsheet to negotiate part of the process.”

Thanks to Branch Manager, the team on Bandersnatch was able to negotiate a complex web of shifting directions. So, too, for the executives at Netflix, who are able to explore and more easily navigate new directions for content.


Karen Moltenbrey is a veteran VFX and post writer.

FXhome, Vegas Creative Software partner on Vegas Post

HitFilm creator FXhome has partnered with Vegas Creative Software to launch a new suite of editing, VFX, compositing and imaging tools for video pros, editors and VFX artists called Vegas Post.

Vegas Post will combine the editing tools of Vegas Pro with FXhome’s expertise in compositing and visual effects to offer an array of features and capabilities.

FXhome is developing customized effects and compositing tools specifically for Vegas Post. The new software suite will also integrate a custom-developed version of FXhome’s new non-destructive RAW image compositor that will enable video editors to work with still-image and graphical content and incorporate it directly into their final productions. All tools will work together seamlessly in an integrated, end-to-end workflow to accelerate and streamline the post production process for artists.

The new software suite is ideally suited for video pros in post facilities of all sizes and requirements — from individual artists to large post studios, broadcasters and small/medium enterprise installations. It will be available in the third quarter, with pricing to be announced.

Meanwhile, FXhome has teamed up with Filmstro, which offers a royalty-free music library, to provide HitFilm users with access to the entire Filmstro music library for 12 months. With Filmstro available directly from the FXhome store, HitFilm users can use Filmstro soundtracks on unlimited projects and get access to weekly new music updates.

Offering more than just a royalty-free music library, Filmstro has developed a user interface that gives artists flexibility and control over selected music tracks for use in their HitFilm projects. HitFilm users can control the momentum, depth and power of any Filmstro track, using sliders to perfectly match any sequence in a HitFilm project. Users can also craft soundtracks to perfectly fit images by using a keyframe graph editor within Filmstro. Moving sliders automatically create keyframes for each element and can be edited at any point.

Filmstro offers over 60 albums’ worth of music with weekly music releases. All tracks are searchable using keywords, film and video genre, musical style, instrumental palette or mood. All Filmstro music is licensed for usage worldwide and in perpetuity. The Filmstro dynamic royalty-free music library is available now on the FXhome Store for $249 and can be purchased here.

OWC 12.4

Behind the Title: Editor and colorist Grace Novak

One of her favorite parts of the job is when she encounters a hard edit and it finally clicks and falls into place.

NAME: New York-based Grace Novak

WHAT’S YOUR JOB TITLE?
Editor and Colorist

WHAT DOES THAT ENTAIL?
I work with directors/clients to make their project come to life using an editing program. Then during the color process, I bring it even closer to their aesthetic vision.

WHAT WOULD SURPRISE PEOPLE THE MOST ABOUT WHAT FALLS UNDER THAT TITLE?
It can include a lot of not-so-creative work like troubleshooting and solving technical problems, especially when doing assistant color/edit work either for myself or for someone else.

WHAT’S YOUR FAVORITE PART OF THE JOB?
I love the great moment when you push through a hard edit and it finally clicks. I also love getting to collaborate with other great creators and filmmakers and working one-on-one in the editing room. I find it to be a great learning experience.

WHAT’S YOUR LEAST FAVORITE?
When nothing works and I don’t know why. But, luckily, once I figure it out (eventually, hours later sometimes) I’ve learned to solve a new issue.

WHAT IS YOUR MOST PRODUCTIVE TIME OF THE DAY?
Definitely the mornings once I’ve had some coffee. I’m a morning person who is most active around the hours of 8-11. Once lunch hits, it can be hard not to want to take a good midday nap.

IF YOU DIDN’T HAVE THIS JOB, WHAT WOULD YOU BE DOING INSTEAD?
When I was younger, for some reason, I told everyone I wanted to be a barber. I think that’s because I liked using scissors. Seriously, though, I’d probably be working with kids in some way or as an educator. I still hope to teach down the road.

WHY DID YOU CHOOSE THIS PROFESSION?
I knew I wanted a job where I could be creative, and with editing I can also be technically proficient. I love the combination of the two.

Dissonance

HOW EARLY ON DID YOU KNOW THIS WOULD BE YOUR PATH?
I always knew I wanted to be involved with film, probably since I was 12. I remember starting to edit on Windows Movie Maker and being enamored with the effects. I especially liked the really awful and gaudy one that went through a gradient of colors. Don’t worry, I would never use something like that now.

CAN YOU NAME SOME RECENT PROJECTS YOU HAVE WORKED ON?
I’m working on a lot of short indie films right now including Dissonance, Bogalusa and Siren. I’m also an assistant editor on the feature film The Outside Story.

WHAT IS THE PROJECT THAT YOU ARE MOST PROUD OF?
Dissonance, a short experimental film that is currently in color right now (with me), is probably the most proud I am of a project purely because of how far it pushed me as an artist, editor and collaborator.

WHAT SOCIAL MEDIA CHANNELS DO YOU FOLLOW?
I follow a lot, but in the post world that includes postPerspective, BCPC and Jonny Elwyn.

DO YOU LISTEN TO MUSIC WHILE YOU WORK?
If I can, I like to listen to podcasts. That’s probably my primary podcast listening time besides at the gym. Obviously, I can only do this during my color work. For music, I like tunes that aren’t too upbeat and more relaxing. For podcasts I like to listen to either comedians or Reply All, Blank Check and Reveal.

WHAT DO YOU DO TO DE-STRESS FROM IT ALL?
I like to read and play video games. I also started to do cross-stitch recently and it’s nice to find a way to use my hands that doesn’t involve a computer or a controller. I make sure to exercise a lot as well because I find that helps my stress levels like nothing else can.


Review: CyberPower PC workstation with AMD Ryzen

By Brady Betzel

With the influx of end users searching for alternatives to Mac Pros, as well as new ways to purchase workstation-level computing solutions, there is no shortage of opinions on what brands to buy and who might build it. Everyone has a cousin or neighbor that builds systems, right?

I’ve often heard people say, “I’ve never built a system or used (insert brand name here), but I know they aren’t good.” We’ve all run into people who are dubious by nature. I’m not so cynical, and when it comes to operating and computer systems, I consider myself Switzerland.

When looking for the right computer system, the main question you should ask is, “What do you need to accomplish?” Followed by, “What might you want to accomplish in the future?” I’m a video editor and colorist, so I need the system I build to work fluidly with Avid Media Composer, Blackmagic DaVinci Resolve and Adobe’s Premiere and After Effects. I also want my system to work with Maxon Cinema 4D in case I want to go a little further than Video Copilot’s Element 3D and start modeling in Cinema 4D. My main focus is video editing and color correction but I also need flexibility for other tools.

Lately, I’ve been reaching out to companies in the hopes of testing as many custom-built Windows -based PCs as possible. There have been many Mac OS-to-Windows transplants over the past few years, so I know pros are eager for options. One of the latest seismic shifts have come from the guys over at Greyscalegorilla moving away from Mac to PCs. In particular, I saw that one of the main head honchos over there, Nick Campbell (@nickvegas), went for a build complete with the Ryzen Threadripper 32-core workhorse. You can see the lineup of systems here. This really made me reassess my thoughts on AMD being a workstation-level processor, and while not everyone can afford the latest Intel i9 or AMD Threadripper processors, there are lower-end processors that will do most people just fine. This is where the custom-built PC makers like CyberPower PC, who equip machines with AMD processors, come into play.

So why go with a company like CyberPowerPC? The prices for parts are usually competitive, and the entire build isn’t much more than if you purchased the parts by themselves. Also, you deal with CyberPower PC for Warranty issues and not individual companies for different parts.

My CustomBuild
In my testing of an AMD Ryzen 7 1700x-based system with a Samsung NVMe hard drive and 16GB of RAM, I was able to run all of the software I mentioned before. The best part was the price; the total was around, $1,000! Not bad for someone editing and color correcting. Typically those machines can run anywhere from $2,000 to $10,000. Although the parts in those more expensive systems are more complex and have double to triple the amount of cores, some of that is wasted. And when on a budget you will be hard-pressed to find a better deal than CyberPower PC. If you build a system yourself, you might get close but not far off.

While this particular build isn’t going to beat out the AMD Threadripper’s or Intel i9-based systems, the AMD Ryzen-based systems offer a decent bang for the buck. As I mentioned, I focus on video editing and color correcting so I tested a simple one-minute UHD (3840×2160) 23.98 H.264 export. Using Premiere along with Adobe’s Media Encoder, I used about :30 seconds of Red UHD footage as well as some UHD S-log3/s-gamut3 footage I shot on the Sony a7 III creating a one-minute long sequence.

I then exported it as an H.264 at a bitrate around 10Mb/s. With only a 1D LUT on the Sony a7iii footage, the one-minute sequence took one minute 13 seconds. With added 10% resizes and a “simple” Gaussian blur over all the clips, the sequence exported in one minute and four seconds. This is proof that the AMD GPU is working inside of Premiere and Media Encoder. Inside Premiere, I was able to playback the full-quality sequence on a second monitor without any discernible frames dropping.

So when people tell you AMD isn’t Intel, technically they are right, but overall the AMD systems are performing at a high enough level that for the money you are saving, it might be worth it. In the end, with the right expectations and dollars, an AMD-based system like this one is amazing.

Whether you like to build your own computer or just don’t want to buy a big-brand system, custom-built PCs are a definite way to go. I might be a little partial since I am comfortable opening up my system and changing parts around, but the newer cases allow for pretty easy adjustments. For instance, I installed a Blackmagic DeckLink and four SSD drives for a RAID-0 setup inside the box. Besides wishing for some more internal drive cages, I felt it was easy to find the cables and get into the wiring that CyberPowerPC had put together. And because CyberPowerPC is more in the market for gaming, there are plenty of RGB light options, including the memory!

I was kind of against the lighting since any color casts could throw off color correction, but it was actually kind of cool and made my setup look a little more modern. It actually kind of got my creativity going.

Check out the latest AMD Ryzen processors and exciting improvements to the Radeon line of graphics cards on www.cyberpowerpc.com and www.amd.com. And, hopefully, I can get my hands on a sweet AMD Ryzen Threadripper 2990WX with 32 cores and 64 threads to really burn a hole in my render power.


Brady Betzel is an Emmy-nominated online editor at Margarita Mix in Hollywood, working on Life Below Zero and Cutthroat Kitchen. You can email Brady at bradybetzel@gmail.com. Follow him on Twitter @allbetzroff.


Sugar Studios LA gets social for celebrity-owned Ladder supplement

Sugar Studios LA completed a social media campaign for Ladder perfect protein powder and clean energy booster supplements starring celebrity founders Arnold Schwarzenegger, LeBron James, DJ Khaled, Cindy Crawford and Lindsey Vonn. The playful ad campaign focuses on social media, foregoing the usual TV commercial push and pitching the protein powder directly to consumers.

One spot shows Arnold in the gym annoyed by a noisy dude on the phone, prompting him to turn up his workout soundtrack. Then DJ Khaled is scratching encouragement for LeBron’s workout until Arnold drowns them out with his own personal live oompah band.

The ads were produced and directed by longtime Schwarzenegger collaborator Peter Grigsby, while Sugar Studios’ editor Nico Alba (Chevrolet, Ferrari, Morongo Casino, Mattel) cut the project using Adobe Premiere. When asked about using random spot lengths, as opposed to traditional :15s, :30s, and :60s, Alba explains, “Because it’s social media, we’re not always bound to those segments of time anymore. Basically, it’s ‘find the story,’ and because there are no rules, it makes the storytelling more fun. It’s a process of honing everything down without losing the rhythm or the message and maintaining a nice flow.”

Nico Alba and Jijo Reed. Credit: David Goggin

“Peter Grigsby requested a skilled big-brand commercial editor on this campaign,” Reed says. “Nico was the perfect fit to create that rhythm and flow that only a seasoned commercial editor could bring to the table.”

“We needed a heavy-weight gym ambience to set the stage,” says Alba, who worked closely with sound design/mixers Bret Mazur and Troy Ambroff to complement his editing. “It starts out with a barrage of noisy talking and sounds that really irritate Arnold, setting up the dueling music playlists and the sonic payoff.”

The audio team mixed and created sound design with Avid Pro tools Ultimate. Audio plugins called on include Waves Mercury bundle,, DTS Surround tools and iZotope RX7 Advanced.

The Sugar team also created a cinematic look to the spots, thanks to colorist Bruce Bolden, who called on Blackmagic DaVinci Resolve and a Sony BVM OLED monitor. “He’s a veteran feature film colorist,” says Reed, “so he often brings that sensibility to advertising spots as well, meaning rich blacks and nice, even color palettes.”

Storage used at the studio is Avid Nexis and Facilis Terrablock.


Sight, Sound & Story focuses on editing, June 13 in NYC

The Sight, Sound & Story: Post Production Summit will take place at the NYIT Auditorium Theater on Broadway in New York City on June 13.

This year’s line-up features editors Mary Jo Markey, ACE (Star Wars — Episode VII: The Force Awakens, Star Trek, Mission Impossible III, Charlie’s Angels), Kate Sanford, ACE (The Marvelous Mrs. Maisel, The Deuce, The Wire), Carla Gutierrez, ACE (RBG, La Corona, Chavela), Leo Trombetta, ACE (13 Reasons Why, True Detective, Mad Men) Jean Tsien, ACE (The Apollo, Dixie Chicks: Shut Up & Sing), moderator Bobbie O’Steen (author of “Cut to the Chase” and “The Invisible Cut”), moderator Jeremy Workman (Magical Universe, The World Before Your Feet) and moderator Gordon Burkell (AOTG.com).

Following the event is a networking/tech party sponsored by the American Cinema Editors, including light food, drinks and sponsored giveaways. Event admission is $49. You can register here. (Use Code: POSTPERSPECTIVE and save $20 off of your registration.)  

Boris FX will provide all attendees a free one-month subscription to Sapphire, Continuum & Mocha Pro.


Wacom updates its Intuos Pro Small tablet

Wacom has introduced a new Intuos Pro pen and touch tablet Small model to its advanced line of creative pen tablets. The new Intuos Pro Small joins the Intuos Pro Medium and Intuos Pro Large sizes already available.

Featuring Wacom’s precise Pro Pen 2 technology with over 8K pen pressure levels, pen tilt sensitivity, natural pen-on-paper feel and battery-free performance, artists now can choose the size — small, medium or large — that best fits their way of working.

The new small size features the same tablet working area as the previous model of Intuos Pro Small and targets on-the go creatives, whose Wacom tablet and PC or Mac laptops are always nearby. The space-saving tablet’s small footprint, wireless connectivity and battery-free pen technology that never needs charging makes setting makes working anywhere easy.

Built for pros, all three sizes of Intuos Pro tablets feature a TouchRing and ExpressKeys, six on the Small and eight on the Medium and Large, for the creation of customized shortcuts to speed up the creative workflow. In addition, incorporating both pen and touch on the tablet allows users to explore new ways to navigate and helps the whole creative experience become more interactive. The slim tablets, also feature a durable anodized aluminum back case and come with a desktop pen stand containing 10 replacement pen nibs.

The Wacom Pro Pen 2 features Wacom’s most advanced creative pen technology to date, with four times the pressure sensitivity as the original Pro Pen. 8,192 levels of pressure, tilt recognition and lag-free tracking effectively emulate working with traditional media by offering a natural drawing experience. Additionally, the pen’s customizable side switch allows one to easily access commonly used shortcuts, greatly speeding production.

Wacom offers two helpful accessory pens (purchased separately). The Pro Pen 3D, features a third button which can be set to perform typical 3D tasks such as tumbling objects in commonly used 3D creative apps. The newly released Pro Pen slim, supports some artists ergonomic preferences for a slimmer pen with a more pencil-like feel. Both are compatible with the Intuos Pro family and can help customize and speed the creative experience.

Intuos Pro is Bluetooth-enabled and compatible with Macs and PCs. All three sizes come with the Wacom Pro Pen 2, pen stand and feature ExpressKeys, TouchRing and multi-touch gesture control. The Intuos Pro Small ($249.95), Intuos Pro Medium ($379.95) and Intuos Pro Large ($499.95) are available now.


ACE announces new Eddie Awards timing

American Cinema Editors (ACE) has set the 70th Annual ACE Eddie Awards, which recognize outstanding editing in film and television, for Friday, January 17, 2020 at the Beverly Hilton Hotel in Beverly Hills. That date is almost three weeks earlier than usual as the truncated awards season landscape — ignited by the Oscars moving up to Feb. 9, 2020 — takes shape.

The television categories eligibility dates have also changed — television contenders must have aired between Jan. 1, 2019 and Nov. 1, 2019. Feature film eligibility remains the same with contenders having to be released between Jan. 1, 2019 and Dec. 31, 2019.

The black-tie awards ceremony will unveil winners for outstanding editing in 11 categories of film and television including:

Best Edited Feature Film (Drama)

Best Edited Feature Film (Comedy)

Best Edited Animated Film

Best Edited Documentary (Feature)

Best Edited Documentary (Non-Theatrical)

Best Edited Drama Series for Non-Commercial Television

Best Edited Drama Series for Commercial Television

Best Edited Comedy Series for Non-Commercial Television

Best Edited Comedy Series for Commercial Television

Best Edited Miniseries or Motion Picture for Television

Best Edited Non-Scripted Series

Three special honors will be handed out that evening including two Career Achievement recipients presented to film editors of outstanding merit and the Golden Eddie Filmmaker of the Year honor presented to a filmmaker who exemplifies distinguished achievement in the art and business of film. Honorary award recipients will be announced later this year.

Submissions for the ACE Eddie Awards open September 13 and close on November 1. For more information or to submit for awards consideration beginning September 13, visit the ACE web site.

Key dates for the 70th Annual ACE Eddie Awards are:

September 13, 2019 Submissions for Nominations Begin

November 1, 2019 Submissions for Nominations End

November 18, 2019 Nomination Ballots Sent

December 9, 2019 Nomination Ballots Due

December 11, 2019 Nominations Announced

December 16, 2019 Final Ballots Sent

December 20, 2019 Deadline for Advertising

January 5, 2020 Blue Ribbon Screenings (Television categories)

January 6, 2020 Final Ballots Due

January 15, 2020 Nominee Cocktail Party

January 17, 2020 70th Annual ACE Eddie Awards

 


Review: Avid Media Composer Symphony 2018 v.12

By Brady Betzel

In February of 2018, we saw a seismic shift in the leadership at Avid. Chief executive officer Louis Hernandez Jr. was removed and subsequently replaced by Jeff Rosica. Once Rosica was installed, I think everyone who was worried Avid was about to be liquidated to the highest bidder breathed a sigh of temporary relief. Still unsure whether new leadership was going to right a tilting ship, I immediately wanted to see a new action plan from Avid, specifically on where Media Composer and Symphony were going.

Media Composer with Symphony

Not long afterward, I was happily reading how Avid was taking lessons from its past transgressions and listening to its clients. I heard Avid was taking tours around the industry and listening to what customers and artists needed from them. Personally, I was asking myself if Media Composer with Symphony would ever be the finishing tool of Avid DS was. I’m happy to say, it’s starting to look that way.

It appears from the outside that Rosica is indeed the breath of fresh air Avid needed. At NAB 2019, Avid teased the next iteration of Media Composer, version 2019, with overhauled interface and improvements, such as a 32-bit float color pipeline workflow complete with ACES color management and a way to deliver IMF packages; a new engine with a distributed processing engine; and a whole new product called Media Composer|Enterprise, all of which will really help sell this new Media Composer. But the 2019 update is coming soon and until then I took a deep dive into Media Composer 2018 v12, which has many features editors, assistants, and even colorists have been asking for: a new Avid Titler, shape-based color correction (with Symphony option), new multicam features and more.

Titling
As an online editor who uses Avid Media Composer with Symphony option about 60% of the time, titling is always a tricky subject. Avid has gone through some rough seas when dealing with how to fix the leaky hole known as the Avid Title Tool. The classic Avid Title Tool was basic but worked. However, if you aligned something in the Title Tool interface to Title Safe zones, it might jump around once you close the Title Tool interface. Fonts wouldn’t always stay the same when working across PC and MacOS platforms. The list goes on, and it is excruciatingly annoying.

Titler

Let’s take a look at some Avid history: In 2002, Avid tried to appease creators and introduced the, at the time, a Windows-only titler: Avid Marquee. While Marquee was well-intentioned, it was extremely difficult to understand if you weren’t interested in 3D lighting, alignment and all sorts of motion graphics stuff that not all editors want to spend time learning. So, most people didn’t use it, and if they did it took a little while for anyone taking over the project to figure out what was done.

In December of 2014, Avid leaned on the New Blue Titler, which would work in projects higher than 1920×1080 resolution. Unfortunately, many editors ran into a very long render at the end, and a lot bailed on it. Most decided to go out of house and create titles in Adobe Photoshop and Adobe After Effects. While this all relates to my experience, I assume others feel the same.

In Avid Media Composer 2018, the company has introduced the Avid Titler, which in the Tools menu is labeled: Avid Titler +. It works like an effect rather than a rendered piece of media like in the traditional Avid Title Tool, where an Alpha and a Fill layer worked. This method is similar to how NewBlue or Marquee functioned. However, Avid Titler works by typing directly on the record monitor; adding a title is as easy as marking an in and out point and clicking on the T+ button on the timeline.

You can specify things like kerning, shadow, outlines, underlines, boxes, backgrounds and more. One thing I found peculiar was that under Face, the rotation settings rotate individual letters and not the entire word by default. I reached out to Avid and they are looking into making the entire word rotation option the default in the mini toolbar of Avid Titler. So stay tuned.

Also, you can map your fast forward and rewind buttons to “Go To Next/Previous Event.” This allows you to jump to your next edits in the timeline but also to the next/previous keyframes when in the Effect Editor. Typically, you click on the scrub line in the record window and then you can use those shortcuts to jump to the next keyframe. In the Avid Titler, it would just start typing in the text box. Furthermore, when I wanted to jump out of Effect Editor mode and back into Edit Mode, I usually hit “y,” but that did not get me out of Effects Mode (Avid did mention they are working on updates to the Avid Titler that would solve this issue). The new Avid Titler definitely has some bugs and/or improvements that are needed, and they are being addressed, but it’s a decent start toward a modern title editor.

Shape-based color correction

Color
If you want advanced color correction built into Media Composer, then you are going to want the Symphony option. Media Composer with the Symphony option allows for more detailed color correction using secondary color corrections as well as some of the newer updates, including shape-based color correction. Before Resolve and Baselight became more affordable, Symphony was the gold standard for color correction on a budget (and even not on a budget since it works so well in the same timeline the editors use). But what we are really here for is the 2018 v.12 update of Shapes.

With the Symphony option, you can now draw specific regions on the footage for your color correction to affect. It essentially works similarly to a layer-based system like Adobe Photoshop. You can draw shapes with the same familiar tools you are used to drawing with in the Paint or AniMatte tools and then just apply your brightness, saturation or hue swings in those areas only. On the color correction page you can access all of these tools on the right-hand side, including the softening, alpha view, serial mode and more.

When using the new shape-based tools you must point the drop-down menu to “CC Effect.” From there you can add a bunch of shapes on top of each other and they will play in realtime. If you want to lay a base correction down, you can specify it in the shape-based sidebar, then click shape and you can dial in the specific areas to your or your client’s taste. You can check off the “Serial Mode” box to have all corrections interact with one another or uncheck the box to allow for each color correction to be a little more isolated — a really great option to keep in mind when correcting. Unfortunately, tracking a shape can only be done in the Effect Editor, so you need to kind of jump out of color correction mode, track, and then go back. It’s not the end of the world, but it would be infinitely better if you could track efficiently inside of the color correction window. Avid could even take it further by allowing planar tracking by an app like Mocha Pro.

Shape-based color correction

The new shape-based corrector also has an alpha view mode identified by the infinity symbol. I love this! I often find myself making mattes in the Paint tool, but it can now be done right in the color correction tool. The Symphony option is an amazing addition to Media Composer if you need to go further than simple color correction but not dive into a full color correction app like Baselight or Resolve. In fact, for many projects you won’t need much more than what Symphony can do. Maybe a +10 on the contrast, +5 on the brightness and +120 on the saturation and BAM a finished masterpiece. Kind of kidding, but wait until you see it work.

Multicam
The final update I want to cover is multicam editing and improvements to editing group clips. I cannot emphasize enough how much time this would have saved me as an assistant editor back in the pre-historic Media Composer days… I mean we had dongles, and I even dabbled in the Meridian box. Literally days of grouping and regrouping could have been avoided with the Edit Group feature. But I did make a living fixing groups that were created incorrectly, so I guess this update is a Catch 22. Anyway, you can now edit groups in Media Composer by creating a group, right-clicking on that group and selecting Edit Group. From there, the group will now open in the Record Monitor as a sequence, and from there you can move, nudge and even add cameras to a previously created group. Once you are finished, you can update the group and refresh any sequences that used that group to update if you wish. One issue is that with mixed frame rate groups, Avid says committing to that sequence might produce undesirable effects.

Editing workspace

Cost of Entry
How much does Media Composer cost these days? While you can still buy it outright, it seems a bit more practical to go monthly since you will automatically get updates, but it can still be a little tricky. Do you need PhraseFind and/or ScriptSync? Do you need the Symphony option? Do you need to access shared storage? There are multiple options depending on your needs. If you want everything, then Media Composer Ultimate for $49 per month is what you want. If you want Media Composer and just one add-on, like Symphony, it will cost $19 per month plus $199 per year for the Symphony option. If you want to test the water before jumping in, you can always try Media Composer First.

For a good breakdown of the Media Composer pricing structure, check out KeyCode Media  page (a certified reseller). Another great link with tons of information organized into easily digestible bites is this. Additionally, www.freddylinks.com is a great resource chock full of everything else Avid, written by Avid technical support specialist Fredrik Liljeblad out of Sweden.

Group editing

Summing Up
In the end, I use and have used Media Composer with Symphony for over 15 years, and it is the most reliable nonlinear editor supporting multiple editors in a shared network environment that I have used. While Adobe Premiere Pro, Apple Final Cut Pro X and Blackmagic Resolve are offering fancy new features and collaboration modes, Avid seems to always hold stabile when I need it the most. These new improvements and a UI overhaul (set to debut in May), new leadership from Rosica, and the confidence of Rosica’s faithful employees all seem to be paying off and getting Avid back on the track they should have always been on.


Brady Betzel is an Emmy-nominated online editor at Margarita Mix in Hollywood, working on Life Below Zero and Cutthroat Kitchen. You can email Brady at bradybetzel@gmail.com. Follow him on Twitter @allbetzroff.

Jesse Averna: A veteran editor shares some wisdom

You work hard in a tough industry in challenging times. It can be easy to get bogged down with the expectations you’ve set for yourself and your career. If you’re in need of a dose of perspective and positivity, then take a moment to step away from your timeline, grab a coffee and meditate on a series of recent tweets by LA-based editor Jesse Averna (@dr0id).While they might not be strictly post production tweets, per say, it’s nice to hear some encouragement from a fellow post pro.

Caricature of Jesse Averna:  by Kevin Deters.

Averna is an editing veteran who has five Emmy Award wins with two additional nominations — all for his work on Sesame Street. You can currently find him working away at Walt Disney Animation Studios in Burbank, where he’s been awarded an Annie nomination for his most recent work on Ralph Breaks the Internet. Many of you might know him as one of the founders of the Twitter group #postchat.

Every so often he will Tweet out words of wisdom, hope and inspiration. We wanted to share those with you.

Passion:
If you have a passion for something, pursue it. We only get to do this life once. I’m just an idiot kid from Albuquerque who’s doing my dreams. Please go for it. You can get there. Believe in yourself. Work hard. Be kind. Ask for help.

You’re not wasting your time:
It all counts. Everything you have worked on will educate your next project and work ethic. Don’t get down if you aren’t working on the type of material you want to be working on at the moment. Squeeze everything you can out of it. Take it with you to the next gig. It all counts.

Good news:
Here’s some good news — it doesn’t matter what you think you should have accomplished by now. You’re not competing with anyone else. Your timetable doesn’t matter. It doesn’t even matter how many times you’ve failed. YOU MATTER. You are valuable regardless of your accomplishments.

A high tide raises all boats:
The only way to survive this industry is to support your friends, cheer them on, celebrate their victories, mourn their losses, help when asked. Give when you can.

You’ve already made it:
Look at what you’ve achieved. What you’ve overcome. Where you are now. Sure, you are looking at the road ahead and where you feel that you need to be. But, for today, be proud of what you’ve done.

Jesse

Be the change:
We’ll spend our whole lives being judged by others and ourselves. The issues and the problems. But there are wonderful, unique, powerful aspects to you. Know your weaknesses, but also know that you can change lives. You can impact the world around you. Your kindness can do that.

Know your value:
Value. If you don’t value your worth, you can’t expect others to. You are valuable. And I’m not talking about money. You’re worth more than that.

Your uniqueness:
You are the only YOU in this world. That’s a big deal. Let’s not waste it measuring ourselves to other people. You’ll never be them, only yourself.

Take a deep breath:
It seems important right now, but it’s most likely not as important as you think it is.

No matter how you feel tonight, there’s always tomorrow. Feelings pass. You are more valuable than you know. Today does not define you.

Perspective:
You are valuable. You are loved. You are missed. You are important. You are thought about.

Kindness:
There is no “them.” Only “us.” And we need to love our way through this moment in history. People need you. People need help, kindness, love, advice, mentoring, an ear to listen, a shoulder to cry on. You are important and NEEDED right now.

If you’d like to hear Averna’s professional advice and some additional encouragement, check out our last article with him.


Jesse Averna tweets from a personal account and in no way speaks for or represents the companies he works for.

Behind the Title: Exile editor Lorin Askill

Name: Lorin Askill

Company: Exile (@exileedit)

Can you describe your company?
Exile is an editorial and finishing house based in NYC and LA. I am based in New York.

What’s your job title?
Editor

What does that entail?
I take moving images, sound and other raw materials and arrange them in time to create shape and meaning and ultimately tell stories. I always loved the Tarkovsky book title, sculpting in Time. I like to think that is what I do.

What would surprise people the most about what falls under that title?
Probably how much of an all-encompassing creative process it is. As well as editing picture, I source and edit sounds, I experiment with music, I create rough comps and block compositions for VFX, I play with color and place titles. At its best, editing is not only finding the best pieces of footage and ordering them to tell a story, an editor is crafting the whole visual-aural world that will be carried through to the finished piece.

Hyundai

What’s your favorite part of the job?
I love watching the first cut! When you’re excited about a project, you’ve found the gems and assembled your favorite pieces, solved some challenging problems, fudged together some tricky stunt or effects moments (and it’s already working!). Then you put a piece of music under it that (which you know you can’t actually use), and you feel like it has a good shape and runs from start to finish — usually very over length. It’s so much fun getting to this stage, then sitting back, turning the volume up, pressing play and watching it all together for the first time!

What’s your least favorite part?
My least favorite part is then going through and destroying that first cut with boring realities like running length and client requirements… JOKING. I also love the process of tightening and honing a cut to hit all the right notes and achieve the ultimate vision. But there is nothing like watching the first assembly of a project you love.

What is your most productive time of the day?
Probably first thing when I’ve got fresh eyes and I’m solving problems that seemed impossible the day before. Also the very end of the day when you’re in a little delirious zone and you’re really immersed and engrossed. When I’m cutting a music video, I like to pull up the project late at night and give myself the freedom to play because your brain is definitely functioning in a different way, and sometimes it’s really creative.

If you didn’t have this job, what would you be doing instead?
I think I’d photograph landscapes and spread environmental awareness while having food pop-ups in my garden.

Why did you choose this profession? How early on did you know this would be your path?
Ever since I got my first iMac in high school and started speeding up, slowing down and reversing footage in iMovie. I was addicted to it. I was manipulating time and creating stories with images and sound, and it felt like a beautiful combination of visual art and music, both of which I loved and studied. When I realized I could make a living being creative, and hopefully one day make movies. It seemed like a no-brainer.

Sia

Can you name some recent projects you have worked on?
Most recently I’ve been editing a passion project. It’s a short film directed by my brother. It’s a proof-of-concept for a film we’ve been writing together for a long time. Before that I was working on a bunch commercial projects while also cutting musical sequences for a feature film directed by Sia.

What do you use to edit?
I grew up on iMovie and then Final Cut Pro. Now I use Adobe Premiere Pro and find it does exactly what I need it to do.

Name a few pieces of technology you can’t live without.
I hate to say my phone, but it’s undeniable. My laptop for edits on the run. Good headphones. My Hasselblad from the ‘60s.

What do you do to de-stress from it all?
I get into nature whenever possible, and I cook.

NAB 2019: postPerspective Impact Award winners

postPerspective has announced the winners of our Impact Awards from NAB 2019. Seeking to recognize debut products with real-world applications, the postPerspective Impact Awards are voted on by an anonymous judging body made up of respected industry artists and pros (to whom we are very grateful). It’s working pros who are going to be using these new tools — so we let them make the call.

It was fun watching the user ballots come in and discovering which products most impressed our panel of post and production pros. There are no entrance fees for our awards. All that is needed is the ability to impress our voters with products that have the potential to make their workdays easier and their turnarounds faster.

We are grateful for our panel of judges, which grew even larger this year. NAB is exhausting for all, so their willingness to share their product picks and takeaways from the show isn’t taken for granted. These men and women truly care about our industry and sharing information that helps their fellow pros succeed.

To be successful, you can’t operate in a vacuum. We have found that companies who listen to their users, and make changes/additions accordingly, are the ones who get the respect and business of working pros. They aren’t providing tools they think are needed; they are actively asking for feedback. So, congratulations to our winners and keep listening to what your users are telling you — good or bad — because it makes a difference.

The Impact Award winners from NAB 2019 are:

• Adobe for Creative Cloud and After Effects
• Arraiy for DeepTrack with The Future Group’s Pixotope
• ARRI for the Alexa Mini LF
• Avid for Media Composer
• Blackmagic Design for DaVinci Resolve 16
• Frame.io
• HP for the Z6/Z8 workstations
• OpenDrives for Apex, Summit, Ridgeview and Atlas

(All winning products reflect the latest version of the product, as shown at NAB.)

Our judges also provided quotes on specific projects and trends that they expect will have an impact on their workflows.

Said one, “I was struck by the predicted impact of 5G. Verizon is planning to have 5G in 30 cities by end of year. The improved performance could reach 20x speeds. This will enable more leverage using cloud technology.

“Also, AI/ML is said to be the single most transformative technology in our lifetime. Impact will be felt across the board, from personal assistants, medical technology, eliminating repetitive tasks, etc. We already employ AI technology in our post production workflow, which has saved tens of thousands of dollars in the last six months alone.”

Another echoed those thoughts on AI and the cloud as well: “AI is growing up faster than anyone can reasonably productize. It will likely be able to do more than first thought. Post in the cloud may actually start to take hold this year.”

We hope that postPerspective’s Impact Awards give those who weren’t at the show, or who were unable to see it all, a starting point for their research into new gear that might be right for their workflows. Another way to catch up? Watch our extensive video coverage of NAB.

Behind the Title: PS260 editor Ned Borgman

This editor’s path began early. “I was the kid who would talk during the TV show and then pay attention to the commercials,” he says.

Name: Ned Borgman

Company: PS260

Can you describe your company?
PS260 is a post house built for ideas, creative solutions and going beyond the boards. We have studios in New York, Venice, California and Boston. I am based in New York.

What’s your job title?
Film editor, problem solver, cleaner of messes.

What does that entail?
My job is to make everything look great. Every project takes an entire team of super-talented people who bring their expertise to bear to tell a story. They create all of the puzzle pieces that end up in the dailies, and I put them together in such a way that they can all shine their best.

Facebook small business campaign

What would surprise people the most about what falls under that title?
I think it would be the sheer amount of stuff that can become an editor’s responsibility. So many details go into crafting a successful edit, and an editor needs to be well-versed in all of it. Color grading, visual effects, design, animation, music, sound design, the list goes on. The point isn’t to be a master of all of those things, (that’s why we work with other amazing people when it comes to finishing), but to know the needs of each of those parts and how to make sure every detail can get properly addressed.

What’s your favorite part of the job?
It’s the middle part. When we’re all in the middle of the edit, up to our necks in footage and options and ideas. Out of all of that exploration the best bits start to stand out. The sound design element from that cut and the music track from that other version and a take we tried last night. It all starts to make sense, and from there it’s about making sure the best bits can work well together.

What’s your least favorite?
Knowing there are always some great cuts that will only ever exist inside a Premiere Pro bin. Not every performance or music track or joke can make it into the final cut and out into the world and that’s ok. Maybe those cuts are airing in some other parallel universe.

What is your most productive time of the day?
Whenever the office is empty. So either early in the morning or late at night.

If you didn’t have this job, what would you be doing instead?
Probably something with photography. I’m too attached to visual storytelling, and I’m a horrible illustrator.

Why did you choose this profession? How early on did you know this would be your path? 
I’ve always been enamored with commercials. I was the kid who would talk during the TV show and then pay attention to the commercials. I remember making my first in-camera edit in third grade when I was messing around with the classroom camcorder set up on a tripod. I had recorded myself in front of the camera and then recorded a bit of the empty classroom. Playing it back, it looked like I had vanished into thin air. It blew my eight-year-old mind.

Burger King

Can you name some recent projects you have worked on?
Let’s see, Burger King’s flame-broiled campaign with MullenLowe was great. It has a giant explosion, which is always nice. Facebook’s small business campaign with 72andSunny was a lot of fun with an amazing team of people. And some work for the Google Home Hub launch with Google Creative Labs was fun because launching stuff is exciting.

Do you put on a different hat when cutting for a specific genre? 
Not exactly. Every genre has its specific needs, but I think the fundamentals remain the same. I need to pay attention to rhythm, to performances, to music, to sound design, to VO — all of that stuff. It’s about staying in tune with how all of these ingredients interact with each other to create a reaction from the audience, no matter the reaction you’re striving for.

What is the project that you are most proud of?
I grew up obsessed with practical effects in movies, so I’d have to say Burger King “Gasoline Shuffle”. It has a massive explosion that was shot in camera and it looks incredible. I wish I was on set that day.

What do you use to edit?
Adobe Premiere Pro all the way. I like to think that one day I’ll be back on Avid Media Composer though.

What is your favorite plugin?
I don’t have one. Just give me that basic install.

Are you often asked to do more than edit? If so, what else are you asked to do?
Sure. I’ll often record the scratch VO when there’s one needed. My voice is…serviceable. What that means is that as soon as the real VO talent gets placed in the cut, everyone’s thrilled with how much better everything sounds. That’s cool by me.

Name three pieces of technology you can’t live without.
My iPhone, my Shure in-ear headphones, and an extra long charging cable.

This is a high stress job with deadlines and client expectations. What do you do to de-stress from it all?
Change some diapers. My wife and I just had our first kid last August, and she’s incredible. A game of peek-a-boo can really change your perspective.

NAB 2019: First impressions

By Mike McCarthy

There are always a slew of new product announcements during the week of NAB, and this year was no different. As a Premiere editor, the developments from Adobe are usually the ones most relevant to my work and life. Similar to last year, Adobe was able to get their software updates released a week before NAB, instead of for eventual release months later.

The biggest new feature in the Adobe Creative Cloud apps is After Effects’ new “Content Aware Fill” for video. This will use AI to generate image data to automatically replace a masked area of video, based on surrounding pixels and surrounding frames. This functionality has been available in Photoshop for a while, but the challenge of bringing that to video is not just processing lots of frames but keeping the replaced area looking consistent across the changing frames so it doesn’t stand out over time.

The other key part to this process is mask tracking, since masking the desired area is the first step in that process. Certain advances have been made here, but based on tech demos I saw at Adobe Max, more is still to come, and that is what will truly unlock the power of AI that they are trying to tap here. To be honest, I have been a bit skeptical of how much AI will impact film production workflows, since AI-powered editing has been terrible, but AI-powered VFX work seems much more promising.

Adobe’s other apps got new features as well, with Premiere Pro adding Free-Form bins for visually sorting through assets in the project panel. This affects me less, as I do more polishing than initial assembly when I’m using Premiere. They also improved playback performance for Red files, acceleration with multiple GPUs and certain 10-bit codecs. Character Animator got a better puppet rigging system, and Audition got AI-powered auto-ducking tools for automated track mixing.

Blackmagic
Elsewhere, Blackmagic announced a new version of Resolve, as expected. Blackmagic RAW is supported on a number of new products, but I am not holding my breath to use it in Adobe apps anytime soon, similar to ProRes RAW. (I am just happy to have regular ProRes output available on my PC now.) They also announced a new 8K Hyperdeck product that records quad 12G SDI to HEVC files. While I don’t think that 8K will replace 4K television or cinema delivery anytime soon, there are legitimate markets that need 8K resolution assets. Surround video and VR would be one, as would live background screening instead of greenscreening for composite shots. No image replacement in post, as it is capturing in-camera, and your foreground objects are accurately “lit” by the screens. I expect my next major feature will be produced with that method, but the resolution wasn’t there for the director to use that technology for the one I am working on now (enter 8K…).

AJA
AJA was showing off the new Ki Pro Go, which records up to four separate HD inputs to H.264 on USB drives. I assume this is intended for dedicated ISO recording of every channel of a live-switched event or any other multicam shoot. Each channel can record up to 1080p60 at 10-bit color to H264 files in MP4 or MOV and up to 25Mb.

HP
HP had one of their existing Z8 workstations on display, demonstrating the possibilities that will be available once Intel releases their upcoming DIMM-based Optane persistent memory technology to the market. I have loosely followed the Optane story for quite a while, but had not envisioned this impacting my workflow at all in the near future due to software limitations. But HP claims that there will be options to treat Optane just like system memory (increasing capacity at the expense of speed) or as SSD drive space (with DIMM slots having much lower latency to the CPU than any other option). So I will be looking forward to testing it out once it becomes available.

Dell
Dell was showing off their relatively new 49-inch double-wide curved display. The 4919DW has a resolution of 5120×1440, making it equivalent to two 27-inch QHD displays side by side. I find that 32:9 aspect ratio to be a bit much for my tastes, with 21:9 being my preference, but I am sure there are many users who will want the extra width.

Digital Anarchy
I also had a chat with the people at Digital Anarchy about their Premiere Pro-integrated Transcriptive audio transcription engine. Having spent the last three months editing a movie that is split between English and Mandarin dialogue, needing to be fully subtitled in both directions, I can see the value in their tool-set. It harnesses the power of AI-powered transcription engines online and integrates the results back into your Premiere sequence, creating an accurate script as you edit the processed clips. In my case, I would still have to handle the translations separately once I had the Mandarin text, but this would allow our non-Mandarin speaking team members to edit the Mandarin assets in the movie. And it will be even more useful when it comes to creating explicit closed captioning and subtitles, which we have been doing manually on our current project. I may post further info on that product once I have had a chance to test it out myself.

Summing Up
There were three halls of other products to look through and check out, but overall, I was a bit underwhelmed at the lack of true innovation I found at the show this year.

Full disclosure, I was only able to attend for the first two days of the exhibition, so I may have overlooked something significant. But based on what I did see, there isn’t much else that I am excited to try out or that I expect to have much of a serious impact on how I do my various jobs.

It feels like most of the new things we are seeing are merely commoditized versions of products that may originally have been truly innovative when they were initially released, but now are just slightly more fleshed out versions over time.

There seems to be much less pioneering of truly new technology and more repackaging of existing technologies into other products. I used to come to NAB to see all the flashy new technologies and products, but now it feels like the main thing I am doing there is a series of annual face-to-face meetings, and that’s not necessarily a bad thing.

Until next year…


Mike McCarthy is an online editor/workflow consultant with over 10 years of experience on feature films and commercials. He has been involved in pioneering new solutions for tapeless workflows, DSLR filmmaking and multi-screen and surround video experiences. Check out his site.

Blackmagic’s Resolve 16: speedy cut page, Resolve Editor Keyboard, more

Blackmagic was at NAB with Resolve 16, which in addition to dozens of new features includes a new editing tab focused on speed. While Resolve still has its usual robust editing offerings, this particular cut page is designed for those working on short-form projects and on tight deadlines. Think of having a client behind you watching you cut something together, or maybe showing your director a rough cut. You get in, you edit and you go — it’s speedy, like editing triage.

For those who don’t want to edit this way, no worries, you don’t have to use this new tab. Just ignore it and move on. It’s an option, and only an option. That’s another theme with Resolve 16 — if you don’t want to see the Fairlight tab, turn it off. You want to see something in a different way, turn it on.

Blackmagic also introduced the DaVinci Resolve Editor Keyboard, a new premium keyboard for Resolve that helps improve the speed of editing. It allows the use of two hands while editing, so transport control and selecting clips can be done while performing edits. The Resolve Editor Keyboard will be available in August for $995.

The keyboard combined with the new cut page is designed to further speed up editing. This alternate edit page lets users import, edit, trim, add transitions, titles, automatically match color, mix audio and more. Whether you’re delivering for broadcast or for YouTube, the cut page allows editors to do all things in one place. Plus, the regular edit page is still available, so customers can switch between edit and cut pages to change editing styles right in the middle of a job.

“The new cut page in DaVinci Resolve 16 helps television commercial and other high-end editors meet super tight deadlines on fast turn-around projects,” says Grant Petty, Blackmagic CEO. “We’ve designed a whole new high-performance, nonlinear workflow. The cut page is all about power and speed. Plus, editors that need to work on more complex projects can still use the regular edit page. DaVinci Resolve 16 gives different editors the choice to work the way they want.”

The cut page is reminiscent of how editors used to work in the days of tape, where finding a clip was easy because customers could just spool up and down the tape to see their media and select shots. Today, finding the right clip in a bin with hundreds of files can be slow. With source tape, users no longer have to hunt through bins to find the clip they need. They can click on the source tape button and all of the clips in their bin appear in the viewer as a single long “tape.” This makes it easy to scrub through all of the shots, find the parts they want and quickly edit them to the timeline. Blackmagic calls it an “old-fashioned” concept that’s been modernized to help editors find the shots they need fast.

The new cut page features a dual timeline so editors don’t have to zoom in or out. The upper timeline shows users the entire program, while the lower timeline shows the current work area. Both timelines are fully functional, allowing editors to move and trim clips in whichever timeline is most convenient.

Also new is the DaVinci Neural Engine, which uses deep neural networks and learning, along with AI, to power new features such as speed warp motion estimation for retiming, super scale for up-scaling footage, auto color and color matching, facial recognition and more. The DaVinci Neural Engine is entirely cross-platform and uses the latest GPU innovations for AI and deep learning. The Neural Engine provides simple tools to solve complex, repetitive and time-consuming problems. For example, it enables facial recognition to automatically sort and organize clips into bins based on people in the shot.

DaVinci Resolve 16 also features new adjustment clips that let users apply effects and grades to clips on the timeline below; quick export that can be used to upload projects to YouTube, Vimeo and Frame.io from anywhere in the application; and new GPU-accelerated scopes providing more technical monitoring options than before. So now sharing your work on social channels, or for collaboration via Frame.io., is simple because it’s integrated into Resolve 16 Studio

DaVinci Resolve 16 Studio features improvements to existing ResolveFX, along with several new plugins that editors and colorists will like. There are new ResolveFX plugins for adding vignettes, drop shadows, removing objects, adding analog noise and damage, chromatic aberration, stylizing video and more. There are also improvements to the scanline, beauty, face refinement, blanking fill, warper, dead pixel fixer and colorspace transformation plugins. Plus, users can now view and edit ResolveFX keyframes from the timeline curve editor on the edit page or from the keyframe panel on the color page.

Here are all the updates within Resolve 16:

• DaVinci Neural Engine for AI and deep learning features
• Dual timeline to edit and trim without zooming and scrolling
• Source tape to review all clips as if they were a single tape
• Trim interface to view both sides of an edit and trim
• Intelligent edit modes to auto-sync clips and edit
• Timeline review playback speed based on clip length
• Built-in tools for retime, stabilization and transform
• Render and upload directly to YouTube and Vimeo
• Direct media import via buttons
• Scalable interface for working on laptop screens
• Create projects with different frame rates and resolutions
• Apply effects to multiple clips at the same time
• DaVinci Neural Engine detects faces and auto-creates bins
• Frame rate conversions and motion estimation
• Cut and edit page image stabilization
• Curve editor ease in and out controls
• Tape-style audio scrubbing with pitch correction
• Re-encode only changed files for faster rendering
• Collaborate remotely with Frame.io integration
• Improved GPU performance for Fusion 3D operations
• Cross platform GPU accelerated tools
• Accelerated mask operations including B-Spline and bitmap
• Improved planar and tracker performance
• Faster user and smart cache
• GPU-accelerated scopes with advanced technical monitoring
• Custom and HSL curves now feature histogram overlay
• DaVinci Neural Engine auto color and shot match
• Synchronize SDI output to viewer zoom
• Mix and master immersive 3D audio
• Elastic wave audio alignment and retiming
• Bus tracks with automation on timeline
• Foley sampler, frequency analyzer, dialog processor, FairlightFX
• 500 royalty-free Foley sounds effects
• Share markers and notes in collaboration workflows
• Individual user cache for collaborative projects
• Resolve FX plugins with timeline and keyframes

Avid offers rebuilt engine and embraces cloud, ACES, AI, more

By Daniel Restuccio

During its Avid Connect conference just prior to NAB, Avid announced a Media Composer upgrade, support for ACES color standard and additional upgrades to a number of its toolsets, apps and services, including Avid Nexis.

The chief news from Avid is that Media Composer, its flagship video editing system, has been significantly retooled: sporting a new user interface, rebuilt engine, and additional built-in audio, visual effects, color grading and delivery features.

In a pre-interview with postPerspective, Avid president/CEO Jeff Rosica said, “We’re really trying to leap frog and jump ahead to where the creative tools need to go.”

Avid asked themselves, what did they need to do “to help production and post production really innovate?” He pointed to TV shows and films, and how complex they’re getting. “That means they’re dealing with more media, more elements, and with so many more decisions just in the program itself. Let alone the fact that the (TV or film) project may have to have 20 different variants just to go out the door.”

Jeff Rosica

The new paneled user interface simplifies the workspace, has redesigned bins to find media faster, as well as task-based workspaces showing only what the user wants and needs to see.

Dave Colantuoni, VP of product management at Avid, said they spent the most amount of time studying the way that editors manage and organize bins and content within Media Composer. “Some of our editors use 20, 30, 40 bins at a time. We’ve really spent a lot of time so that we can provide an advantage to you in how you approach organizing your media. “

Avid is also offering more efficient workflow solutions. Users, without leaving Media Composer, can work in 8K, 16K or HDR thanks to the newly built-in 32-bit full float color pipeline. Additionally, Avid continues to work with OTT content providers to help establish future industry standards.

“We’re trying to give as much creative power to the creative people as we can, and bring them new ways to deal with things,” said Rosica. “We’re also trying to help the workflow side. We’re trying to help make sure production doesn’t have to do more with less, or sometimes more with the same budget. Cloud (computing) allows us to bring a lot of new capabilities to the products, and we’re going to be cloud powering a lot of our products… more than you’ve seen before.”

The new Media Composer engine is now native OP1A, can handle more video and audio streams, offers Live Timeline and background rendering, and a distributed processing add-on option to shorten turnaround times and speed up post production.

“This is something our competitors do pretty well,” explained Colantuoni. “And we have different instances of OP1A working among the different Avid workflows. Until now, we’ve never had it working natively inside of Media Composer. That’s super-important because a lot of capabilities started in OP1A, and we can now keep it pristine through the pipeline.”

Said Rosica, “We are also bringing the ability to do distributive rendering. An editor no longer has to render or transcode on their machine. They can perform those tasks in a distributed or centralized render farm environment. That allows this work to get done behind the scenes. This is actually an Avid Supply solution, so it will be very powerful and reliable. Users will be able to do background rendering, as well as distributive rendering and move things off the machine to other centralized machines. That’s going to be very helpful for a lot of post workflows.”

Avid had previously offered three main flavors of Media Composer: Media Composer First, the free version; Media Composer; and Media Composer Ultimate. Now they are also offering a new Enterprise version.

For the first time, large production teams can customize the interface for any role in the organization, whether the user is a craft editor, assistant, logger or journalist. It also offers unparalleled security to lock down content, reducing the chances of unauthorized leaks of sensitive media. Enterprise also integrates with Editorial Management 2019.

“The new fourth tier at the top is what we are calling the Enterprise Edition or Enterprise. That word doesn’t necessarily mean broadcast,” says Rosica. “It means for business deployment. This is for post houses and production companies, broadcast, and even studios. This lets the business, or the enterprise, or production, or post house to literally customize interfaces and customize work spaces to the job role or to the user.”

Nexis Cloudspaces
Avid also announced Avid Nexis|Cloudspaces. So Instead of resorting to NAS or external drives for media storage, Avid Nexis|Cloudspaces allows editorial to offload projects and assets not currently in production. Cloudspaces extends Avid Nexis storage directly to Microsoft Azure.

“Avid Nexis|Cloudspaces brings the power of the cloud to Avid Nexis, giving organizations a cost-effective and more efficient way to extend Avid Nexis storage to the cloud for reliable backup and media parking,” said Dana Ruzicka, chief product officer/senior VP at Avid. “Working with Microsoft, we are offering all Avid Nexis users a limited-time free offer of 2TB of Microsoft Azure storage that is auto-provisioned for easy setup and as much capacity as you need, when you need it.”

ACES
The Academy Color Encoding System (ACES) team also announced that Avid is now part of the ACES Logo Program, as the first Product Partner in the new Editorial Finishing product category. ACES is a free, open, device-independent color management and image interchange system and is the global standard for color management, digital image interchange and archiving. Avid will be working to implement ACES in conformance with logo program specifications for consistency and quality with a high quality ACES-color managed video creation workflow.

“We’re pleased to welcome Avid to the ACES logo program,” said Andy Maltz, managing director of the ACES Council. “Avid’s participation not only benefits editors that need their editing systems to accurately manage color, but also the broader ACES end-user community through expanded adoption of ACES standards and best practices.”

What’s Next?
“We’ve already talked about how you can deploy Media Composer or other tools in a virtualized environment, or how you can use these kind of cloud environments to extend or advance production,” said Rosica. “We also see that these things are going to allow us to impact workloads. You’ll see us continue to power our MediaCentral platform, editorial management of MediaCentral, and even things like Media Composer with AI to help them get to the job faster. We can help automate functions, automate environments and use cloud technologies to allow people to collaborate better, to share better, to just power their workloads. You’re going to see a lot from us over time.”

Adobe’s new Content-Aware fill in AE is magic, plus other CC updates

By Brady Betzel

NAB is just under a week away, and we are here to share some of Adobe’s latest Creative Cloud offerings. And there are a few updates worth mentioning, such as a freeform project panel in Premiere Pro, AI-driven Auto Ducking for Ambience for Audition and addition of a Twitch extension for Character Animator. But, in my opinion, the Adobe After Effects updates are what this year’s release will be remembered by.


Content Aware: Here is the before and after. Our main image is the mask.

There is a new expression editor in After Effects, so us old pseudo-website designers can now feel at home with highlighting, line numbers and more. There are also performance improvements, such as faster project loading times and new deBayering support for Metal on macOS. But the first prize ribbon goes to the Content-Aware fill for video powered by Adobe Sensei, the company’s AI technology. It’s one of those voodoo features that when you use it, you will be blown away. If you have ever used Mocha Pro by BorisFX then you have had a similar tool known as the “Object Removal” tool. Essentially, you draw around the object you want to remove, such as a camera shadow or boom mic, hit the magic button and your object will be removed with a new background in its place. This will save users hours of manual work.

Freeform Project panel in Premiere.

Here are some details on other new features:

● Freeform Project panel in Premiere Pro— Arrange assets visually and save layouts for shot selects, production tasks, brainstorming story ideas, and assembly edits.
● Rulers and Guides—Work with familiar Adobe design tools inside Premiere Pro, making it easier to align titling, animate effects, and ensure consistency across deliverables.
● Punch and Roll in Audition—The new feature provides efficient production workflows in both Waveform and Multitrack for longform recording, including voiceover and audiobook creators.
● Surprise viewers in Twitch Live-Streaming Triggers with Character Animator Extension—Livestream performances are enhanced where audiences engage with characters in real-time with on-the-fly costume changes, impromptu dance moves, and signature gestures and poses—a new way to interact and even monetize using Bits to trigger actions.
● Auto Ducking for ambient sound in Audition and Premiere Pro — Also powered by Adobe Sensei, Auto Ducking now allows for dynamic adjustments to ambient sounds against spoken dialog. Keyframed adjustments can be manually fine-tuned to retain creative control over a mix.
● Adobe Stock now offers 10 million professional-quality, curated, royalty-free HD and 4K video footage and Motion Graphics templates from leading agencies and independent editors to use for editorial content, establishing shots or filling gaps in a project.
● Premiere Rush, introduced late last year, offers a mobile-to-desktop workflow integrated with Premiere Pro for on-the-go editing and video assembly. Built-in camera functionality in Premiere Rush helps you take pro-quality video on your mobile devices.

The new features for Adobe Creative Cloud are now available with the latest version of Creative Cloud.

Arvato to launch VPMS MediaEditor NLE at NAB

First seen as a technology preview at IBC 2018, Arvato’s MediaEditor is a browser-based desktop editor aimed at journalistic editing and content preparation workflows. MediaEditor projects can be easily exported and published in various formats, including square and vertical video, or can be opened in Adobe Premiere with VPMS EditMate for craft editing.

MediaEditor, which features a familiar editing interface, offers simple drag-and-drop transitions and effects, as well as basic color correction. Users can also record voiceovers directly into a sequence, and the system enables automatic mixing of audio tracks for quicker turnaround. Arvato will add motion graphics for captioning and pre-generated graphics in an upcoming version of MediaEditor.

MediaEditor is a part of Arvato Systems’ Video Production Management Suite (VPMS) enterprise MAM solution. Like other products in the suite, it can be independently deployed and scaled, or combined with other products for workflows across the media enterprise. MediaEditor can also be used with Vidispine-based systems, and VPMS and Vidispine clients can access their material through MediaEditor whether on-premise or via the cloud. MediaEditor takes advantage of the advanced VPMS streaming technology allowing users to work anywhere with high-quality, responsive video playback, even on lower-speed connections.

Duo teams up to shoot, post Upside Down music video

The Gracie and Rachel music video Upside Down, a collaboration between the grand prize-winners of Silver Sound Showdown, was written, directed and edited by Ace Salisbury and Adam Khan. Showdown is one-part music video film festival, one-part battle of the bands. In a rare occurrence, Salisbury and Khan, both directors in competition, tied for grand prize with their music videos (RhodoraStairwell My Love). Showdown is held annually at Brooklyn Bowl, a bowling alley and venue in Brooklyn, New York.

Ace Salisbury

We reached out to the directors and the band to find out more about this Silver Sound-produced four-minute offering about a girl slowly unraveling emotionally, which was shot with a Red camera.

What did you actually win? What resources were available to you?
Salisbury: Winning the grand prize got me teamed up with the winning band Gracie and Rachel, and with Adam, to make a music video, with Silver Sound stepping in to offer their team to help shoot and edit, and giving time at their partner’s studio space at Parlay Studios in New Jersey.

Khan: Silver Sound offered a DP, editor and colorist, but Ace and I decided to do of all that ourselves. Parlay Studios graced us with three days in one of their spaces, as well as access to any equipment available. I was a kid in a candy store.

What was it like collaborating with a co-director and a band you had never met before?
Salisbury: Working with a co-director can be great — you can balance the workload, benefit from your differing skillsets and shake up your usual comfort zone for how you go about making work.

It’s important to stop being precious about your vision for the project, and be game to compromise on every idea you bring, but you learn a lot. Having never met Adam before made the whole experience more exciting. I had no ability to predict what he would bring to the project in terms of personality and work style from looking at his reel.

Adam Khan

Making a video with a production company is like having a well-connected producer on your project; once you get them onboard with your idea, all of the resources at their disposal come out of the woodwork, and things like studio space and high-power DPs come into the mix if you want them.

Pitching a music video to a band you’ve never met is interesting. You look at their music, aesthetics and previous music videos and try to predict what direction they’ll want to move in. You want to make them something they’ll embrace and want to promote the hell out of, not sweep under the rug. With Gracie and Rachel, they have such an established aesthetic, the key was figuring out how to take what they had and make it look polished.

Khan: At first I was wary of co-directing, I was concerned our ideas/egos would clash. But after meeting with Ace all worry vanished. Sure both of us had to compromise but there was never any friction; ideas and concepts flowed. Working with a new band requires looking back at their previous work and getting a feel for the aesthetic.

Gracie and Rachel: Collaborating with people you haven’t yet worked with is always a unique experience. You really get to hone your skills when it comes to thinking on your feet and practicing the art of give-and-take. Compromise is important, and so is staying true to your artistic values. If you can learn from others how to expand on what you already know, you’re gaining something powerful.

What is Upside Down about?
Salisbury: Upside Down is a video about emotional unraveling. Gracie portrays a girl whose world literally turns upside down as her mental state deteriorates. She is attached via a long rope to her shadow self, portrayed by Rachel, who takes control of her, pulling her across the floor and suspending her in the air. I co-authored the concept, co-directed and co-edited the video with Adam.

The original concept involved the fabrication of a complicated camera rig that would rotate both the actor and camera together. Imagine a giant rotisserie with the actor strapped in on one side and the camera on another, all rotating together. Just three days before our shoot date, the machine fabricator let us know that there were safety and liability issues which meant they couldn’t give us a finished rig. Adam and I scrambled to put together a modified concept using rope rigging in place of this ill-fated machine.

Khan: Upside Down is abstract; it was our job to make it tangible.

Gracie, you actually performed in upside down. What was that like, and what did you learn from that experience?
Yes, I really was suspended upside down! I trained for that for only about an hour or two prior to the actual shoot with some really lovely aerialist professionals. It was surprising to learn what your body feels like after doing dozens of takes upside down!

Can you talk about the digital glitches in the video?
Salisbury: On set, one of the monitors was seriously glitching out. I took a video of the glitched monitor with my phone and showed it to Adam, saying, “This is what our video needs to look like!”

We tried to match the footage of the glitching monitor on set, manipulating our footage in After Effects. We developed a scrambling technique for randomly generating white blocks on screen. As much as we liked those effects, the original phone video of the glitched monitor ended up making it into the final video.

People might be surprised by how much animation goes into a live-action project that they would never notice. For a project like Upside Down, a lot of invisible animation goes into it, like matting the edges of the spotlight’s spill on the stage floor. Not all animation jobs look like Steamboat Willie.

This video had a few invisible animated elements, like removing stunt wire, removing a spot on the stage, and cleaning up the black portions of the frame.

What did you shoot on?
Khan: This video was shot with a Red Epic Dragon rocking the Fujinon 19-90.

What tools were used for post?
Salisbury: The software used on this video was Adobe Premiere and After Effects—Premiere for the basic assembly of the footage, and After Effects for the heavy graphical lifting and color correct. Everything looks better coming out of After Effects.

Are there tools that you wish you had access to?
Salisbury: Personally, I was pretty happy with the tools we had access to. For this concept, we had everything we needed, tool-wise.

Khan: Faster computers.

How much of what you do is music video work? Do you work differently depending on the genre?
Khan: My focus is music videos, though you can find me working on all types of projects. From the production standpoint, things are the same. The real difference comes from what can be done in front of the camera. In a music video, one does not need to follow the rules. In fact, it is encouraged to break the rules.

Salisbury: I get hired to direct music videos every so often. The budget tends to be what dictates the experience, whether it’s going to be a video of a band rocking out shot on a DSLR or a high-intensity animated spectacle. Music videos can be a chance to establish wild aesthetics without the burden of having to justify them in your film’s world. You can go nuts. It’s a music video!

Where do you find inspiration?
Khan: Inspiration comes from past filmmakers and artists alike. I also pay close attention to my peers, there is some incredible stuff coming out. For this project, we pulled from Gracie and Rachel’s previous songs and visuals.

Salisbury: I find that I’m usually most influenced by old video games, but that wasn’t going to be a good fit for this band. My initial intention was to combine Gracie and Rachel’s aesthetic with a Quay Brothers aesthetic, but things shifted a bit by the end of the project.

InSync intros frame rate converter plug-in for Mac-based Premiere users

InSync Technology’s FrameFormer motion compensated frame rate converter now is available as a plug-in for Adobe Premiere Pro users working on Macs. Simplifying and accelerating deployment through automated settings, FrameFormer provides conversion for all types of content from sub-QCIF up to 8K and beyond.

“Frame rate conversion is an essential requirement for monetizing content domestically and internationally, as well as for integrating mixed frame rate footage into a production,” reports managing director of InSync Technology Paola Hobson. “A high-quality motion compensated standards converter is the only solution for these applications, and we’re adding to our solutions for Mac users with our new FrameFormer plug-in for Adobe Premiere Pro for macOS.”

The FrameFormer Adobe Premiere Pro Mac plug-in complements InSync’s plug-ins for Final Cut Pro (Mac) and Adobe Premiere Pro (Windows), quickly and conveniently meeting any frame rate and format conversion requirements. Integrated seamlessly into Adobe Premiere Pro, the plug-in offers a simple user interface that allows users to select the required conversion and to preview in-progress results via on-screen thumbnails.

“In repurposing different frame rate material for integration into your media projects, attention to detail makes all the difference,” added Hobson. “Picture quality must be preserved at every step because even the smallest error introduced early in the process will propagate, resulting in highly visible defects down the line. Now our family of FrameFormer plug-ins gives Adobe Premiere Pro users working on both Mac and Windows systems confidence in the results of their frame rate conversion processes.”

FrameFormer is available in a standard edition that provides conversions for content up to HD resolution, with presets for common conversions, and in a professional edition that provides conversions for content up to UHD and beyond.

Posting director Darren Lynn Bousman’s horror film, St. Agatha

Atlanta’s Moonshine Post helped create a total post production pipeline — from dailies to finishing — for the film St. Agatha, directed by Darren Lynn Bousman (Saw II, Saw III, Saw IV, Repo the Genetic Opera). 

The project, from producers Seth and Sara Michaels, was co-edited by Moonshine’s Gerhardt Slawitschka and Patrick Perry and colored by Moonshine’s John Peterson.

St. Agatha is a horror film that shot in the town of Madison, Georgia. “The house we needed for the convent was perfect, as the area was one of the few places that had not burned down during the Civil War,” explains Seth Michaels. “It was our first time shooting in Atlanta, and the number one reason was because of the tax incentive. But we also knew Georgia had an infrastructure that could handle our production.”

What the producers didn’t know during production was that Moonshine Post could handle all aspects of post, and were initially brought in only for dailies. With the opportunity to do a producer’s cut, they returned to Moonshine Post.

Time and budget dictated everything, and Moonshine Post was able to offer two editors working in tandem to edit a final cut. “Why not cut in collaboration?” suggested Drew Sawyer, founder of Moonshine Post and executive producer. “It will cut the time in half, and you can explore different ideas faster.”

“We quite literally split the movie in half,” reports Perry, who, along with Slawitschka, cut on Adobe Premiere “It’s a 90-minute film, and there was a clear break. It’s a little unusual, I will admit, but almost always when we are working on something, we don’t have a lot of time, so splitting it in half works.”

Patrick Perry

Gerhardt Slawitschka

“Since it was a producer’s cut, when it came to us it was in Premiere, and it didn’t make sense to switch over to Avid,” adds Slawitschka. “Patrick and I can use both interchangeably, but prefer Premiere; it offers a lot of flexibility.”

“The editors, Patrick and Gerhardt, were great,” says Sara Michaels. “They watched every single second of footage we had, so when we recut the movie, they knew exactly what we had and how to use it.”

“We have the same sensibilities,” explains Gerhardt. “On long-form projects we take a feature in tandem, maybe split it in half or in reels. Or, on a TV series, each of us take a few episodes, compare notes, and arrive at a ‘group mind,’ which is our language of how a project is working. On St. Agatha, Patrick and I took a bit of a risk and generated a four-page document of proposed thoughts and changes. Some very macro, some very micro.”

Colorist John Peterson, a partner at Moonshine Post, worked closely with the director on final color using Blackmagic’s Resolve. “From day one, the first looks we got from camera raw were beautiful.” Typically, projects shot in Atlanta ship back to a post house in a bigger city, “and maybe you see it and maybe you don’t. This one became a local win, we processed dailies, and it came back to us for a chance to finish it here,” he says.

Peterson liked working directly with the director on this film. “I enjoyed having him in session because he’s an artist. He knew what he was looking for. On the flashbacks, we played with a variety of looks to define which one we liked. We added a certain amount of film grain and stylistically for some scenes, we used heavy vignetting, and heavy keys with isolation windows. Darren is a director, but he also knows the terminology, which gave me the opportunity to take his words and put them on the screen for him. At the end of the week, we had a successful film.”

John Peterson

The recent expansion of Moonshine Post, which included a partnership with the audio company Bare Knuckles Creative and a visual effects company Crafty Apes, “was necessary, so we could take on the kind of movies and series we wanted to work with,” explains Sawyer. “But we were very careful about what we took and how we expanded.”

They recently secured two AMC series, along with projects from Netflix. “We are not trying to do all the post in town, but we want to foster and grow the post production scene here so that we can continue to win people’s trust and solidify the Atlanta market,” he says.

Uncork’d Entertainment’s St. Agatha was in theaters and became available on-demand starting February 8. Look for it on iTunes, Amazon, Google Play, Vudu, Fandango Now, Xbox, Dish Network and local cable providers.

Free Solo: The filmmakers behind the Oscar-winning documentary

By Iain Blair

Do you suffer from vertigo? Are you deathly afraid of heights? Does the thought of hanging by your fingertips over the void make you feel like throwing up? Then the new, nail-biting climbing film Free Solo, which won the Oscar for Best Documentary feature, might not be for you.

But if you enjoy an edge-of-your-seat thriller that allows you — thanks to truly awesome cinematography — to virtually “free solo” (climb a rock face without any safety gear) from the comfort of your own armchair, then you should rush to see this inspiring portrait of an athlete who challenges both his body and his beliefs on a quest to triumph over the impossible.

Jimmy Chin and E. Chai Vasarhelyi

Made by the award-winning husband-and-wife team of documentary filmmakers E. Chai Vasarhelyi and Jimmy Chin (a renowned photographer and mountaineer), it follows daredevil climber Alex Honnold as he prepares to tackle the greatest challenge of his career: a death-defying ascent of Yosemite’s famous 3,200-foot sheer rock face El Capitan — without any ropes, safety harness or assistance in a “free solo” climb. His meticulous preparation is complicated by his falling in love with a new girlfriend, Sanni.

I spoke with the filmmaking couple, whose credits include the acclaimed 2015 climbing epic Meru, about making the Nat Geo film, their love of post, and the Oscars.

Congratulations on your Oscar win. How important are Oscars to a film like this?
E. Chai Vasarhelyi (ECV): Incredibly important, as they bring so much attention to it and get it to a far wider audience than it might otherwise get. But, of course, we didn’t make this with awards in mind. You can’t think like that when you’re doing it, but we’re so grateful for the nomination.

This is not your typical climbing movie. Jimmy, you’re also an elite climber. What drives someone to do this, and what sort of film did you set out to make?
Jimmy Chin (JC): I think it’s the same thing as what makes us want to go to the moon, or why someone pushes themselves to the edge for their calling or passion: to see how far you can take it. That’s at the heart of this and the sort of film we set out to make, and what’s amazing about Alex and his story is just how far he’s come.

He was this very shy, sort of awkward kid who was scared of all kinds of things, and through his determination to face all his fears — whether it was simply hugging people or his dislike of vegetables — he’s gone through this huge transformation. Climbing like this was, I think, ultimately easier for him to conquer than some other stuff in his life. So we wanted to capture all of that, but also all the raw emotional moments that really engage an audience. It’s a film about this amazing climb, but it’s not just a climbing movie. That’s how we approached it.

Alex is also a friend of yours. How do you film a potentially fatal climb like this without exploiting it?
ECV: It was a big ethical question, even if a more extreme case of it than comes with every documentary. Did we even want to make this film? And, if so, how did we honor Alex and what he was trying to do without making it at all sensational. There are so many different ways to tell a story, and Alex had to trust us. Then there’s that existential ethical question at the center of it all — is he more likely to fall because we’re there filming it? That’s something we really had to wrestle with.

Alex thought more about his own mortality than anyone else, and he chooses every day to live a certain way and we were going to do everything in our power to mitigate the risk. So it was all about doing justice to the story and respecting Alex and every decision he makes, including the way he prepared so carefully for the climb.

How tough was the shoot?
ECV: It was very hard, even though we had a big team of elite climbers who were also great cameramen and trained for two years to do this.

JC: We had over 30 people on El Cap alone, including four cameramen on the wall, including myself, and most of us were very up high — around 2,000 feet. We used some very long lens cameras on the ground, as well as some remote rigs and drones and other equipment. But we knew that we were in situations where a simple mistake could be catastrophic. There were a lot of potential hazards, and the big thing for the crew was to never get distracted, which is so easy when you’re watching someone free solo up 3,000 feet in front of you. It was grueling and exhausting for everyone involved — super-intense, both physically and mentally. It’s hard to overstate what everyone went through to make this film.

Talk about re-teaming with Meru editor Bob Eisenhardt, who just won the ACE Eddie for this film. He told me it took over a year to edit.
ECV: It actually took over 18 months, partly because we had so much footage to look at and sort through. But I don’t think the sheer volume of footage was the main editing challenge. We were attracted to his story because there’s so much more to it than just the climb itself, and while we were all so prepared for that, we never anticipated him and Sanni falling in love. When that happened, you have to just go with it. We spent a lot of time trying stuff and figuring out how to marry that with the climb so that it played authentically to people very familiar with climbing as well as to people like me, who aren’t. It was all about a negotiation.

Where did you post?
ECV: All in New York, at our own post place called Little Monster Films, and then we did our sound work and mixing at Soundtrack with re-recording mixer Tommy Fleischman, and we also did some ADR work at C5 Inc.

Do you like the post process?
ECV: We love it, because you finally start pulling in all the layers — like the music and sound and VFX — and you see the film come to life and change as you go along. We also had the luxury of a long post schedule to play around with the material, and it’s so much fun.

Obviously, sound is very important, especially when Alex was out of range of wireless mics.
ECV: Having made a few films, we know just how important the sound is and we had a great sound recordist in the field and a great sound team. When you don’t climb with ropes, all the sounds are very subtle.

What VFX were involved?
JC: One of the big ones was trying to give you a sense of El Cap’s true scale. It’s so hard to get across just how big it is. We tried a lot of things and finally ended up getting access to Google Earth high-res satellite imagery, and we were able to 3D map that and then build out those moving, contextual shots, and all that stuff was done by Big Star.

Where did you do the DI, and how important was it to you?
JC: We did the DI at Company 3 with Stefan Sonnenfeld. It was very important as one of the big challenges was that we shot using a lot of different cameras, and so we had to work to get a consistent look and feel the whole way through, so you don’t pull people out of it at key moments. But we also didn’t want to create a stylized look to the footage. We wanted to keep it fairly naturalistic, and we worked hard on that.

Did the film turn out the way you hoped?
ECV: Yes, as we’d planned it so carefully — how to treat the climb, how you get to know Alex. This whole project took about four years, from start to finish. But Sanni was the big surprise.

What’s your view of Alex today?
JC: He’s an incredible person who did something no one else has ever done. It’s still hard to comprehend just how amazing this feat was.

What’s next? Another climbing film?
ECV: (Laughs) No. No more climbing for a while. It’s a documentary about conservation.

Black Panther editors Debbie Berman and Michael Shawver

By Amy Leland

Black Panther was a highly anticipated film that became a massive hit with audiences and critics alike. Just the fact that it’s a Marvel film would have been enough to create both anticipation and success, but this movie went beyond that, breaking barriers as well as box office records. The film was nominated for six Oscars, including Best Picture.

Instead of being referred to as a great superhero film, it was simply called a great film. It’s also the kind of high-quality offering you would expect from director Ryan Coogler, whose prior credits include Fruitvale Station and Creed, both of which feature Michael B. Jordon, who is also in Black Panther.

Michael Shawver

I had a chance to talk with the Black Panther editing team — Debbie Berman and Michael Shawver — about the film and their process co-editing such a huge project.

How did you both end up on this project?
Michael Shawver: I’ve known Ryan since our days in film school at the University of Southern California. We met back in 2009 in a directing class, and he was making short films that were just above and beyond everybody else. They were about society, race, culture, everything, and they really made you feel and think. That’s the kind of thing that I always wanted to do, the whole reason I wanted to make movies.

One day after class I went up to him and said, “I’d love to work with you. I can edit a little bit.” Things then fell into place, and I was able to work on a short film we did in school. From there he fought to keep me and the rest of the short film team involved in Fruitvale Station. Then we worked on Creed and then Black Panther.

Debbie Berman: For me it was kind of a serendipitous backstory. I was awarded an editing fellowship to the Sundance Institute in 2012, and as part of the fellowship I went to the Sundance Film Festival and went to the awards ceremony for the first time. That was the year that Fruitvale won Sundance. So I was actually there watching Ryan’s career begin, and I remember absolutely loving the movie and really being drawn to him as a filmmaker. I thought Creed was absolutely brilliant. I ugly cried through most of Creed. I think it’s phenomenal.

Debbie Berman

When I was working on Spider-Man: Homecoming, I kept talking about Black Panther. As a South African, it was a film that really spoke to me, and really felt like it was going to be important to me. So Marvel connected us.

Shawver: When we met with Debbie, we just kind of knew. Ryan and I both knew a few minutes in that she was the right choice and that this was going to be the right fit. Between her work ethic, her worldview, her passion and what she focuses on to tell a story and to bring characters alive, I think it all just rang true with how we felt and our process.
And you never know. It’s tough when you co-edit with somebody because you kind of just go on one date and then you’re married. You never know how it’s going to work out. And there’s always creative discussion; there’s always, “What if this is better? What if that’s better?” But everybody left their egos at the door. We’re all “movies first.” We don’t take anything personally, and we help each other not take anything personally, and we support each other. It couldn’t have worked out better.

Berman: I totally agree. It’s like one day you’re married, but you’re married during a world war. You’re going through a very stressful time together. I did feel an instant kinship with Mike and Ryan the second we all met. It just felt like meeting old family. I’ve been passionate about filmmaking my entire life, and they have the same amount of passion. And as Mike said, we always put the film first, and with having that shared love of this movie in particular, it really just got us through everything.

I got to meet Ryan at a screening of Fruitvale Station, and I was struck by how humble he is. As a leader of a project, he must bring that to the environment. Did you all feel that when you were working with him?
Shawver: Oh yeah. That’s what he’s really like. I tell people that he’s a great director, but he’s a hundred times better person. He believes that people who make the movies are more important than the movie itself. That humility that he has allows him to learn. He’ll be the first one to say that he’s not the smartest person in the room, even though everybody would disagree with him. He understands that when you can admit that you don’t know everything, you can start to learn.

I think that, much like T’Challa does in the movie, Ryan feeds off of the people around him. There’s a reason we have certain members of the team that have stayed with Ryan for so long, and he would fight for us. When he brought Debbie into the fold, it was the same way. We all feel like we have so much to learn, and we’re so grateful to be in the position that we’re in. We can’t see operating any other way.

Berman: Ryan insists on honesty from his crew, and never feels that anything you say is a critique of him or his work. He understands that everything you say is just trying to make the film better. There is an open environment where it’s okay to say anything you want. It’s a safe environment to fail because out of a hundred ideas, if you get three that are great then it was worth the other 97 that maybe weren’t so great, because it’s all for the greater good of the film.

Were you both on the project from the beginning, and how did that process work with the two of you cutting the film together?
Berman: Mike started a bit before me, but the film as you see today is something we built from scratch together. We mostly worked on separate scenes. A film this big, it’s good to take ownership of certain sections, because there’s so much to track in terms of the visual effects load. But we collaborated on everything, we always watched each other’s work and we always gave input, suggestions and feedback. There were a couple of scenes we handed back and forth. If someone had an idea for something, then they would take over that scene and do a pass on it. It was basically a good mixture of complete ownership and collaboration all at the same time.

Shawver: I think the key for us was to work as organically as possible and never let anybody’s creative idea or creative juices go to waste. If Debbie came in one day just raring to go on a scene and had a dream about it, an epiphany about it or something, and wanted to dig in and explore more and see if she could elevate a moment, we would be dumb to get in the way of her doing that.

I think we understood that we had to find a balance of feeling of ownership over the scenes, the moments and the movie as a whole, but also understand that this is a story that needs to speak to everybody. We had a very diverse post team, and that’s not by accident. It’s because diversity can bring about the greatest art. Even down to some of our production assistants, who we would bring in to watch certain things just to give us thoughts, and that would always be filtered to Ryan. With a beast of a movie as big as Black Panther — what was it, like, 500 hours of footage.

As the editors, we’re the first audience. We’re the gatekeepers for everything else. So we have to focus on the details, and the movie as a whole. And with a thing that size and with that many people on a team, it helps to break it down but never be hard and fast with those boundaries.

Berman: One thing that was really important to me was all of the strong female characters in the film. I really focused on the ladies, and just making sure they were the most spectacular, powerful representations they could be. And, of course, we both worked on everything, but I think Mike probably took a bit more of T’Challa. It was such a difficult mix to have our central character surrounded by all of these other strong characters, but still make him feel like the strong and central presence. We both worked quite a lot on Killmonger, because we had to try creating an empathetic villain. It would have been easy to veer in either direction too far. We just had to keep the balance of, you can empathize with the point he’s making, but he’s going about it in the wrong way.

Shawver: With anything you do as an editor, these things are hard. I’m not going to lie. You’re second-guessing yourself. We all need to find our story in it, but also how we can share ourselves in each of these characters. What we focused on a lot, in our own ways, were the relationships in the movie. Because if you boil it down, the relationships make that world go upwards, downwards, leftward, rightwards. My son had just turned one at the time, so the theme of fathers and sons that’s achieved in the movie really resonated with me. Just like Debbie with the female characters. Female characters often don’t get what they deserve on screen, but we made sure that they did. Debbie really took guardianship of that, shepherding it through. I think those are some of the strongest points in the movie.

Berman: Mike was really incredible at putting emotion into scenes. The fight scenes, for example. There are these amazing Warrior Falls scenes, which are action scenes, but they’re so emotional. Most of that is the work Mike put in, like folding it around the characters watching the action, and how you’re filtering your own audience reaction through what they’re experiencing.

I remember there was a lot of talk in the press when the movie came out about representation and inclusion in the film, especially for an action or superhero film. As a woman, I really felt like, “Wow this is an action movie that’s showing people I can relate to on screen.”
Berman: Every time I watched a scene, I would do a pass where I would try to watch it through the female gaze. One of the examples of that editorially is right at the end, when the Dora Milaje are surrounded and the Jabari save them. Originally the Jabari warriors were all male. So I had a conversation with Ryan and I said, “You know, we go through this entire movie with these absolutely spectacular female warriors and then at the end of the film the men save them. I think that it undercuts a lot of what we have built up with them over the course of the film.” But I didn’t know what the solution was.

Ryan, in his brilliance, was like, “Well, what if we make some of the Jabari warriors female?” Which I thought was amazing. But, of course, they’d already shot this massive, complicated action sequence. Luckily, in additional photography, Marvel supported that idea, and they created Jabari female warriors. The very first warrior to break through the force field and save them is this absolutely kick-ass Jabari female warrior. It really made such a difference, not only to that moment, which is one of the coolest moments in the film to me, but just throughout the entire film with what we’re trying to say.

When you first started working, was there any sense of, “Okay, Michael, you’ve been working on the indie film side, so you start with some of the dialogue scenes. Debbie you just came from another Marvel film, so work on the action scenes”? How did you decide who was working on what scenes?

Shawver: We didn’t want to keep it separate in that way. I know for myself, and Debbie as well, if there’s something that we’re not as strong at as an editor, we use the opportunity to be able to edit and get better at those things.

Debbie was on Spider-Man, and I went to Atlanta a little early to start on Panther because I’d never done one of these before, and I was terrified. Every morning I woke up having to pinch myself that I was working on a movie like this. But then the whole rest of the day was, “Don’t screw this up. Don’t screw this up.” Then, when Debbie came in, and said, “This would be a good idea if we did it this way. Here’s what you can do to help this process move along faster. Here’s what you can do to have more specific discussions with the effects teams.” Just those in and outs of having gone through a process like that with Spider-Man helped us immensely. Debbie and I are strong editors. We have our strengths and we have a couple of weaknesses, but I feel like we’re both pretty well rounded. In certain ways, Debbie is stronger than I am, and she would critique certain things and give me notes.

We had a discussion early on. Ryan said he felt better when both of his editors touched a scene, because that way both of our stories could be told. He’d also say that if both of us agreed on something and he didn’t, he’d go with our idea because, “You guys are smart. If you guys say this is better and you both agree on it, then we’re going to do it.”

Berman: We actually pushed each other to go further, because there might be a point where you’re like, “Yeah, I’m happy with the scene” and then someone comes in and prompts you and questions things, and it forces you to re-evaluate and see if you can make every single moment just a little bit better.

I had just done Spider-Man, but I’d also done some indie films. I wasn’t too far removed from understanding what the knowledge gaps would be, ‘because I’d only filled those knowledge gaps myself about five seconds earlier. So I felt like I came from the same world, and I understood what they needed to know based on what I had just learned from my past experience.

Were you in edit rooms next to each other?
Berman: We had separate edit suites. But every time someone was finished with a scene we would sit together, either just the two of us or if Ryan was around sometimes the three of us together. We were on the same floor, a few doors away from each other, but we’re working on our own systems pretty much most of the day, and then checking in with each other. We also sat in the effects reviews together, making sure that the visual effects were serving the story and serving the way we created the scenes. We were also in the sound mix together.

Shawver: One of the things that I learned from Ryan, and about Ryan, is you just have to trust him. There are times as an editor, especially when you have a team of dozens and dozens of people, when they are looking at you and needing a scene to be done or a decision to be made, but we haven’t fully gotten it there yet. Ryan said to me, I think it was an Abraham Lincoln quote, “Give me six hours to chop down a tree, and I’ll spend the first four sharpening the ax.” He told me that right after I was getting very nervous about a deadline we had, because he had to go to a bunch of other meetings and stuff like that, and that really put things into perspective.

There were times that we’d just sit and talk for an hour or two. The days are long — 10-, 12-hour days, sometimes longer. But we would have conversations; they’d be conversations about specific scenes, current events, our daily lives, how we feel, if one of us is going through something. First of all, if someone’s not having a good day, Ryan’s going to notice as soon as they step foot in the building, and he’s going to drop everything to make sure that that person is okay and find out if they need to go home. Whether it’s a personal tragedy, national tragedy, anything like that.

Berman: Whether it’s one of his key crew, or one of the PAs, he’ll notice.

Shawver: Yeah, it doesn’t matter who you are. The movie is a political movie. T’Challa’s a politician, and it has to do with world events and current events, and I think we’d be mistaken to not discuss those and see how we feel. But not just discuss, because the three of us probably agree on a lot of things that maybe a good amount of viewers in the world wouldn’t agree on. We talked from all different sides. That’s where that diversity comes in, and that love for making this movie that really is about bringing people together.

Berman: Yeah, that was very interesting to me, because I’m not used to sitting and talking so much. I’m used to like, “Editing! Editing! Editing!” It worked its way into the film. You spend a few hours chatting and you get to know each other, but it’s all working its way into the film. You’re connecting to each other as human beings and making this piece of art together, so it all works its way in… and it all makes the film better.

What’s up next for both of you?
Shawver: I’m working on a movie called Honest Thief. It’s starring Liam Neeson. It’s about a bank robber looking for redemption. It’s nice to be back on a movie just about relationships and small interpersonal drama to help sharpen those skills. It’s directed by Mark Williams, a really talented director.

Berman: I’m working on Captain Marvel, at the moment, sort of the final sprint to the finish line right now.


Amy Leland is a film director and editor. Her short film, “Echoes”, is now available on Amazon Video. She also has a feature documentary in post, a feature screenplay in development, and a new doc in pre-production. She is an editor for CBS Sports Network and recently edited the feature “Sundown.” You can follow Amy on social media on Twitter at @amy-leland and Instagram at @la_directora.

Sundance Videos: Watch our editor interviews

postPerspective traveled to Sundance for the first time this year, and it was great. In addition to attending some parties, brunches and panels, we had the opportunity to interview a number of editors who were in Park City to help promote their various projects. (Watch here.)

Billy McMillin

We caught up with the editors on the comedy docu-series Documentary Now!, Michah Gardner and Jordan Kim. We spoke to Courtney Ware about cutting the film Light From Light, as well as Billy McMillin, editor on the documentary Mike Wallace is Here. We also chatted with Phyllis Housen, the editor on director Chinonye Chukwu’s Clemency and Kent Kincannon who cut Hannah Pearl Utt’s comedy, Before you Know It. Finally, we sat down with Bryan Mason, who had the dual roles of cinematographer and editor on Animals.

We hope you enjoy watching these interviews as much as we enjoyed shooting them.

Don’t forget, click here to view!

Oh, and a big shout out to Twain Richardson from Jamaica’s Frame of Reference, who edited and color graded the videos. Thanks Twain!

ACE celebrates editing, names Eddie Award winners

By Dayna McCallum

On Friday evening, the 69th Annual ACE Eddie Awards were presented at the Beverly Hilton Hotel with over 1,000 in attendance. ACE president Stephen Rivkin, ACE, presided over the evening’s festivities with comedian Tom Kenny serving as the evening’s host (SpongeBob!).

(L-R) Director Peter Farrelly, Bohemian Rhapsody’s John Ottman, ACE

Bohemian Rhapsody, edited by John Ottman, ACE, and The Favourite, edited by Yorgos Mavropsaridis, ACE, won Best Edited Feature Film (Dramatic) and Best Edited Feature Film (Comedy) respectively. Ottman and Mavropsaridis, who are also nominated for the Oscar in film editing, were both first time Eddie winners.

Spider-Man: Into The Spider-Verse, edited by Robert Fisher, Jr., won Best Edited Animated Feature Film and Free Solo, edited by Bob Eisenhardt, ACE, won Best Edited Documentary (Feature).

Television winners included Kyle Reiter for Atlanta – “Teddy Perkins” (Best Edited Comedy Series for Commercial Television), Kate Sanford, ACE for The Marvelous Mrs. Maisel – “Simone” (Best Edited Comedy Series for Non-Commercial Television), Gary Dollner, ACE for Killing Eve – “Nice Face” (Best Edited Drama Series for Commercial Television), Steve Singleton for Bodyguard – Episode 1 (Best Edited Drama Series for Non-Commercial Television), Malcolm Jamieson and Geoffrey Richman, ACE for Escape at Dannemora – Episode Seven (Best Edited Miniseries or Motion Picture for Television), Greg Finton, ACE and Poppy Das, ACE for Robin Williams: Come Inside My Mind (Best Edited Documentary, Non-Theatrical), and Hunter Gross, ACE for Anthony Bourdain: Parts Unknown – “West Virginia” (Best Edited Non-Scripted Series), who delivered a very moving acceptance speech in tribute to the late Bourdain.

The Anne V. Coates Student Editing Award went to Boston University’s Marco Gonzalez, who beat out hundreds of competitors from film schools and universities around the country. The Student Editing honor was re-named in honor of the legendary editor who passed away this past year. In another emotional moment, the award was presented by Coates daughter, Emma Hickox, ACE (What Men Want).

Jerrold Ludwig, ACE and Craig McKay, ACE received Career Achievement awards.  Their work was highlighted with clip reels exhibiting their tremendous contributions to film and television throughout their careers.

(L-R) Octavia Spencer, Golden Eddie Honoree Guillermo del Toro

ACE’s prestigious Golden Eddie honor was presented to artist and Oscar-winning filmmaker Guillermo del Toro. He received the award from his friend and collaborator Octavia Spencer, who starred in del Toro’s The Shape of Water last year.

Other presenters at the show included Oscar nominated director Spike Lee (BlacKkKlansman); Oscar nominated director and ACE Eddie Award nominee for Roma, Alfonso Cuarón; director Jon M. Chu (Crazy Rich Asians); director Peter Farrelly (Green Book); D’Arcy Carden (The Good Place); Jennifer Lewis (Black-ish); Angela Sarafyan (Westworld); Harry Shum, Jr. (Crazy Rich Asians); Paul Walter Hauser (BlacKkKlansman); and film editor Carol Littleton, ACE.

Here is the full list of winners:

BEST EDITED FEATURE FILM (DRAMATIC):
Bohemian Rhapsody
John Ottman, ACE

BEST EDITED FEATURE FILM (COMEDY):
The Favourite
Yorgos Mavropsaridis, ACE

BEST EDITED ANIMATED FEATURE FILM:
Spider-Man: Into the Spider-Verse
Robert Fisher, Jr.

BEST EDITED DOCUMENTARY (FEATURE):
Free Solo
Bob Eisenhardt, ACE

BEST EDITED DOCUMENTARY (NON-THEATRICAL):
Robin Williams: Come Inside My Mind
Greg Finton, ACE & Poppy Das, ACE

Killing Eve Editor Gary Dollner, ACE

BEST EDITED COMEDY SERIES FOR COMMERCIAL TELEVISION:
Atlanta – “Teddy Perkins”
Kyle Reiter

BEST EDITED COMEDY SERIES FOR NON-COMMERCIAL TELEVISION:
The Marvelous Mrs. Maisel – “Simone”
Kate Sanford, ACE

BEST EDITED DRAMA SERIES FOR COMMERCIAL TELEVISION:
Killing Eve – “Nice Face”
Gary Dollner, ACE

BEST EDITED DRAMA SERIES FOR NON-COMMERCIAL TELEVISION:
Bodyguard – “Episode 1”
Steve Singleton

BEST EDITED MINISERIES OR MOTION PICTURE FOR TELEVISION:
Escape at Dannemora – “Episode Seven”
Malcolm Jamieson & Geoffrey Richman ACE

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

STUDENT WINNER
Marco Gonzalez – Boston University

Main Image Caption: (L-R) Tatiana S. Riegel, ACE, The Favourite’s Yorgos Mavropsaridis, ACE, Paul Walter Hauser.

More Than Just Words: Lucky Post helps bring Jeep’s viral piece to life


Jeep’s More Than Words commercial, out of agency The Richards Group, premiered online just prior to this year’s Super Bowl as part of its Big Game Blitz, which saw numerous projects launched leading up to the Super Bowl.

Quickly earning millions of views, the piece features a version of our national anthem by One Republic, as well as images of the band. The two-minute spot is made up of images of small, everyday moments that add up to something big and evoke a feeling of America.

There is a father and his infant son, people gathered in front of a barn, a football thrown through a hanging tire swing. We see bits of cities and suburbs, football, stock images of Marilyn Monroe and soldiers training for battle — and every once in a while, an image of a Jeep is in view.

The spot ends as it began, with images of One Republic in the studio before the screen goes black and text appears reading: More Than Just Words. Then the Jeep logo appears.

The production Company was Zoom USA with partner Mark Toia directing. Lucky Post in Dallas contributed editorial, color, sounds design and finish to the piece.

Editor Sai Selvarajan used Adobe’s Premiere. Neil Anderson provided the color grade in Blackmagic Resolve, while Scottie Richardson performed the sound design and mix using Avid Pro Tools. Online finishing and effects were via Tim Nagle, who worked in Autodesk Flame.

“The concept is genius in its simplicity; a tribute to faith in our country’s patchwork with our anthem’s words reinforced and represented in image,” says Lucky Post’s Selvarajan. “Behind the scenes, everyone provided collective energy and creativity to bring it to life. It was the product of many, just like the message of the film, and I was so excited to see the groundswell of positive reaction.”

 

 

 

Review: Boris FX’s Continuum and Mocha Pro 2019

By Brady Betzel

I realize I might sound like a broken record, but if you are looking for the best plugin to help with object removals or masking, you should seriously consider the Mocha Pro plugin. And if you work inside of Avid Media Composer, you should also seriously consider Boris Continuum and/or Sapphire, which can use the power of Mocha.

As an online editor, I consistently use Continuum along with Mocha for tight blur and mask tracking. If you use After Effects, there is even a whittled-down version of Mocha built in for free. For those pros who don’t want to deal with Mocha inside of an app, it also comes as a standalone software solution where you can copy and paste tracking data between apps or even export the masks, object removals or insertions as self-contained files.

The latest releases of Continuum and Mocha Pro 2019 continue the evolution of Boris FX’s role in post production image restoration, keying and general VFX plugins, at least inside of NLEs like Media Composer and Adobe Premiere.

Mocha Pro

As an online editor I am alway calling on Continuum for its great Chroma Key Studio, Flicker Fixer and blurring. Because Mocha is built into Continuum, I am able to quickly track (backwards and forwards) difficult shapes and even erase shapes that the built-in Media Composer tools simply can’t do. But if you are lucky enough to own Mocha Pro you also get access to some amazing tools that go beyond planar tracking — such as automated object removal, object insertion, stabilizing and much more.

Boris FX’s latest updates to Boris Continuum and Mocha Pro go even further than what I’ve already mentioned and have resulted in a new version naming, this round we are at 2019 (think of it as Version 12). They have also created the new Application Manager, which makes it a little easier to find the latest downloads. You can find them here. This really helps when jumping between machines and you need to quickly activate and deactivate licenses.

Boris Continuum 2019
I often get offline edits effects from a variety plugins — lens flares, random edits, light flashes, whip transitions, and many more — so I need Continuum to be compatible with offline clients. I also need to use it for image repair and compositing.

In this latest version of Continuum, BorisFX has not only kept plugins like Primatte Studio, they have brought back Particle Illusion and updated Mocha and Title Studio. Overall, Continuum and Mocha Pro 2019 feel a lot snappier when applying and rendering effects, probably because of the overall GPU-acceleration improvements.

Particle Illusion has been brought back from the brink of death in Continuum 2019 for a 64-bit keyframe-able particle emitter system that can even be tracked and masked with Mocha. In this revamp of Particle Illusion there is an updated interface, realtime GPU-based particle generation, expanded and improved emitter library (complete with motion-blur-enabled particle systems) and even a standalone app that can design systems to be used in the host app — you cannot render systems inside of the standalone app.

While Particle Illusion is a part of the entire Continuum toolset that works with OFX apps like Blackmagic’s DaVinci Resolve, Media Composer, After Effects, and Premiere, it seems to work best in applications like After Effects, which can handle composites simply and naturally. Inside the Particle Illusion interface you can find all of the pre-built emitters. If you only have a handful make sure you download additional emitters, which you can find in the Boris FX App Manager.

       
Particle Illusion: Before and After

I had a hard time seeing my footage in a Media Composer timeline inside of Particle Illusion, but I could still pick my emitter, change specs like life and opacity, exit out and apply to my footage. I used Mocha to track some fire from Particle Illusion to a dumpster I had filmed. Once I dialed in the emitter, I launched Mocha and tracked the dumpster.

The first time I went into Mocha I didn’t see the preset tracks for the emitter or the world in which the emitter lives. The second time I launched Mocha, I saw track points. From there you can track where you want your emitter to track and be placed. Once you are done and happy with your track, jump back to your timeline where it should be reflected. In Media Composer I noticed that I had to go to the Mocha options and change the option from Mocha Shape to no shape. Essentially, the Mocha shape will act like a matte and cut off anything outside the matte.

If you are inside of After Effects, most parameters can now be keyframed and parented (aka pick-whipped) natively in the timeline. The Particle Illusion plugin is a quick, easy and good-looking tool to add sparks, Milky Way-like star trails or even fireworks to any scene. Check out @SurfacedStudio’s tutorial on Particle Illusion to get a good sense of how it works in Adobe Premiere Pro.

Continuum Title Studio
When inside of Media Composer (prior to the latest release 2018.12), there were very few ways to create titles that were higher resolution than HD (1920×1080) — the New Blue Titler was the only other option if you wanted to stay within Media Composer.

Title Studio within Media Composer

At first, the Continuum Title Studio interface appeared to be a mildly updated Boris Red interface — and I am allergic to the Boris Red interface. Some of the icons for the keyframing and the way properties are adjusted looks similar and threw me off. I tried really hard to jump into Title Studio and love it, but I really never got comfortable with it.

On the flip side, there are hundreds of presets that could help build quick titles that render a lot faster than New Blue Titler did. In some of the presets I noticed the text was placed outside of 16×9 Title Safety, which is odd since that is kind of a long standing rule in television. In the author’s defense, they are within Action Safety, but still.

If you need a quick way to make 4K titles, Title Studio might be what you want. The updated Title Studio includes realtime playback using the GPU instead of the CPU, new materials, new shaders and external monitoring support using Blackmagic hardware (AJA will be coming at some point). There are some great pre-sets including pre-built slates, lower thirds, kinetic text and even progress bars.

If you don’t have Mocha Pro, Continuum can still access and use Mocha to track shapes and masks. Almost every plugin can access Mocha and can track objects quickly and easily.
That brings me to the newly updated Mocha, which has some new features that are extremely helpful including a Magnetic Spline tool, prebuilt geometric shapes and more.

Mocha Pro 2019
If you loved the previous version of Mocha, you are really going to love Mocha Pro 2019. Not only do you get the Magnetic Lasso, pre-built geometric shapes, the Essentials interface and high-resolution display support, but BorisFX has rewritten the Remove Module code to use GPU video hardware. This increases render speeds about four to five times. In addition, there is no longer a separate Mocha VR software suite. All of the VR tools are included inside of Mocha Pro 2019.

If you are unfamiliar with what Mocha is, then I have a treat for you. Mocha is a standalone planar tracking app as well as a native plugin that works with Media Composer, Premiere and After Effects, or through OFX in Blackmagic’s Fusion, Foundry’s Nuke, Vegas Pro and Hitfilm.

Mocha tracking

In addition (and unofficially) it will work with Blackmagic DaVinci Resolve by way of importing the Mocha masks through Fusion. While I prefer to use After Effects for my work, importing Mocha masks is relatively painless. You can watch colorist Dan Harvey run through the process of importing Mocha masks to Resolve through Fusion, here.

But really, Mocha is a planar tracker, which means it tracks multiple points in a defined area that works best in flat surfaces or at least segmented surfaces, like the side of a face, ear, nose, mouth and forehead tracked separately instead of all at once. From blurs to mattes, Mocha tracks objects like glue and can be a great asset for an online editor or colorist.

If you have read any of my plugin reviews you probably are sick of me spouting off about Mocha, saying how it is probably the best plugin ever made. But really, it is amazing — especially when incorporated with plugins like Continuum and Sapphire. Also, thanks to the latest Media Composer with Symphony option you can incorporate the new Color Correction shapes with Mocha Pro to increase the effectiveness of your secondary color corrections.

Mocha Pro Remove module

So how fast is Mocha Pro 2019’s Remove Module these days? Well, it used to be a very slow process, taking lots of time to calculate an object’s removal. With the latest Mocha Pro 2019 release, including improved GPU support, the render time has been cut down tremendously. In my estimation, I would say three to four times the speed (that’s on the safe side). In Mocha Pro 2019 removal jobs that take under 30 seconds would have taken four to five minutes in previous versions. It’s quite a big improvement in render times.

There are a few changes in the new Mocha Pro, including interface changes and some amazing tool additions. There is a new drop-down tab that offers different workflow views once you are inside of Mocha: Essentials, Classic, Big Picture and Roto. I really wish the Essentials view was out when I first started using Mocha, because it gives you the basic tools you need to get a roto job done and nothing more.

For instance, just giving access to the track motion objects (Translation, Scale, Rotate, Skew and Perspective) with big shiny buttons helps to eliminate my need to watch YouTube videos on how to navigate the Mocha interface. However, if like me you are more than just a beginner, the Classic interface is still available and one I reach for most often — it’s literally the old interface. Big Screen hides the tools and gives you the most screen real estate for your roto work. My favorite after Classic is Roto. The Roto interface shows just the project window and the classic top toolbar. It’s the best of both worlds.

Mocha Pro 2019 Essentials Interface

Beyond the interface changes are some additional tools that will speed up any roto work. This has been one of the longest running user requests. I imagine the most requested feature that BorisFX gets for Mocha is the addition of basic shapes, such as rectangles and circles. In my work, I am often drawing rectangles around license plates or circles around faces with X-splines, so why not eliminate a few clicks and have that done already? Answering my need, Mocha now has elliptical and rectangular shapes ready to go in both X-splines and B-splines with one click.

I use Continuum and Mocha hand in hand. Inside of Media Composer I will use tools like Gaussian Blur or Remover, which typically need tracking and roto shapes created. Once I apply the Continuum effect, I launch Mocha from the Effect Editor and bam, I am inside Mocha. From here I track the objects I want to affect, as well as any objects I don’t want to affect (think of it like an erase track).

Summing Up
I can save tons of time and also improve the effectiveness of my work exponentially when working in Continuum 2019 and Mocha Pro 2019. It’s amazing how much more intuitive Mocha is to track with instead of the built-in Media Composer and Symphony trackers.

In the end, I can’t say enough great things about Continuum and especially Mocha Pro. Mocha saves me tons of time in my VFX and image restoration work. From removing camera people behind the main cast in the wilderness to blurring faces and license plates, using Mocha in tandem with Continuum is a match made in post production heaven.

Rendering in Continuum and Mocha Pro 2019 is a lot faster than previous versions, really giving me a leg up on efficiency. Time is money right?! On top of that, using Mocha Pro’s magic Object removal and Modules takes my image restoration work to the next level, separating me from other online editors who use standard paint and tracking tools.

In Continuum, Primatte Studio gives me the leg up on greenscreen keys with its exceptional ability to auto analyze a scene and perform 80% of the keying work before I dial-in the details. Whenever anyone asks me what tools I couldn’t live without, I without a doubt always say Mocha.
If you want a real Mocha Pro education you need to watch all of Mary Poplin’s tutorials. You can find them on YouTube. Check out this one on how to track and replace a logo using Mocha Pro 2019 in Adobe After Effects. You can also find great videos at Borisfx.com.

Mocha point parameter tracking

I always feel like there are tons of tools inside of the Mocha Pro toolset that go unused simply because I don’t know about them. One I recently learned about in a Surfaced Studio tutorial was the Quick Stabilize function. It essentially stabilizes the video around the object you are tracking allowing you to more easily rotoscope your object with it sitting still instead of moving all over the screen. It’s an amazing feature that I just didn’t know about.

As I was finishing up this review I saw that Boris FX came out with a training series, which I will be checking out. One thing I always wanted was a top-down set of tutorials like the ones on Mocha’s YouTube page but organized and sent along with practical footage to practice with.

You can check out Curious Turtle’s “More Than The Essentials: Mocha in After Effects” on their website where I found more Mocha training. There is even a great search parameter called Getting Started on BorisFX.com. Definitely check them out. You can never learn enough Mocha!


Brady Betzel is an Emmy-nominated online editor at Margarita Mix in Hollywood, working on Life Below Zero and Cutthroat Kitchen. You can email Brady at bradybetzel@gmail.com. Follow him on Twitter @allbetzroff.

AICE Awards rebranded to AICP Post Awards

AICP has announced the Call for Entries for the AICP Post Awards, its revamped and rebranded competition for excellence in the post production arts. Formerly the AICE Awards, its categories have been re-imagined with a focus on recognizing standout examples of various crafts and technique in editing, audio, design, visual effects artistry and finishing. The AICP Post Awards are a part of the AICP Awards suite of competitions, which also include The AICP Show: The Art & Technique of the American Commercial and the AICP Next Awards, both of which are also currently accepting entries.

Among the changes for the AICP Post Awards this year are the opening of the competition to any entity having involvement in the creation of a piece of content beyond the AICP membership —previously the AICE Awards was a “members only” competition.

For the full rundown on rules, categories, eligibility and fees, visit the AICP Post Awards entry portal. Deadline for entries is Thursday, February 8 at 11:59pm PST. Entrants can use the portal to cross-enter work between all three of the 2019 AICP competitions, including the AICP Show: The Art & Technique of the American Commercial and the AICP Next Awards.

Regarding categories, the competition has regrouped its existing categories, introduced a range of new sections, expanded others and added an entirely new category for vertical video.

Danny Rosenbloom

“While we’ll continue to recognize editorial across a wide range of product, genre and technique categories, we now have a wider range of subcategories in areas like audio, visual effects and design and color grading,” says Danny Rosenbloom, AICP’s VP, post and digital Production.

“We saw this as an opportunity to make the Post Awards more reflective of the varied artists working across the spectrum of post production disciplines,” noted Matt Miller, president/CEO of AICP.  “Now that we’ve brought all this post production expertise into AICP, we want the Post Awards to be a real celebration of creative talent and achievement.”

A full list of AICP Post Awards categories now includes the following:

Editorial Categories
Automotive
Cause Marketing
Comedy
Dialogue
Monologue/Spoken Word
Docu-Style
Fashion/Beauty
Montage
Music Video
Storytelling
National Campaign
Regional Campaign

Audio Categories
Audio Mix
Sound Design With Composed Music
Sound Design Without Composed Music

Color Categories
Color :60
Color :30
Color Other Lengths
Color Music Video

Design, Visual Effects & Finishing Categories
Character Design & Animation
Typography Design & Animation
Graphic Design & Animation
End Tag
CGI
Compositing & Visual Effects
Vertical

In addition to its category winners and Best of Show honoree, the AICP Post Awards will continue to recognize Best of Region winners that represent the best work emanating from companies submitting within each AICP Chapter. These now encompass East, Florida, Midwest, Minnesota, Southeast, Southwest and West.

Industry vets open editorial, post studio Made-SF

Made-SF, a creative studio offering editorial and other services, has been launched by executive producer Jon Ettinger, editor/director Doug Walker and editors Brian Lagerhausen and Connor McDonald, all formerly of Beast Editorial. Along with creative editorial (Adobe Premiere), the company will provide motion graphic design (After Effects, Mocha), color correction and editorial finishing (likely Flame and Resolve). Eventually, it plans to add concept development, directing and production to its mix.

“Clients today are looking for creative partners who can help them across the entire production chain,” says Ettinger. “They need to tell stories and they have limited budgets available to tell them. We know how to do both, and we are gathering the resources to do so under one roof.”

Made is currently set up in interim quarters while completing construction of permanent studio space. The latter will be housed in a century-old structure in San Francisco’s North Beach neighborhood and will feature five editorial suites, two motion graphics suites, and two post production finishing suites with room for further expansion.

The four Made partners bring deep experience in traditional advertising and branded content, working both with agencies and directly with clients. Ettinger and Walker have worked together for more than 20 years and originally teamed up to launch FilmCore, San Francisco. Both joined Beast Editorial in 2012. Similarly, Lagerhausen and McDonald have been editing in the Bay Area for more than two decades. Collectively, their credits include work for agencies in San Francisco and nationwide. They’ve also helped to create content directly for Google, Facebook, LinkedIn, Salesforce and other corporate clients.

Made is indicative of a trend where companies engaged in content development are adopting fluid business models to address a diversifying media landscapes and where individual talent is no longer confined to a single job title. Walker, for example, has recently served as director on several projects, including a series of short films for Kelly Services, conceived by agency Erich & Kallman and produced by Caruso Co.

“People used to go to great pains to make a distinction about what they do,” Ettinger observes. “You were a director or an editor or a colorist. Today, those lines have blurred. We are taking advantage of that flattening out to offer clients a better way to create content.”

Main Image Caption: (L-R) Doug Walker, Brian Lagerhausen, Jon Ettinger and Connor McDonald.

Telestream CaptionMaker supports 100 languages, audio transcription

Telestream’s latest version of CaptionMaker, the company’s closed captioning and subtitling software, has been updated. The product now supports over 100 languages and allows users to also auto-transcribe via the Telestream Timed Text Speech cloud service.

Video media in languages such as Russian, Tagalog, Japanese, German and other Asian, African and European languages can automatically be transcribed by accessing the Timed Text Speech service directly from within CaptionMaker. The results can then be edited, formatted and exported as industry-standard caption and subtitle files.

For high-volume, enterprise workflows, users can batch submit media using the Vantage Cloud Speech connector, saving time and processing media faster. The Vantage Cloud Speech Action can return a plain text document or a subtitle SRT file. The result can be converted to an SCC or various other subtitle formats using Vantage Timed Text Flip. Subtitle files can be further edited in CaptionMaker or used by a transcoder such as IPTV Flip.

CaptionMaker also now includes an Audio Waveform Timeline that displays a graphical representation of all spoken dialogue. This feature helps editors when making critical adjustments to any professional subtitle or caption project.

Click here for complete list of languages supported in CaptionMaker Version 8.

CaptionMaker Version 8 is available now.

Quick Chat: Crew Cuts’ Nancy Jacobsen and Stephanie Norris

By Randi Altman

Crew Cuts, a full-service production and post house, has been a New York fixture since 1986. Originally established as an editorial house, over the years as the industry evolved they added services that target all aspects of the workflow.

This independently-owned facility is run by executive producer/partner Nancy Jacobsen, senior editor/partner Sherri Margulies Keenan and senior editor/partner Jake Jacobsen. While commercial spots might be in their wheelhouse, their projects vary and include social media, music videos and indie films.

We decided to reach out to Nancy Jacobsen, as well as EP of finishing Stephanie Norris, to find out about trends, recent work and succeeding in an industry and city that isn’t always so welcoming.

Can you talk about what Crew Cuts provides and how you guys have evolved over the years?
Jacobsen: We pretty much do it all. We have 10 offline editors as well as artists working in VFX, 2D/3D animation, motion graphics/design, audio mix and sound design, VO record, color grading, title treatment, advanced compositing and conform. Two of our editors double as directors.

In the beginning, Crew Cuts primarily offered only editorial. As the years went by and the industry climate changed we began to cater to the needs of clients and slowly built out our entire finishing department. We started with some minimal graphics work and one staff artist in 2008.

In 2009, we expanded the team to include graphics, conform and audio mix. From there we just continued to grow and expand our department to the full finishing team we have today.

As a woman owner of a post house, what challenges have you had to overcome?
Jacobsen: When I started in this business, the industry was very different. I made less money than my male counterparts and it took me twice as long to be promoted because I am a woman. I have since seen great change where women are leading post houses and production houses and are finally getting the recognition for the hard work they deserve. Unfortunately, I had to “wait it out” and silently work harder than the men around me. This has paid off for me, and now I can help women get the credit they rightly deserve

Do you see the industry changing and becoming less male-dominated?
Jacobsen: Yes, the industry is definitely becoming less male-dominated. In the current climate, with the birth of the #metoo movement and specifically in our industry with the birth of Diet Madison Avenue (@dietmadisonave), we are seeing a lot more women step up and take on leading roles.

Are you mostly a commercial house? What other segments of the industry do you work in?
Jacobsen: We are primarily a commercial house. However, we are not limited to just broadcast and digital commercial advertising. We have delivered specs for everything from the Godzilla screen in Times Square to :06 spots on Instagram. We have done a handful of music videos and also handle a ton of B2B videos for in-house client meetings, etc., as well as banner ads for conferences and trade shows. We’ve even worked on display ads for airports. Most recently, one of our editors finished a feature film called Public Figure that is being submitted around the film festival circuit.

What types of projects are you working on most often these days?
Jacobsen: The industry is all over the place. The current climate is very messy right now. Our projects are extremely varied. It’s hard to say what we work on most because it seems like there is no more norm. We are working on everything from sizzle pitch videos to spots for the Super Bowl.

What trends have you seen over the last year, and where do you expect to be in a year?
Jacobsen: Over the last year, we have noticed that the work comes from every angle. Our typical client is no longer just the marketing agency. It is also the production company, network, brand, etc. In a year we expect to be doing more production work. Seeing as how budgets are much smaller than they used to be and everyone wants a one-stop shop, we are hoping to stick with our gut and continue expanding our production arm.

Crew Cuts has beefed up its finishing services. Can you talk about that?
Stephanie Norris: We offer a variety of finishing services — from sound design to VO record and mix, compositing to VFX, 2D and 3D motion graphics and color grading. Our fully staffed in-house team loves the visual effects puzzle and enjoys working with clients to help interpret their vision.

Can you name some recent projects and the services you provided?
Norris: We just worked on a new campaign for New Jersey Lottery in collaboration with Yonder Content and PureRed. Brian Neaman directed and edited the spots. In addition to editorial, Crew Cuts also handled all of the finishing, including color, conform, visual effects, graphics, sound design and mix. This was one of those all-hands-on-deck projects. Keeping everything under one roof really helped us to streamline the process.

New Jersey Lottery

Working with Brian to carefully plan the shooting strategy, we filmed a series of plate shots as elements that could later be combined in post to build each scene. We added falling stacks of cash to the reindeer as he walks through the loading dock and incorporated CG inflatable decorations into a warehouse holiday lawn scene. We also dramatically altered the opening and closing exterior warehouse scenes, allowing one shot to work for multiple seasons. Keeping lighting and camera positions consistent was mission-critical, and having our VFX supervisor, Dulany Foster, on set saved us hours of work down the line.

For the New Jersey Lottery Holiday spots, the Crew Cuts CG team, led by our creative director Ben McNamara created a 3D Inflatable display of lottery tickets. This was something that proved too costly and time consuming to manufacture and shoot practically. After the initial R&D, our team created a few different CG inflatable simulations prior to the shoot, and Dulany was able to mock them up live while on set. Creating the simulations was crucial for giving the art department reference while building the set, and also helped when shooting the plates needed to composite the scene together.

Ben and his team focused on the physics of the inflation, while also making sure the fabric simulations, textures and lighting blended seamlessly into the scene — it was important that everything felt realistic. In addition to the inflatables, our VFX team turned the opening and closing sunny, summer shots of the warehouse into a December winter wonderland thanks to heavy compositing, 3D set extension and snow simulations.

New Jersey Lottery

Any other projects you’d like to talk about?
Jacobsen: We are currently working on a project here that we are handling soup to nuts from production through finishing. It was a fun challenge to take on. The spot contains a hand model on a greenscreen showing the audience how to use a new product. The shoot itself took place here at Crew Cuts. We turned our common area into a stage for the day and were able to do so without interrupting any of the other employees and projects going on.

We are now working on editorial and finishing. The edit is coming along nicely. What really drives the piece here is the graphic icons. Our team is having a lot of fun designing these elements and implementing them into the spot. We are so proud because we budgeted wisely to make sure to accommodate all of the needs of the project so that we could handle everything and still turn a profit. It was so much fun to work in a different setting for the day and has been a very successful project so far. Clients are happy and so are we.

Main Image: (L-R) Stephanie Norris and Nancy Jacobsen

BlacKkKlansman director Spike Lee

By Iain Blair

Spike Lee has been on a roll recently. Last time we sat down for a talk, he’d just finished Chi-Raq, an impassioned rap reworking of Aristophanes’ “Lysistrata,” which was set against a backdrop of Chicago gang violence. Since then, he’s directed various TV, documentary and video projects. And now his latest film BlacKkKlansman has been nominated for a host of Oscars, including Best Picture, Best Director, Best Adapted Screenplay, Best Film Editing,  Best Original Score and Best Actor in a Supporting Role (Adam Driver).

Set in the early 1970s, the unlikely-but-true story details the exploits of Ron Stallworth (John David Washington), the first African-American detective to serve in the Colorado Springs Police Department. Determined to make a name for himself, Stallworth sets out on a dangerous mission: infiltrate and expose the Ku Klux Klan. The young detective soon recruits a more seasoned colleague, Flip Zimmerman (Adam Driver), into the undercover investigation. Together, they team up to take down the extremist hate group as the organization aims to sanitize its violent rhetoric to appeal to the mainstream. The film also stars Topher Grace as David Duke.

Behind the scenes, Lee reteamed with co-writer Kevin Willmott, longtime editor Barry Alexander Brown and composer Terence Blanchard, along with up-and-coming DP Chayse Irvin. I spoke with the always-entertaining Lee, who first burst onto the scene back in 1986 with She’s Gotta Have It, about making the film, his workflow and the Oscars.

Is it true Jordan Peele turned you onto this story?
Yeah, he called me out of the blue and gave me possibly the greatest six-word pitch in film history — “Black man infiltrates Ku Klux Klan.” I couldn’t resist it, not with that pitch.

Didn’t you think, “Wait, this is all too unbelievable, too Hollywood?”
Well, my first question was, “Is this actually true? Or is it a Dave Chappelle skit?” Jordan assured me it’s a true story and that Ron wrote a book about it. He sent me a script, and that’s where we began, but Kevin Willmott and I then totally rewrote it so we could include all the stuff like Charlottesville at the end.

Iain Blair and Spike Lee

Did you immediately decide to juxtapose the story’s period racial hatred with all the ripped-from-the-headlines news footage?
Pretty much, as the Charlottesville rally happened August 11, 2017 and we didn’t start shooting this until mid-September, so we could include all that. And then there was the terrible synagogue massacre, and all the pipe bombs. Hate crimes are really skyrocketing under this president.

Fair to say, it’s not just a film about America, though, but about what’s happening everywhere — the rise of neo-Nazism, racism, xenophobia and so on in Europe and other places?
I’m so glad you said that, as I’ve had to correct several people who want to just focus on America, as if this is just happening here. No, no, no! Look at the recent presidential elections in Brazil. This guy — oh my God! This is a global phenomenon, and the common denominator is fear. You fire up your base with fear tactics, and pinpoint your enemy — the bogeyman, the scapegoat — and today that is immigrants.

What were the main challenges in pulling it all together?
Any time you do a film, it’s so hard and challenging. I’ve been doing this for decades now, and it ain’t getting any easier. You have to tell the story the best way you can, given the time and money you have, and it has to be a team effort. I had a great team with me, and any time you do a period piece you have added challenges to get it looking right.

You assembled a great cast. What did John David Washington and Adam Driver bring to the main roles?
They brought the weight, the hammer! They had to do their thing and bring their characters head-to-head, so it’s like a great heavyweight fight, with neither one backing down. It’s like Inside Man with Denzel and Clive Owen.

It’s the first time you’ve worked with the Canadian DP Chayse Irvin, who mainly shot shorts before this. Can you talk about how you collaborated with him?
He’s young and innovative, and he shot a lot of Beyonce’s Lemonade long-form video. What we wanted to do was shoot on film, not digital. I talked about all the ‘70s films I grew up with, like French Connection and Dog Day Afternoon. So that was the look I was after. It had to match the period, but not be too nostalgic. While we wanted to make a period film, I also wanted it to feel and look contemporary, and really connect that era with the world we live in now. He really nailed it. Then my great editor, Barry Alexander Brown, came up with all the split-screen stuff, which is also very ‘70s and really captured that era.

How tough was the shoot?
Every shoot’s tough. It’s part of the job. But I love shooting, and we used a mix of practical locations and sets in Brooklyn and other places that doubled for Colorado Springs.

Where did you post?
Same as always, in Brooklyn, at my 40 Acres and a Mule office.

Do you like the post process?
I love it, because post is when you finally sit down and actually make your film. It’s a lot more relaxing than the shoot — and a lot of it is just me and the editor and the Avid. You’re shaping and molding it and finding your way, cutting and adding stuff, flopping scenes, and it never really follows the shooting script. It becomes its own thing in post.

Talk about editing with Barry Alexander Brown, the Brit who’s cut so many of your films. What were the big editing challenges?
The big one was finding the right balance between the humor and the very serious subject matter. They’re two very different tones, and then the humor comes from the premise, which is absurd in itself. It’s organic to the characters and the situations.

Talk about the importance of sound and music, and Terence Blanchard’s spare score that blends funk with classical.
He’s done a lot of my films, and has never been nominated for an Oscar — and he should have been. He’s a truly great composer, trumpeter and bandleader, and a big part of what I do in post. I try to give him some pointers that aren’t restrictive, and then let him do his thing. I always put as much as emphasis on sound and music as I do on the acting, editing and cinematography. It’s hugely important, and once we have the score, we have a film.

I had a great sound team. Phil Stockton, who began with me back on School Daze, was the sound designer. David Boulton, Mike Russo and Howard London did the ADR mix, and my longtime mixer Tommy Fleischman was on it. We did it all at C5 in New York. We spent a long time on the mix, building it all up.

Where did you do the DI and how important is it to you?
At Company 3 with colorist Tom Poole, who’s so good. It’s very important but I’m in and out, as I know Tom and the DP are going to get the look I want.

Spike Lee on set.

Did the film turn out the way you hoped?
Here’s the thing. You try to do the best you can, and I can’t predict what the reaction will be. I made the film I wanted to make, and then I put it out in the world. It’s all about timing. This was made at the right time and was made with a lot of urgency. It’s a crazy world and it’s getting crazier by the minute.

How important are industry awards and nomination to you? 
They’re very important in that they bring more attention, more awareness to a film like this. One of the blessings from the strong critical response to this has been a resurgence in looking at my earlier films again, some of which may have been overlooked, like Bamboozled and Summer of Sam.

Do you see progress in Hollywood in terms of diversity and inclusion?
There’s been movement, maybe not as fast as I’d like, but it’s slowly happening, so that’s good.

What’s next?
We just finished the second season of She’s Gotta Have It for Netflix, and I have some movie things cooking. I’m pretty busy.


Industry insider Iain Blair has been interviewing the biggest directors in Hollywood and around the world for years. He is a regular contributor to Variety and has written for such outlets as Reuters, The Chicago Tribune, The Los Angeles Times and the Boston Globe.

The Colonie ups Graham Chapman to editor

Graham Chapman has been promoted to editor at Chicago’s The Colonie. Chapman joined The Colonie in 2013 as an assistant editor, advanced to senior assistant editor in 2017 and began 2019 as editor. For the past five years, he has worked under veteran editor Bob Ackerman strengthening his skills on a wide range of commercials, social media campaigns and long-format projects.

He works on both Avid Media Composer and Adobe Premiere.

“Working with Bob was truly a game-changer,” says Chapman. “I think one of the most important skills I picked up working aside him over the years is to always challenge yourself. Never settle on something if it doesn’t feel right and \ keep pushing to get more imaginative. Remembering these things while cutting is what’s brought out some of my best work.”

Chapman has worked on a long roster of high-profile spots and digital content for global brands such as McDonald’s, Walmart, Marshalls, Kraft and Aleve. Even before his promotion, Chapman edited elements of a number of projects, such as campaigns for the 2018 Toyota Highlander and Nissan’s Hispanic Heritage Month, as well as the television documentary Iron 5: Story of the 1963 Loyola Ramblers.

“I’ve had the pleasure of working directly with Graham on both traditional and digitally-driven campaigns,” says Carlo Treviso, senior digital production at Burrell Communications. “He’s a fantastic creative partner and storyteller and always finds ways to plus up the edit. His grasp of social media best practices and aspect ratios is incredibly helpful as clients are asking for more social deliverables with every campaign. He’s also a pretty awesome human being.”

Chapman attended Columbia College Chicago, majoring in filmmaking, with a concentration in editing.

Nice Shoes welcomes creative editor Marcos Castiel

NYC-based creative studio Nice Shoes has signed creative editor Marcos Castiel for his first US representation. With over two decades of experience as an editor, Castiel has worked with such clients as Coca-Cola, Adidas, Vodafone, ASICS, McDonald’s, Whole Foods, Nivea and Comcast.

Castiel’s work ranges from enigmatic athletic-driven spots — featuring Cristiano Ronaldo and Lionel Messi — to narrative spots for international brand campaigns. Castiel will be available via Nice Shoes’ headquarters in New York City as well as any of their satellite or remote locations throughout North America.

Marcos Castiel cut Summer for Portuguese media company NOS.

Castiel entered the filmmaking word with an eye towards directing, but quickly discovered the storytelling power of editing and made the switch. He began his career on the agency side, editing global campaigns at Publicis before moving to the production side where he spent a decade at top production and post houses. Looking to further broaden his creative output, he made the shift to freelance and continued editing top international campaigns.

“Nice Shoes’ vision as a holistic creative studio is very much aligned with my desire for creative diversity in my career,” says Castiel. “Being able to inform my approach with different styles and genres is what helps me continue to partner with clients to elevate their ideas and Nice Shoes truly stands behind that approach.”

Patrick J. Don Vito on editing Green Book

By Randi Altman

Universal Pictures’ Green Book tells the tale of an African-American piano virtuoso and his white driver. Based on a true story, this unlikely pair must navigate the Deep South in 1962 for a concert tour during a time most places to eat and sleep were segregated.

This unlikely pairing of the well-educated and sophisticated Dr. Don Shirley (Mahershala Ali) and the blue-collar Tony Lip (Viggo Mortensen) ends up teaching both men a lesson in understanding and acceptance, and turns into a life-long friendship.

L-R: Viggo Mortensen, Patrick Don Vito and Peter Farrelly

The film was nominated for five Golden Globes and won three: Best Screenplay, Best Motion Picture – Musical or Comedy and Best Supporting Actor – Motion Picture. The work of the film’s editor, Patrick J. Don Vito, has also been noticed, receiving an Oscar nomination for Best Film Editing, in addition to an ACE Eddie nomination in the Best Edited Feature Film (Comedy) category.

We recently spoke to Don Vito, who had previously collaborated with the film’s director, Peter Farrelly, known for unapologetic comedy films such as There’s Something About Mary, Dumb & Dumber and Hall Pass. Don Vito, whose resume includes other comedies such as Walk of Shame and My Life in Ruins, really enjoyed walking the line between comedy and drama in this film, which he says made for a fun but challenging edit.

Let’s find out more…

How early did you get involved in Green Book?
I got the script back in August of 2017, expressed a lot of interest to Pete and got hired! The movie started shooting right after Thanksgiving, and I began a few days before that. We set up shop in New Orleans, near where they were shooting.

So you were keeping up with camera?
Yes, I would get dailies every day and try to keep up with the footage. I’d cut during the week when Pete was shooting and he would come in on the weekend to look at cuts. We would discuss ideas, and I’d show him alternate cuts. We did that throughout the shoot, and when we were done shooting, we went to Ojai, where Pete lives, and cut there for six weeks. We then came back to Los Angeles to finish — we set up rooms at EPS-Cineworks.

So you were not on set but you were near set.
Yes. I popped in like the first day of shooting and said hello. I don’t think I ever went to the set again.

Do you prefer it that way?
I’m an editor. I like to tell the story. The set is a lot of sitting around, waiting and planning; you shoot for a couple minutes, then you stop and wait. I like to keep working, and in the cutting room it never stops. You’re always trying new things, looking at different takes and seeing what you can create out of something. It’s that process of always being engaged that I like. Every minute I spend on the set, I feel like I am falling behind. It’s different if you’re directing the film. I’ve directed some shorts, and that is fun because you are always busy and engaged.

Were there times when you realized a scene was close, but still needed something additional?
Yes, every once in a while something would come up and I’d say, “It would be great if we had an insert of this so I can bridge these shots together.” Or I’d say, “If there is time, can you get a shot of this?”

They had a second unit go out and get a bunch of insert shots to fill in gaps — driving shots and various things that we needed. That happened out of our discussions and asking, “What if we did that?”

How do you approach editing? Do you watch everything up front and then build selects?
Usually, but It depends on the scene and how I feel that day. I’ll watch everything and get a feel for what the scene is about and what I have available, and I’ll try to keep that in my head. Once the scenes are placed in the bin, it’s easier for me to visually remember where things are.

I’ll break down selects. Then if a scene is for some reason particularly difficult or causing me problems, I may jump around. I may start at the end of a scene and work backwards, or start in the middle and work out from there. It depends. I like switching it up and making my brain work a little differently each time. I try different tricks to kind of keep it fresh for me in my head.

What would an example of a trick be? Are there any scenes within the film that you can point to?
When Tony Lip’s wife, Delores, is reading the letter to her family and the guys are playing poker in the background — that scene was a little long. We had the entire letter being read on camera in the original cut. Then we went back to the table in the kitchen where the guys are playing poker and talking about Tony’s letters. “They’re not bad. You know? Oh, we had an artsy family.”

Originally, the joke was when the female family member says, “I want a letter,” and her husband answers, “Yeah, as soon as you make a meal.” That used to be in the middle of the scene. What I did was have Tony’s wife start the letter then cut over to the table and she’s now off-camera. You’re hearing her continue to read the letter while we are watching the guys play poker. Then we go back for the end of Delores reading the letter and the joke. It became a much better scene, and thanks to the joke it punched you right out into the next scene.

Essentially, it was just a little reorder, which we do once in a while. One thing I try to do with comedy is look at it as a mathematical equation. Say you have three jokes in a scene. You have A, B and C jokes. A is the funniest, B is not as funny and C is the least funny. You may have an idea of what the funniest joke is, but you don’t necessarily know which one it is until you play it for people. Once you have some screenings you know. You don’t want to end a scene on a B or C joke. You want to end on an A joke. So you can try to either remove a joke or try to reorder the scene so that it ends on the A joke. You want to build it from funny, funnier to funniest.

L-R: Patrick Don Vito and Mahershala Ali

This is such a serious topic, but the film’s got funny moments as well. How did you walk that line?
That was probably the most difficult thing about it. You don’t want the jokes to seem like a joke. You want them to come out of a scene naturally — out of the drama, characters or the emotion of the scene. There were a lot of options as far as jokes. At first I cut everything in to see what was working and what seemed too jokey. You start eliminating things that take it to a different type of comedy and you try to keep it more real. That was always the mantra from Pete: “Let’s keep it real. All the comedy needs to come out of the scenes and not seem like it’s too much of a joke.”

Had you worked with Pete before?
Yes, a couple of times. I worked on Movie 43 with him, which was a very different kind of comedy. I also worked on a pilot for him a few years ago called Cuckoo, which was a remake of a British series. It didn’t get picked up.

Do you find that you tend to get pigeonholed as an editor? You are either a comedy editor or an action editor, etc.?
I think that happens to everyone. Absolutely, and it can be tough. Even with this movie, the studio asked for a reference list of people. I think that was because they looked at my resume and saw a lot of comedies.

The movie I did right before this, but isn’t out yet, is a drama called Three Christs. It has some comedic elements but it’s pretty much a drama. I think that gave me a better chance at Green Book. It’s directed by Jon Avnet and stars Peter Dinklage, Richard Gere, Walton Goggins, Bradley Whitford and Julianna Margulies. It’s a true story, also from the ’60s, about a psychiatrist who has three patients who all think they’re Jesus Christ. He decides to put them in a room together while they are in a psych ward to see what happens. Will they give up their delusions? Will they fight over it? I’ve known Jon Avnet since I was an assistant editor on Up Close and Personal in 1996.

Ok, let’s turn to tools. You use Avid Media Composer. Do you have any tips or tricks that you would like to share?
It’s not a trick, but when I start a movie I have one of the assistants set up Script Sync, which is really helpful for when you’re in the room with the director and the producers and want to quickly get to different line readings.

Basically, you put the clips on the script itself and you can click on a line and hear every single line reading of that line. I know editors sometimes take every single line reading of dialogue and cut them next to each other in a sequence. I prefer to use Scrypt Sync and make select rolls.

Speaking of assistants, how did you work with yours on Green Book?
Petra Demas was my first assistant, and she was great. She would help organize my room, and when I needed help I could throw her a scene. So she would help me cut scenes now and again when she wasn’t busy.

I had another great assistant named Bart Breve’. He did all the Script Sync work and helped out with dailies with Petra. They would keep me up-to-date with footage to make sure I always had something to work on. Bart was a local in New Orleans, so when I came back to LA, we hired Aleigh Lewis who handled all the visual effects — there are over 400 in the movie.

You assume because it’s a period piece there will be some visual effects, but that’s a lot of shots.
Absolutely. Aleigh helped keep all the visual effects organized. I relied on her to organize the visual effects and show me the new ones as they came in, so I could give notes. Pixel Magic did the visual effects, including the piano playing.

I was wondering about that!
Mahershala Ali is a good actor, but that’s virtuoso piano playing! He did take lessons for a few months from the composer Kris Bowers, who played the piano in the movie. Mahershala learned where to put his hands and how to sit like a classical pianist. Kris would play the music and they’d shoot that, then Mahershala would sit and he would play. Then we’d combine the two into a take. It was mostly head replacement kind of stuff.

What were some of the other VFX shots?
A ton of them were getting rid of modern things in the shots… modern cars, signs, cameras on buildings … that kind of thing. On top of that, the car they were in had a tear in the roof inside the car and it’s supposed to be a brand new 1962 Cadillac. About 85% of the car scenes are visual effects shots. There is an amazing bridge shot where the Cadillacs are leaving NY on the George Washington Bridge. In that shot the blacktop and all the cars are CGI. Pixel Magic took a modern stock shot and created that. It’s pretty impressive.

Fotokem, who processed dailies for us and provided the color correction, even did a few visual effects. When we saw the film in such high resolution during the color correction, we noticed modern elements in some shots that we missed and needed to remove. They took care of that.

Were most of the driving shot greenscreen?
No. It was almost all practical. We drove in and around New Orleans. The only ones that were green screened were when they’re driving in the snow, and still some of them are practical because we actually did get some snow just outside of New Orleans. It started snowing, so they got the camera crew together and went out and shot. Who knew it was going to snow in New Orleans?!

VFX editor Warren Mazutinec on life, work and Altered Carbon

By Jeremy Presner

Long-time assistant editor Warren Mazutinec’s love for filming began when he saw Star Wars as an eight-year-old in a small town in Edmonton, Alberta. Unlike many other Lucas-heads, however, this one got to live out his dream grinding away in cutting rooms from Vancouver to LA working with some of the biggest editors in the galaxy.

We met back in 1998 when he assisted me on the editing of the Martin Sheen “classic” Voyage of Terror. We remain friends to this day. One of Warren’s more recent projects was Netflix’s VFX-heavy Altered Carbon, which got a lot of love from critics and audiences alike.

My old friend, who is now based in Vancouver, has an interesting story to tell, moving from assistant editor to VFX editor working on films like Underworld 4, Tomorrowland, Elysium and Chappie, so I threw some questions at him. Enjoy!

Warren Mazutinec

How did you get into the business?
I always wanted to work in the entertainment industry, but that was hard to find in Alberta. No film school-type programs were even offered, so I took the closest thing at a local college: audiovisual communications. While there, I studied photography, audio and video, but nothing like actual filmmaking. After that I attended Vancouver Film School. After film school, and with the help of some good friends, I got an opportunity to be a trainee at Shavick Entertainment.

What was it like working at a “film factory” that cranked out five to six pictures a year?
It was fun, but the product ultimately became intolerable. Movies for nine-year-olds can only be so interesting… especially low-budget ones.

What do your parents think of your career option?
Being from Alberta, everyone thought it wasn’t a real job — just a Hollywood dream. It took some convincing; my dad still tells me to look for work between gigs.

How did you learn Avid? Were you self-taught?
I was handed the manual by a post supervisor on day one. I never read it. I just asked questions and played around on any machine available. So I did have a lot of help, but I also went into work during my free time and on weekends to sit and learn what I needed to do.

Over the years I’ve been lucky enough to have cool people to work with and to learn with and from. I did six movies before I had an email address, more before I even owned a computer.

As media strayed away from film into digital, how did your role change in the cutting room? How did you refine your techniques with a changing workflow?
My first non-film movie was Underworld 4. It was shot with a Red One camera. I pretty much lied and said I knew how to deal with it. There was no difference really; just had to say goodbye to lab rolls, Keykode, etc. It was also a 3D stereo project, so that was a pickle, but not too hard to figure out.

How did you figure out the 3D stereo post?
It was basically learning to do everything twice. During production we really only played back in 3D for the novelty. I think most shows are 3D-ified in post. I’m not sure though, I’ve only done the one.

Do you think VR/AR will be something you work with in the future?
Yes, I want to be involved in VR at some point. It’s going to be big. Even just doing sound design would be cool. I think it’s the next step, and I want in.

Who are some of your favorite filmmakers?
David Lynch is my number one, by far. I love his work in all forms. A real treasure tor sure. David Fincher is great too. Scorsese, Christopher Nolan. There are so many great filmmakers working right now.

Is post in your world constantly changing, or have things more or less leveled off?
Both. But usually someone has dailies figured out, so Avid is pretty much the same. We cut in DNx115 or DnX36, so nothing like 4K-type stuff. Conform at the end is always fun, but there are tests we do at the start to figure it all out. We are rarely treading in new water.

What was it like transitioning to VFX editor? What tools did you need to learn to do that role?
FileMaker. And Jesus, son, I didn’t learn it. It’s a tough beast but it can do a lot. I managed to wrangle it to do what I was asked for, but it’s a hugely powerful piece of software. I picked up a few things on Tomorrowland and went from there.

I like the pace of the VFX editor. It’s different than assisting and is a nice change. I’d like to do more of it. I’d like to learn and use After Effects more. On the film I was VFX editor for, I was able to just use the Avid, as it wasn’t that complex. Mostly set extensions, etc.

How many VFX shot revisions would a typical shot go through on Elysium?
On Elysium, the shot version numbers got quite high, but part of that would be internal versioning by the vendor. Director Neil Blomkamp is a VFX guy himself, so he was pretty involved and knew what he wanted. The robots kept looking cooler and cooler as the show went on. Same for Chappie. That robot was almost perfect, but it took a while to get there.

You’ve worked with a vast array of editors, from, including Walter Murch, Lee Smith, Julian Clarke, Nancy Richardson and Bill Steinkamp. Can you talk about that, and have any of them let you cut material?
I’ll assemble scenes if asked to, just to help the editor out so he isn’t starting from scratch. If I get bored, I start cutting scenes as well. On Altered Carbon, when Julian (Clark) was busy with Episodes 2 and 3, I’d try to at least string together a scene or two for Episode 8. Not fine-cutting, mind you, just laying out the framework.

Walter asked a lot of us — the workload was massive. Lee Smith didn’t ask for much. Everyone asks for scene cards that they never use, ha!

Walter hadn’t worked on the Avid for five years or so prior to Tomorrowland, so there was a lot of him walking out of his room asking, “How do I?” It was funny because a lot of the time I knew what he was asking, but I had to actually do it on my machine because it’s so second nature.

What is Walter Murch like in the cutting room? Was learning his organizational process something you carried over into future cutting rooms?
I was a bit intimidated prior to meeting him. He’s awesome though. We got along great and worked well together. There was Walter, a VFX editor and four assistants. We all shared in the process. Of course, Walter’s workflow is unlike any other so it was a huge adjustment, but within a few weeks we were a well-oiled machine.

I’d come in at 6:30am to get dailies sorted and would usually finish around lunch. Then we’d screen in our theater and make notes, all of us. I really enjoyed screening the dailies that way. Then he would go into his room and do his thing. I really wish all films followed his workflow. As tough as it is, it all makes sense and nothing gets lost.

I have seen photos with the colored boxes and triangles on the wall. What does all that mean, and how often was that board updated?
Ha. That’s Walter’s own version of scene cards. It makes way better sense. The colors and shapes mean a particular thing — the longer the card the longer the scene. He did all that himself, said it helps him see the picture. I would peek into his room and watch him do this. He seemed so happy doing it, like a little kid.

Do you always add descriptions and metadata to your shots in Avid Media Composer?
We add everything possible. Usually there is a codebook the studios want, so we generate that with FileMaker on almost all the bigger shows. Walter’s is the same just way bigger and better. It made the VFX database look like a toy.

What is your workflow for managing/organizing footage?
A lot of times you have to follow someone else’s procedure, but if left to my own devices I try to make it the simplest it can be so anyone can figure out what was done.

How do you organize your timeline?
It’s specific to the editor, but I like to use as many audio tracks as possible and as few video tracks as possible, but when it’s a VFX-heavy show, that isn’t possible due to stacking various shot versions.

What did you learn from Lee Smith and Julian Clarke?
Lee Smith is a suuuuuper nice guy. He always had great stories from past films and he’s a very good editor. I’m glad he got the Oscar for Dunkirk, he’s done a lot of great work.

Julian is also great to work with. I’ve worked with him on Elysium, Chappie and Altered Carbon. He likes to cut with a lot of sound, so it’s fun to work with him. I love cutting sound, and on Altered Carbon we had over 60 tracks. It was a alternating stereo setup and we used all the tracks possible.

Altered Carbon

It was such a fun world to create sound for. Everything that could make a sound we put in. We also invented signature sounds for the tech we hoped they’d use in the final. And they did for some things.

Was that a 5.1 temp mix?? Have you ever done one?
No. I want to do a 5.1 Avid mix. Looks fun.

What was the schedule like on Altered Carbon? How was that different than some of the features you’ve worked on?
It was six-day weeks and 12 hours a day. Usually one week per month I’d trade off with the 2nd assistant and she’d let me have an actual weekend. It was a bit of a grind. I worked on Episodes 2, 3 and 8, and the schedules for those were tight, but somehow we got through it all. We had a great team up here for Vancouver’s editorial. They were also cutting in LA as well. It was pretty much non-stop editing the whole way through.

How involved was Netflix in terms of the notes process? Were you working with the same editors on the episodes you assisted?
Yes, all episodes were with Julian. First it went through Skydance notes, then Netflix. Skydance usually had more as they were the first to see the cuts. There were many versions for sure.

What was it like working with Neil Blomkamp?
It was awesome. He makes cool films, and it’s great to see footage like that. I love shooting guns, explosions, swords and swearing. I beat him in ping-pong once. I danced around in victory and he demanded we play again. I retired. One of the best environments I’ve ever worked in. Elysium was my favorite gig.

What’s the largest your crew has gotten in post?
Usually one or two editors, up to four assistants, a PA, a post super — so eight or nine, depending.

Do you prefer working with a large team or do you like smaller films?
I like the larger team. It can all be pretty overwhelming and having others there to help out, the easier it can be to get through. The more the merrier!

Altered Carbon

How do you handle long-ass-days?
Long days aren’t bad when you have something to do. On Altered Carbon I kept a skateboard in my car for those times. I just skated around the studio waiting for a text. Recently I purchased a One-Wheel (skateboard with 1 wheel) and plan to use it to commute to work as much as possible.

How do you navigate the politics of a cutting room?
Politics can be tricky. I usually try to keep out of things unless I’m asked, but I do like to have a sit down or a discussion of what’s going on privately with the editor or post super. I like to be aware of what’s coming, so the rest of us are ready.

Do you prefer features to TV?
It doesn’t matter anymore because the good filmmakers work in both mediums. It used to be that features were one thing and TV was another, with less complex stories. Now that’s different and at times it’s the opposite. Features usually pay more though, but again that’s changing. I still think features are where it’s at, but that’s just vanity talking.

Sometimes your project posts in Vancouver but moves to LA for finishing. Why? Does it ever come back?
Mostly I think it’s because that’s where the director/producers/studio lives. After it’s shot everyone just goes back home. Home is usually LA or NY. I wish they’d stay here.

How long do you think you’ll continue being an AE? Until you retire? What age do you think that’ll be?
No idea; I just want to keep working on projects that excite me.

Would you ever want to be an editor or do you think you’d like to pivot to VFX, or are you happy where you are?
I only hope to keep learning and doing more. I like the VFX editing, I like assisting and I like being creative. As far as cutting goes, I’d like to get on a cool series as a junior editor or at least start doing a few scenes to get better. I just want to keep advancing, I’d love to do some VR stuff.

What’s next for you project wise?
I’m on a Disney Show called Timmy Failure. I can’t say anything more at this point.

What advice do you have for other assistant editors trying to come up?
It’s going to take a lot longer than you think to become good at the job. Being the only assistant does not make you a qualified first assistant. It took me 10 years to get there. Also you never stop learning, so always be open to another approach. Everyone does things differently. With Murch on Tomorrowland, it was a whole new way of doing things that I had never seen before, so it was interesting to learn, although it was very intimidating at the start.


Jeremy Presner is an Emmy-nominated film and television editor residing in New York City. Twenty years ago, Warren was AE on his first film. Since then he has cut such diverse projects as Carrie, Stargate Atlantis, Love & Hip Hop and Breaking Amish.

Assistant Editor’s Bootcamp coming up with focus on reality TV

The Assistant Editor’s Bootcamp returns on Saturday and Sunday, January 19-20 with their third installment of Bootcamp training. This month’s courses are geared to those interested in editing for reality television. Assistant Editing for Reality Television will be taught by founders Noah Chamow (The Voice) and Conor Burke (America’s Got Talent).

Day 1 of the class will cover the essential skills needed to be a reality television assistant editor. Topics covered will include project organization, importing, linking to media and transcoding, exporting cuts and a demo on how to use ScriptSync. Day 2 will give an in-depth overview and practice session on multi-grouping that will cover how to create a day stack, syncing and multi-grouping footage in Avid as well as troubleshooting multi-groups.

Students can take one or both classes. Those who sign up for the online webinar will have access to class videos for 10 days after the presentation. Pricing for each day is $149.99 in person, $124.99 via webinar. Both take place from 10am-4pm in Burbank.

The Assistant Editors’ Bootcamp was founded on the premise of giving students practical real-world experience with classes taught by professional working editors in a collaborative low-stakes environment. “Students walk away with knowledge they can apply immediately in the edit bay to become more efficient and better at their craft overall,” says Chamow. “Having worked as assistant editors, Conor and I understand the day-to-day pitfalls and challenges that can slow down workflows. It’s our goal to give our peers better knowledge of their work to give them the confidence they need to take their careers to the next level.”

Ben Corfield promoted to editor at Stitch in London

Ben Corfield is now a full-fledged editor on the Stitch roster. Having joined the edit house as a Homespun editor a year ago, the London-based Corfield has been working hard on a range of projects. Homespun is the sister company to Stitch. Assistants start editing through Homespun on music videos and short films and then “graduate” to Stitch to work on commercials.

Working on an Avid Media Composer Corfield recently cut a spot for a film for Leica, directed by Barney Cokeliss, involving editing 105 hours of footage for a two-minute spot. At the end of last year, he cut the Sam Smith and Calvin Harris Promises documentary which explores the art of voguing. It was directed by Emil Nava.

Corfield’s initial interest in editing was piqued in the early ’90s while he was watching Terminator 2 on VHS. Inspired after seeing the T 1000 melt through a metal prison gate, he knew then that he somehow wanted to get into film.

“I get to work on the best part of the process as I put it all together to create the finished piece,” says Corfield on the process of editing. “It’s always a privilege to work closely with the director during the edit and see his or her vision in its final form. I’ve already been lucky enough to work with numerous inspirational editors and directors, much of the way I work now is down to what I’ve learnt from them.”

Editor Wyatt Smith talks Mary Poppins Returns, Marvel Universe

By Amy Leland

Wyatt Smith’s career as an editor is the kind that makes for a great story. His unintended path began with an unusual opportunity to work with Mariah Carey and a chance meeting with director Rob Marshall. He has since collaborated on big musicals and action films with Marshall, which opened the door to superhero movies. His latest project — in which he was reunited with Marshall — saw him editing a big musical with a title character who is, in her own Disney way, also a superhero.

Smith’s resume is impressive: Doctor Strange, Into the Woods, 300: Rise of an Empire, Thor: The Dark World, Pirates of the Caribbean: On Stranger Tides. When I had a chance to talk with him about Mary Poppins Returns, I first had to ask him how his fascinating journey began.

Wyatt Smith at the Mary Poppins Returns premiere.

Can you talk about what led you to editing?
Some things just happen unexpectedly. Opportunities arise and you just have to hear the knock and not be afraid to open the door. When they were building the now-closed Sony Music Studios in New York City, I knew a lot about computers. Avid was first coming in, and there were all these video engineers who weren’t as savvy with Macs and things like that because they were used to linear, old-school tape editing. I worked in the maintenance department at the studio, servicing online editing suites, as well as setting up their first Avid Media Composer and giving people some tutorials on how to use that.

Then a very odd circumstance came up — they were working on a Mariah Carey concert video and needed an additional editor to work at her house at night (she was working during the day with another editor). My father is in the music business and had ties to Mariah — we had met before — so they thought it would be a comfortable situation. It came out of nowhere, and while I certainly knew, technically, how to edit, creatively I had no idea.

That was my first opportunity to edit, and I never went back to anything else. That was the day. That was it. I started to edit music videos and concerts and little music documentaries. Years and years later that led me to work with Rob Marshall on a music project.

The Tony Bennett American Classic special?
Exactly. I had known the Bennett family and worked with them since Tony Bennett’s “Unplugged.” When Rob was brought on to direct an NBC special celebrating Tony’s career, he wanted to bring his whole film team with him, but the TV network and the Bennett family wanted somebody who knew the music world, and that style of deadline, which is quite different from film.

I was brought in to interview with Rob, and we had a wonderful experience making that show. When it was done, he said, “Next time I make a film, I want you to come along.” To be completely honest, I didn’t believe him. I thought it was very kind of him, and he is a very nice man, but I was like, yeah, sure. In 2008, I think it was the Friday before they started shooting Nine, he called and said, “You gotta get to London.” I immediately quit my job and got on a plane.

I’m guessing the music world was a heavy influence on you, but were you drawn toward movies as well?
I have always been a movie junkie. At an early age, I saw a lot of the big epics, including David Lean’s films — Lawrence of Arabia, A Passage to India — which just transported me to another place and another culture. I loved that.

That was back in the early VHS days, and I had just about every Bond film that had been released. I watched them obsessively. In high school, my closest friend worked in a video rental store, so we constantly had movies. It was always a huge thing for me, but never in my life did I dream of pursuing it. The language of film was never anything I studied or thought about until I was kind of thrust into it.

What was it like coming into this film with Rob Marshall, after so many years of working with him? Do your collaborations now feel different from when you first started working together?
The most important part is trust. When I first met Rob, aside from just not having any confidence, I didn’t remotely know what I was doing. We all know that when you have your actors and your sets if something’s not quite right that’s the time to bring it up. But 12 years ago, the thought of me going to Rob and saying, “I don’t know if that really works, maybe you should grab a shot like…” I’d never, ever. But over the years we’ve developed that trust. I’m still very cautious with things like that, but I now know I can talk to him. And if he has a question, he’ll call me to set and say, “Quickly put this together,” or, “Stay here and watch this with me,” and he’ll explain to me exactly what he’s going for.

Then, once we reach post, unquestionably that relationship changes. We used to cut everything from scratch and start re-watching all the material and rebuilding the film again. Now we can work through existing cuts because I kind of know his intentions. It’s easier for me to see in the scene work what he’s going for, and that only comes from collaborating. Now I’m able to get the movie that’s in his head on screen a lot faster.

Mary Poppins Returns

You were working with complex animations and effects, and also combining those with elaborate choreography and live action. Was there more preplanning for this than you might normally have done?
I wasn’t really involved in the preplanning. I came in about a month before shooting to mostly to catch up with the schedules of the second unit, because I’m always going to work closely with them. I also went through all the storyboards and worked with visual effects and caught up on their look development. We did have a previz team, but we only really needed to previz two of the sequences in the film — the underwater bath time and the balloon sequence.

While previz gives you methodology, shot count, rough lenses and things, it’s missing the real emotion of the story because it is a video game and often cut like a music video. This is no disrespect to previz editors — they’re very good — but I always want to come in and do a pass before we start shooting because I find the timings are very different.

Doctor Strange

Take a film like Marvel’s Doctor Strange. So much of it had been prevized to figure out how to do it. When I came into the Doctor Strange previz cuts early on, they were exciting, psychedelic, wild and really imaginative, but I was losing actors. I found that something that was running at four minutes wasn’t representing any of the dialogue or the emotional content of the actors. So I asked them to give me stills of close-ups to cut them in. After putting in the dialogue, that four-minute sequence becomes seven minutes and you realize it’s too long. Before we go shoot it, how do we make it something that’s more manageable for the ultimate film?

Were you on set during most of the filming?
There were days where Rob would pull me onto set, and then days or weeks where I wouldn’t even see him. I did the traditional assembly process. Even the film I’m cutting right now, which has a very short schedule, four days after they were done shooting I had a cut of the film. It’s the only way for me to know that it’s working. It’s not a great cut, but I know that the movie’s all there. And, most importantly, I need to know, barring the last day of shooting, that I’ve seen every single frame of every take before they wrap. I need the confidence of knowing where it’s all going. I don’t want to discover any of that with a director in post.

On a project this complex, I imagine you must work with multiple assistants?
When I worked on the second Thor movie, The Dark World, I had a friend who was my first assistant, Meagan Costello. She has worked on many Marvel films. When Doctor Strange came up — I think it was almost a year before shooting that I got the call from the director saying I was in —within five seconds, I called Meagan because of her experience, her personality and her incredible skill set. Toward the end of Doctor Strange, when the schedule for Poppins was starting to lock in, she said, “I’ve always wanted to live in New York, and I’ve always wanted to work in a music hall.” I said, “We can make that happen.”

Thor: The Dark World

She is great at running the cutting room, taking care of all of my little, and many, prima donna bugaboos — how things are set up and working, technically, cutting in surround, having the right types of monitors, etc. What’s also important is having someone spiritually and emotionally connected into the film… someone I can talk to and trust.

We had two second assistant editors on Mary Poppins once we were in post — two in the US and two in London. It’s always interesting when you have two different teams. I try to keep as much consistency as I can, so we had Meagan all the way through London and New York. For second assistants in London, we had Gemma Bourne, Ben Renton and Tom Lane. Here in the states we had Alexander Johnson and Christa Haley. Christa is my first assistant on the film I’m currently doing for Focus Features, called Harriet.

On huge films like these, so much of the assistant editor’s time is dealing with the vast deliveries for the studio, the needs of a huge sound and music team as well as a lot of visual effects. In the end, we had about 1,300 hundred visual effect shots. That means a lot of turnovers, screenings and quality control so that nothing is ever coming in or going out without being meticulously watched and listened to.

The first assistant runs the cutting room and the stuff I shouldn’t be thinking about. It’s not stuff I would do well either. I want to be solely focusing on the edit, and when I’m lost in the movie, that’s the greatest thing. Having a strong editorial team allows me to be in a place where I’m not thinking about anything but the cut.

Mary Poppins Returns

That’s always good to hear. Most editors I talk to also care about making sure their assistants are getting opportunities.
When I started out, I had assistants in the room with me. It was very much film-style — the assistant was in the room helping me out with the director and the producers every day. If I had to run out of the room, the assistant could step in.

Unfortunately, the way the world has evolved, with digital post, the assistant editor and editor positions have diverged massively. The skill sets are very different. I don’t think I could do a first assistant editor’s job, but I know they could do my job. Also, the extra level of material keeps them very busy, so they’re not with me in the room. That makes for a much harder path, and that bothers me. I don’t quite know how to fix that yet, but I want to.

This industry started with apprentices, and it was very guild-like. Assistants were very hands on with the editor, so it was very natural to become an editor. Right now, that jump is a little tricky, and I wish I knew how to fix it.

Even if the assistants cut something together for you, it doesn’t necessarily evolve into them getting to work with a director or producer. With Poppins, there’s certainly a scene or two in the film that I asked Meagan to put together for that purpose. Rob works very closely in the cutting room each day, along with John DeLuca, our producer and choreographer. I was wondering if there would be that moment when maybe they’d split off, like, “Oh, go with Meagan and work on this, while I work on this with Rob.” But those opportunities never really arose. It’s hard to figure out how to get that door open.

Do you have any advice for editors who are just starting out?
I love the material I’m working on, and that’s the most important part. Even if something’s not for you, your job is not to make it what you want it to be. The job is to figure out who the audience is and how you make it great for them. There’s an audience for everything, you just have to tap into who that audience is.


Amy Leland is a film director and editor. Her short film, “Echoes”, is now available on Amazon Video. She also has a feature documentary in post, a feature screenplay in development, and a new doc in pre-production. She is an editor for CBS Sports Network and recently edited the feature “Sundown.” You can follow Amy on social media on Twitter at @amy-leland and Instagram at @la_directora.

ACE celebrates editing with 69th Eddie Award noms

The American Cinema Editors (ACE) has announced the nominations for its 69th Annual ACE Eddie Awards, which recognize outstanding editing in 11 categories of film, television and documentaries.

Winners will be revealed during ACE’s annual black-tie awards ceremony on February 1.  ACE president, Stephen Rivkin, ACE, will host. Final ballots open January 11 and close on January 21.   

Here are the nominees:

BEST EDITED FEATURE FILM (DRAMATIC):

BlacKkKlansman

Barry Alexander Brown 

Tom Cross, ACE

Bohemian Rhapsody

John Ottman, ACE 

First Man

Tom Cross, ACE

Roma

Alfonso Cuarón & Adam Gough 

A Star is Born

Jay Cassidy, ACE

BEST EDITED FEATURE FILM (COMEDY):

Crazy Rich Asians

Myron Kerstein

Deadpool 2

Craig Alpert, ACE, Elísabet Ronaldsdóttir and Dirk Westervelt

The Favourite

Yorgos Mavropsaridis, ACE

Green Book

Patrick J. Don Vito

Vice

Hank Corwin, ACE 

BEST EDITED ANIMATED FEATURE FILM:

Incredibles 2

Stephen Schaffer, ACE

Isle of Dogs

Andrew Weisblum, ACE, Ralph Foster and  Edward Bursch

Spider-Man: Into the Spider-Verse

Robert Fisher, Jr.

 

BEST EDITED DOCUMENTARY (FEATURE):

Free Solo

Bob Eisenhardt, ACE

Carla Gutierrez

RBG

Carla Gutierrez

Three Identical Strangers

Michael Harte

Won’t You Be My Neighbor?

Jeff Malmberg & Aaron Wickenden, ACE

 

BEST EDITED DOCUMENTARY (NON-THEATRICAL):

A Final Cut for Orson: 40 Years in the Making

Martin Singer

Robin Williams: Come Inside My Mind

Greg Finton, ACE and Poppy Das, ACE

Wild Wild Country, Part 3

Neil Meiklejohn

The Zen Diaries of Garry Shandling

Joe Beshenkovsky, ACE 

 

BEST EDITED COMEDY SERIES FOR COMMERCIAL TELEVISION:

Atlanta: Teddy Perkins

Atlanta: “Alligator Man”

Isaac Hagy

Atlanta: “Teddy Perkins”

Kyle Reiter

The Good Place: “Don’t Let the Good Life Pass You By” 

Eric Kissack

Portlandia: “Rose Route” 

Jordan Kim, Ali Greer, Heather Capps & Stacy Moon

 

BEST EDITED COMEDY SERIES FOR NON-COMMERCIAL TELEVISION:

Barry: “Make Your Mark” 

Jeff Buchanan

The Marvelous Mrs. Maisel

Insecure: “Obsessed-Like”

Nena Erb, ACE 

The Marvelous Mrs. Maisel: “Simone”

Kate Sanford, ACE

The Marvelous Mrs. Maisel: “We’re Going to the Catskills!”

Tim Streeto, ACE

 

BEST EDITED DRAMA SERIES FOR COMMERCIAL TELEVISION

The Americans: “Start”

Daniel Valverde 

Better Call Saul: “Something Stupid”

Skip Macdonald, ACE 

Better Call Saul: “Winner”

Chris McCaleb 

Killing Eve: “Nice Face”

Gary Dollner, ACE

 

BEST EDITED DRAMA SERIES FOR NON-COMMERCIAL TELEVISION:

Bodyguard: “Episode 1”

Steve Singleton

Ozark

Homecoming: “Redwood”

Rosanne Tan

Ozark: “One Way Out”

Cindy Mollo, ACE & Heather Goodwin Floyd 

Westworld: “The Passenger”

Andrew Seklir, ACE, Anna Hauger and Mako Kamitsuna

 

BEST EDITED MINISERIES OR MOTION PICTURE FOR TELEVISION:

The Assassination of Gianni Versace: American Crime Story: “A Random Killing”

Emily Greene

Escape at Dannemora: “Better Days”

Malcolm Jamieson & Geoffrey Richman ACE 

Sharp Objects: “Milk”

Véronique Barbe, Dominique Champagne, Justin Lachance, Maxime Lahaie, Émile Vallée and Jai M. Vee

 

BEST EDITED NON-SCRIPTED SERIES:

Anthony Bourdain – Parts Unknown: “West Virginia”

Hunter Gross, ACE

Deadliest Catch: “Storm Surge”

Rob Butler, ACE

Naked & Afraid: “Fire and Fury”

Molly Shock, ACE and Jnani Butler

 

Cutters New York adds spot editor Alison Grasso

Cutters Studios in New York has added is commercial editor Alison Grasso to its staff. Previously a staff editor for Crew Cuts in New York, Grasso started her commercial career with the company immediately upon graduation from NYU (BFA, Film and Television Production).

She has experience in documentary-style visual storytelling, beauty and fashion and has collaborated with brands such as Garnier, Gatorade, L’Oreal, Pantene, Target and Verizon.

She cuts with Adobe Premiere on a Mac and uses After Effects when extra work is needed. Grasso also edits audio, such the entire second season of the podcast Limetown, and promotional audio material for the audio documentary The Wilderness, hosted by Pod Save America’s Jon Favreau.

When asked about editing audio, in particular Limetown, she says, “Premiere is obviously my ‘first language,’ so that made it much easier and faster to work with, versus something like Audition or Pro Tools), and I actually did use the video track to create visual slates and markers to help me through the edits. Since the episodes were often 30 to 60 minutes, it was incredibly helpful in jumping to certain scenes or sections, determining where mid-roll should be, how long certain scenes were playing out to be, etc. And when sharing with other people in the workflow (producers, directors, sound designers, etc.), I would export a QuickTime with a video track that made working remotely on comments and changes much quicker and easier, versus just referencing timecode and listening for contextual cues to get to a certain point in the edit.

Her talents don’t only include editing. Grasso is also a director, shooter, writer, editor and on-camera talent. Many New York stories — and in particular, those involving craft beer — have taken the spotlight in her latest projects.

“I aspire to do work that isn’t confined by boundaries,” says Grasso. “After seeing the breadth of work from Cutters Studios that supports global clients with projects that reach beyond the traditional, I’m confident the relationship will be a great fit. I’m really looking forward to contributing my sensibilities to the Cutters Studios culture, and being a positive, collaborative voice amongst my new peers, clients and colleagues.”

Catching up with Aquaman director James Wan

By Iain Blair

Director James Wan has become one of the biggest names in Hollywood thanks to the $1.5 billion-grossing Fast & Furious 7, as well as the Saw, Conjuring and Insidious films — three of the most successful horror franchises of the last decade.

Now the Malaysian-born, Australian-raised Wan, who also writes and produces, has taken on the challenge of bringing Aquaman and Atlantis to life. The origin story of half-surface dweller, half-Atlantean Arthur Curry stars Jason Momoa in the title role. Amber Heard plays Mera, a fierce warrior and Aquaman’s ally throughout his journey.

James Wan and Iain Blair

Additional cast includes Willem Dafoe as Vulko, council to the Atlantean throne; Patrick Wilson as Orm, the present King of Atlantis; Dolph Lundgren as Nereus, King of the Atlantean tribe Xebel; Yahya Abdul-Mateen II as the revenge-seeking Manta; and Nicole Kidman as Arthur’s mom, Atlanna.

Wan’s team behind the scenes included such collaborators as Oscar-nominated director of photography Don Burgess (Forrest Gump), his five-time editor Kirk Morri (The Conjuring), production designer Bill Brzeski (Iron Man 3), visual effects supervisor Kelvin McIlwain (Furious 7) and composer Rupert Gregson-Williams (Wonder Woman).

I spoke with the director about making the film, dealing with all the effects, and his workflow.

Aquaman is definitely not your usual superhero. What was the appeal of doing it? 
I didn’t grow up with Aquaman, but I grew up with other comic books, and I always was well aware of him as he’s iconic. A big part of the appeal for me was he’d never really been done before — not on the big screen and not really on TV. He’s never had the spotlight before. The other big clincher was this gave me the opportunity to do a world-creation film, to build a unique world we’ve never seen before. I loved the idea of creating this big fantasy world underwater.

What sort of film did you set out to make?
Something that was really faithful and respectful to the source material, as I loved the world of the comic book once I dove in. I realized how amazing this world is and how interesting Aquaman is. He’s bi-racial, half-Atlantean, half-human, and he feels he doesn’t really fit in anywhere at the start of the film. But by the end, he realizes he’s the best of both worlds and he embraces that. I loved that. I also loved the fact it takes place in the ocean so I could bring in issues like the environment and how we treat the sea, so I felt it had a lot of very cool things going for it — quite apart from all the great visuals I could picture.

Obviously, you never got the Jim Cameron post-Titanic memo — never, ever shoot in water.
(Laughs) I know, but to do this we unfortunately had to get really wet as over 2/3rds of the film is set underwater. The crazy irony of all this is when people are underwater they don’t look wet. It’s only when you come out of the sea or pool that you’re glossy and dripping.

We did a lot of R&D early on, and decided that shooting underwater looking wet wasn’t the right look anyway, plus they’re superhuman and are able to move in water really fast, like fish, so we adopted the dry-for-wet technique. We used a lot of special rigs for the actors, along with bluescreen, and then combined all that with a ton of VFX for the hair and costumes. Hair is always a big problem underwater, as like clothing it behaves very differently, so we had to do a huge amount of work in post in those areas.

How early on did you start integrating post and all the VFX?
It’s that kind of movie where you have to start post and all the VFX almost before you start production. We did so much prep, just designing all the worlds and figuring out how they’d look, and how the actors would interact with them. We hired an army of very talented concept artists, and I worked very closely with my production designer Bill Brzeski, my DP Don Burgess and my visual effects supervisor Kelvin McIlwain. We went to work on creating the whole look and trying to figure out what we could shoot practically with the actors and stunt guys and what had to be done with VFX. And the VFX were crucial in dealing with the actors, too. If a body didn’t quite look right, they’d just replace them completely, and the only thing we’d keep was the face.

It almost sounds like making an animated film.
You’re right, as over 90% of it was VFX. I joke about it being an animated movie, but it’s not really a joke. It’s no different from, say, a Pixar movie.

Did you do a lot of previs?
A lot, with people like Third Floor, Day For Nite, Halon, Proof and others. We did a lot of storyboards too, as they are quicker if you want to change a camera angle, or whatever, on the fly. Then I’d hand them off to the previs guys and they’d build on those.

What were the main technical challenges in pulling it all together on the shoot?
We shot most of it Down Under, near Brisbane. We used all nine of Village Roadshow Studios’ soundstages, including the new Stage 9, as we had over 50 sets, including the Atlantis Throne Room and Coliseum. The hardest thing in terms of shooting it was just putting all the actors in the rigs for the dry-for-wet sequences; they’re very cumbersome and awkward, and the actors are also in these really outrageous costumes, and it can be quite painful at times for them. So you can’t have them up there too long. That was hard. Then we used a lot of newish technology, like virtual production, for scenes where the actors are, say, riding creatures underwater.

We’d have it hooked up to the cameras so you could frame a shot and actually see the whole environment and the creature the actor is supposed to be on — even though it’s just the actors and bluescreen and the creature is not there. And I could show the actors — look, you’re actually riding a giant shark — and also tell the camera operator to pan left or right. So it was invaluable in letting me adjust performance and camera setups as we shot, and all the actors got an idea of what they were doing and how the VFX would be added later in post. Designing the film was so much fun, but executing it was a pain.

The film was edited by Kirk Morri, who cut Furious 7, and worked with you on the Insidious and The Conjuring films. How did that work?
He wasn’t on set but he’d visit now and again, especially when we were shooting something crazy and it would be cool to actually see it. Then we’d send dailies and he’d start assembling, as we had so much bluescreen and VFX stuff to deal with. I’d hop in for an hour or so at the end of each day’s shoot to go over things as I’m very hands on — so much so that I can drive editors crazy, but Kirk puts up with all that.

I like to get a pretty solid cut from the start. I don’t do rough assemblies. I like to jump straight into the real cut, and that was so important on this because every shot is a VFX shot. So the sooner you can lock the shot, the better, and then the VFX teams can start their work. If you keep changing the cut, then you’ll never get your VFX shots done in time. So we’d put the scene together, then pass it to previs, so you don’t just have actors floating in a bluescreen, but they’re in Atlantis or wherever.

Where did you do the post?
We did most of it back in LA on the Warner lot.

Do you like the post process?
I absolutely love it, and it’s very important to my filmmaking style. For a start, I can never give up editing and tweaking all the VFX shots. They have to pull it away from me, and I’d say that my love of all the elements of the post process — editing, sound design, VFX, music — comes from my career in suspense movies. Getting all the pieces of post right is so crucial to the end result and success of any film. This post was creatively so much fun, but it was long and hard and exhausting.

James Wan

All the VFX must have been a huge challenge.
(Laughs) Yes, as there’s over 2,500 VFX shots and we had everyone working on it — ILM, Scanline, Base, Method, MPC, Weta, Rodeo, Digital Domain, Luma — anyone who had a computer! Every shot had some VFX, even the bar scene where Arthur’s with his dad. That was a set, but the environment outside the window was all VFX.

What was the hardest VFX sequence to do?
The answer is, the whole movie. The trench sequence was hard, but Scanline did a great job. Anything underwater was tough, and then the big final battle was super-difficult, and ILM did all that.

Did the film turn out the way you hoped?
For the most part, but like most directors, I’m never fully satisfied.


Industry insider Iain Blair has been interviewing the biggest directors in Hollywood and around the world for years. He is a regular contributor to Variety and has written for such outlets as Reuters, The Chicago Tribune, The Los Angeles Times and the Boston Globe.

Stitch LA editor cuts first feature doc The Panama Papers

Stitch LA‘s Weston Cadwell has cut his first feature, The Panama Papers for director Alex Winter. This documentary focuses on the coordination of journalists from around the world, working in secret to expose the largest data leak in history. This was a global corruption scandal involving fraudulent power brokers, the uber-rich, elected officials, dictators, cartel bosses, athletes and celebrities who had used the Panamanian law firm of Mossack Fonseca to hide their money. The story cracked open a hidden network of tax evasion, fraud, cronyism, bribing government officials, rigging elections and murder.

Stitch became involved in the film through Dan Swietlik, owner and editor of Stitch LA, who worked with Winter on the feature documentary, Deep Web (2015).

“Alex had a short film project, Relatively Free in 2016. He came to Dan and I worked on the film as a second editor,” explains Weston. “Alex and I worked closely together in the edit bay. I really got to know him, how he works and I think we collaborate really well.

L-R: Editor Weston Cadwell and director Alex Winter.

“I cut a short film with him a year later, Trump Lobby (2017) and then Alex came to us with the feature film and requested me as the sole editor. This would be my first feature film, so I was nervous to take it on but was honored to have the opportunity.”

For this film, there was a huge amount of archive footage to get through, including news bytes, conferences and speeches related to income inequality, shell companies, tax loopholes and similar. There were a lot of topics and themes to cover, and Weston had to be fully educated and immersed in these fields.

Given the amount of footage in the project, the role of the editor and his relationship with the director, was of particular importance. “I had my team. I mean, I have a production company, with researchers, archivists, production coordinators and so on, and we all kind of worked as a hive mind,” says Winter. “Really, a doc is made mostly by me and the editor, so, I was working very closely with Wes. This was an extremely complicated story, with many disparate elements and characters to weave together, and he did an incredible job, not only helping to make the film comprehensible but also emotional and dramatic”

“One of the challenges was just figuring out how we wanted to tell the story, there were a lot of moving parts to the journalists investigation, so we wanted to keep it simple and linear so the viewer could easily follow,” says Weston.

“I found it interesting that we kept our project secret the same way the journalists had to keep their investigation secret for a whole year while they uncovered everything.”

The film premiered internationally at the IDFA film festival last month and is streaming in the US on Epix.

You can now export ProRes on a PC with Adobe’s video apps

By Brady Betzel

Listen up post pros! You can now natively export ProRes from a Windows 10-based PC for $20.99 with the latest release of Adobe’s Premiere, After Effects and Media Encoder.

I can’t overstate how big of a deal this is. Previously, the only way to export ProRes from a PC was to use a knock-off reverse-engineered codec that would mimic the process — creating footage that would often fail QC checks at networks — or be in possession of a high-end app like Fusion, Nuke, Nucoda or Scratch. The only other way would be to have a Cinedeck in your hands and output your files in realtime through it. But, starting today, you can export native ProRes 4444 and ProRes 422 from your Adobe Creative Cloud Suite apps like Premiere Pro, After Effects, and Media Encoder. Have you wanted to use those two or three Nvidia GTX 1080ti graphics cards that you can’t stuff into a Mac Pro? Well, now you can. No more being tied to AMD for ProRes exports.

Apple seems to be leaving their creative clients in the dust. Unless you purchase an iMac Pro or MacBook Pro, you have been stuck using a 2013 Mac Pro to export or encode your files to ProRes specifications. A lot of customers, who had given Apple the benefit of the doubt and stuck around for a year or two longer than they probably should have waiting for a new Mac Pro — allegedly being released in 2019 — began to transition over to Windows-based platforms. All the while, most would keep that older Mac just to export ProRes files while using the more powerful and updated Windows PC to do their daily tasks.

Well, that day is now over and, in my opinion, leads me to believe that Apple is less concerned with keeping their professional clients than ever before. That being said, I love that Apple has finally opened their ProRes codecs up to the Adobe Creative Cloud.

Let’s hope it can become a system-wide feature, or at least added to Blackmagic’s Resolve and Avid’s Media Composer. You can individually rent Adobe Premiere Pro or After Effects for $20.99 month, rent the entire Adobe Creative Cloud library for $52.99 a month or, if you are a student or teacher, you can take advantage of the best deal around for $19.99 a month, which gives you ALL the Creative Cloud apps.

Check out Adobe’s blog about the latest Windows ProRes export features.


Brady Betzel is an Emmy-nominated online editor at Margarita Mix in Hollywood, working on Life Below Zero and Cutthroat Kitchen. You can email Brady at bradybetzel@gmail.com. Follow him on Twitter @allbetzroff.

Behind the Title: Exile Editor Kyle Brown

With recent spot work that includes jobs for Comcast, AT&T, T-Mobile and Trojan, this editor jokes, “A good Netflix and chill Tinder date was made possible thanks to the results of my commercial work.”

Name: Kyle Brown

Company: New York- and Santa Monica-based Exile

Can you describe your company?
Exile is a bicoastal editorial and finishing boutique with spaces on both coasts.

What’s your job title?
Offline editor, with a splash of camp counselor.

What does that entail? 
As an offline editor, I take the footage that was shot and assemble it based on the script and creative vision honed on set, adding in tone and texture, rhythm and pacing. Basically, editors are given all the raw material that has been created and we turn it into a visual experience.

What’s great about editorial is you have to be honest — the footage is shot, you have what you have and nothing more, and now you have to take what’s there and stitch it together. If something does not work, you move on and make something else work. You can’t hide in the edit. You can’t say we will fix it in post. You are post! It’s the finish line, and all the preparation and hard work on the front end pays off in the edit bay. It has to.

Kyle Brown cut this Bud Light spot.

What would surprise people the most about what falls under that title?
Editor can be a catch-all title — we cut music, add sound effects, edit story and script. We do rough effects, we scratch voiceover and build title lock-ups. It really feels like DIY filmmaking at times, when you’re adding lines or building some crazy comp of two scenes to get the desired reaction or pause.

What’s your favorite part of the job?
Problem solving, seeing an edit work and happy accidents. I still get a kick out of an edit working, feeling a joke land or a punch connect. To be a part of movie magic is still a dream come true. I like to rough cut with my gut. I slam things together to have something to react to, and sometimes the best happy accidents come from that. I also enjoy all of the creative challenges that I’m faced with. A client might have a note that seems like a far-out ask, but the answer is always there. Edits can be a puzzle, and I like that.

What’s your least favorite?
This answer, I’m sure will not be popular… but watching dailies. I watch every frame, I swear. Part of my job is knowing all that is there and being able to recall and find it quickly. But nine times out of 10, when I’m watching dailies I have to take a break halfway through and edit a sequence or scene. It’s hard to see something you get excited by and not just start cutting it. Dailies look different after you have done a rough cut; they mean different things and usually give better solutions. So a lot of times, I cut, then I go back and review.

If you didn’t have this job, what would you be doing instead?
Double agent. Ok, I’m not that cool. Let’s say, schoolteacher.

Why did you choose this profession?
I think I love editing because I did not choose it. I actually stumbled into it. I’ve learned so much through it, as cheesy as it sounds. It’s helped me grow and achieve my goals, not only in work but in life, and it still does. I think is crazy and exciting that I do it for a living. Through necessity and curiosity, something that I fell into — without ever going through the traditional route of assistant editor — has given me a career that allows me to scratch my creative itch. I’m very lucky.

Trojan

Can you name some recent projects you have worked on?
Lately, I’ve mostly been doing commercials: spots for Comcast, AT&T, T-Mobile and Trojan. So, basically, a good Netflix and chill Tinder date was made possible thanks to the results of my commercial work.

You have worked on all sorts of projects. Do you put on a different hat when cutting for a specific genre?
I have been lucky enough to have worked in a wide variety of genres — from comedy to docs to music videos — but I try to tackle all storytelling the same way: I work around a key moment or idea and fill in the blanks on how to get there. The best example I can use is music videos. I like to find that great part of the track, cut the visual to it, then work backwards to get to that point. This allows me to use each edit to get to the intent of that key moment. The same can be said for a good physical gag or joke. Getting that moment to land, then using what’s around it to make it work harder.

What do you use to edit?
I was a diehard Final Cut Pro guy, but then when the bottom fell out, so I switched to Avid Media Composer for the challenge. I also use Adobe Premiere, on occasion. Over the years, I’ve found that whatever I’m fastest on, meaning getting my thoughts to the screen quickest, is what works best for me. I am sure a new workflow or program will come along, and I make sure that I’m always able to adapt.

You mentioned earlier, that sometimes you provide more than just the cut. Can you talk about that?
I’ve rewritten scripts, done some finishing work, done After Effects work, been the VO artist and, sometimes, I even act as the account person to help sell something through to a client. Of course, there are people that do all these things professionally and are experts at their job, but I feel like in an edit bay we’re all there together trying to hit the deadlines with the best piece in hand, and that means we all dive in. No one can be precious about their roles; we have to be precious about our goals.

Name three pieces of technology you can’t live without.
Copy and paste (seriously whoever invented that is a god), Spell Check and coffee makers.

What do you do to de-stress from it all?
Cook. I can’t think of editing when I’m burning stuff.

Logan uses CG to showcase the luxury of the Lexus ES series

Logan, a creative studio with offices in Los Angeles and New York, worked on the new Lexus ES series “A Product of Mastery” campaign with agency Team One. The goal was to showcase the interior craftsmanship and amenities of this luxury sedan with detailed animations. Viewers are at first given just a glimpse of these features as the spot builds toward a reveal of the sedan’s design.

The campaign was created entirely in CG. “When we first saw Team One’s creative brief, we realized we would be able to control the environments, lighting and the overall mood better by using CG, which allowed us to make the campaign stand apart aesthetically and dramatically compared to shooting the products practically. From day one, our team and Team One were aligned on everything and they were an incredible partner throughout the entire process,” says Logan executive producer Paul Abatemarco.

The three spots in the campaign totaled 23 shots, highlighting things like the car’s high-end Mark Levinson sound system. They also reveal the craftsmanship of the driver seat’s reverse ventilation as infinite bars of light while in another spot, the sedan’s wide-view high-definition monitor is unveiled through a vivid use of color and shape.

Autodesk Maya was Logan’s main CG tool, but for the speaker spot they also called on Side Effects Houdini and Cinema 4D. All previs was done in Maya.

Editing was done on Adobe Premiere and they color graded in Resolve in their certified-Dolby Color Studio.

 According to Waka Ichinose and Sakona Kong, co-creative leads on the project, “We had a lot of visual ideas, and there was a lot of exploration on the design side of things. But finding the balance between the beautiful, abstract imagery and then clearly conveying the meaning of each product so that the viewers were intrigued and ultimately excited was a challenge. But it was also really fun and ultimately very satisfying to solve.”

Review: Cinedeck’s CineXtools and CineX-Plugins

By Brady Betzel

Since we are now in the final throes of tape-based deliverables (hopefully), file-based deliverables are now king. However, one of the perks of running tape-based network deliverables was the ability to QC your work for a final time before going to the network for an official QC. With file-based deliverables it gets a little trickier. While you definitely should watch your final QuickTime before sending it to the network, time isn’t always on your side and sometimes you have to just send them after export.

This is where tools from Cinedeck can come in to play. Cinedeck offers hardware and software tools. The hardware consists of the ZX, RX2 and HX1. Each has its own unique offerings that can be read about here. Simply put, the Cinedeck hardware acts like a traditional tape deck (even in Avid Media Composer it will be recognized as a Sony tape deck). You can assemble-edit, insert-edit, re-stripe timecode and much more. What really makes these hardware-based products worth their weight is the ability to insert-edit directly into a variety of codecs quickly and without the need to re-wrap the QuickTime.

Whether it is audio and/or video, you can insert just as smoothly as you would with a tape deck. Best of all you can watch your output in realtime for that last round of QC before shipping off your file. The Cinedeck hardware can work with many codecs, color spaces and bit depths. From ProRes to DNxHR, you can insert-edit into almost anything in realtime.

Cinedeck works its magic with constant bit rate (CBR) QuickTimes. You cannot insert edit into variable bit rate (VBR) QuickTimes. So for those wondering, ProRes is inherently a VBR QuickTime. However, with Cinedeck’s software offerings and plugins you can work the same magic as with the Cinedeck hardware, but from your NLE of choice or CineXtools.

CineXtools is a software-based version of Cinedeck that allows you to insert-edit fixes, re-wrap a QuickTime with a new audio layout, or even create blank insert-edit-ready media. This means that after you export a file and receive QC notes back, you can just export the fixed segments and use cineXtools to insert those sections. There is no re-wrapping or re-exporting necessary, saving you tons and tons of time. You can even mix codecs when inserting, so if you have a ProRes HQ master but a DNxHD fix, you can do the insert easily. Going even further, Cinedeck will mix bit rates and color spaces, although mixing color spaces could get problematic.

Audio versioning

Cinedeck has also released plugins for Avid Media Composer and Adobe Premiere to allow insert editing into QuickTimes directly from your NLE. This is a huge time saver. I can’t overstate how valuable this plugin is if you deal with fixes, versioning or captioning changes. Blackmagic’s DaVinci Resolve has a function to output their ProRes QuickTimes as CBR, which helps if you also have CineXtools for your insert-edit fixes.

Keep in mind, if you use ProRes you will have to be running these plugins and apps on a MacOS-based system. Otherwise, you will only get PC-compatible codecs like XDCAM or DNxHD/HR. You can sign up for a free trial and download all of the latest versions of the CineXplugins as well watch tutorials here.

Pricing
The Cinedeck hardware can get pricey (tens of thousands of dollars) depending on the options that you add. The CineXtools standalone app can range from $1,495 for the first year (and $480 each year for renewal) to $2,295 for the first year (and $804 each year for renewal). The highest price gets you the CineXtools app, as well as all of the supported codecs for insert-editing capabilities, including AVC-I, XAVC, IMX, XDCAM and the standard ProRes, DNxHD, DNxHR and DPX with the following wrappers: MOV, MXF Op1A and MXF OpAtom.

To insert-edit closed captions you will need to purchase that add-on for $2,995 plus $995 a year for renewal in addition to whichever CineXtools you purchase.

You can read about their pricing structures here. There are some additional offerings available like the $99 daily bundle that allows you to get the tools you need on a one-day basis, which can actually be a great way to work with CineXtools. If you don’t need to QC all the time, you can purchase the tools only when you need them, saving hundreds and thousands of dollars. There is also monthly pricing on the different versions, for instance you can purchase just the CineXtools that works with ProRes for just $39 dollars a month.

Trim extend

Summing Up
In the end, CineXtools and CineX-Plugins will save you tons of time, which equals money if you do a lot of fixing, revisions or versioning. The only problems I’ve had with CineXtools revolve around trying to insert audio files based on in-points. If you have audio stems that match your QuickTime lengths exactly, CineXtools will work. However, I couldn’t get an insert-edit with audio files to match if I had to mark my own in-time on the audio files and a custom in-time on my destination file. For some reason it would never work. Nonetheless, with simple replacement video shots CineXtools is a lifesaver and worth its weight in gold.


Brady Betzel is an Emmy-nominated online editor at Margarita Mix in Hollywood, working on Life Below Zero and Cutthroat Kitchen. You can email Brady at bradybetzel@gmail.com. Follow him on Twitter @allbetzroff.

Post house Cinematic Media opens in Mexico City, targets film, TV

Mexico City is now home to Cinematic Media, a full-service post production finishing facility focused on television and cinema content   Located on the lot at Estudios GGM, the facility offers dailies, look development, editorial finishing, color grading and other services, and aims to capitalize on entertainment media production in Mexico and throughout Central and South America.

Scot Evans

In its first project, Cinematic Media provided finishing services for the second season of the Netflix series Ingobernable.

CEO Scot Evans brings more than 25 years of post experience and has managed large-scale post production operations in the United States, Mexico and Canada. His recent posts include executive VP at Technicolor PostWorks in New York, managing director of Technicolor in Vancouver and managing director of Moving Picture Company (MPC) in Mexico City.

“We’re excited about the future for entertainment production in Mexico,” says Evans. “Netflix opened the door and now Amazon is in Mexico. We expect film production to also grow. Through its geographic location, strong infrastructure and cinematic history, Mexico is well-positioned to become a strong producer of content for the world market.”

Cinematic Media has been built from the ground up with a workflow modeled after top-tier facilities in Hollywood and geared toward television and cinema finishing. Engineering design was supervised by John Stevens, whose four decades of post experience includes stints at Cinesite, Efilm, The Post Group, Encore Hollywood, MTI Film and, currently, the Foundation.

Resources include a DI theater with DaVinci Resolve, 4K projection and 7.1 surround sound, four color suites supporting 2K, 4K and HDR, multiple editorial finishing suites, and a Colorfront On-Set Dailies system. The facility also offers look development services to assist productions in creating end-to-end color pipelines, as well as quality control and deliverable services for streaming, broadcast and cinema. Plans to add visual effects services are in the works.

“We can handle six or seven series simultaneously,” says Evans. “There is a lot of redundancy built into our pipeline, making it incredibly efficient and virtually eliminating downtime. A lot of facilities in Hollywood would be envious of what we have here.”

Cinematic Media features high-speed connectivity via the private network Sohonet. It will be employed to share media with studios, producers and distributors around the globe securely and efficiently. It will also be used to facilitate remote collaboration with directors, cinematographers, editors, colorists and other production partners.

Evans cites as a further plus Cinematic Media’s location within Estudios GGM, which has six sound stages, production and editorial office space, grip and lighting resources and more. Producers can take projects from concept to the screen from within the confines of the site. “We can literally walk down a flight of stairs to support a project shooting on one of the stages,” he says. “Proximity is important. We expect many productions to locate their offices and editorial teams here.”

Managing director Arturo Sedano will oversee day-to-day operations. He has supervised post for thousands of hours of television and cinema content on behalf of studios and producers from around the globe, including Netflix, Telemundo, Sony Pictures, Viacom, Lionsgate, HBO, TV Azteca, Grupo Imagen and Fox.

Other key staff includes senior colorist Ana Montaño whose experience as a digital colorist spans facilities in Mexico City, Barcelona, London, Dublin and Rome; producer and post supervisor Cyntia Navarro, previously with Lejana Films and Instituto Mexicano de Cinematografía (IMCINE). Her credits span episodic television, feature film and documentaries, and include projects for IFC Films, Canal Once, UPI, Discovery Channel, Netflix and Amazon.

Additional staff includes chief technology officer Oliver De Gante, previously with Ollin VFX, where his credits included the hit films Chappie, Her, Tron: Legacy and The Social Network, as well as the Netflix series House of Cards; technical director Gabriel Kerlegand, a workflow specialist and digital imaging technologist with 18 years of experience in cinema and television; and coordinator and senior conform editor Humberto Flores, formerly senior editor at Zenith Adventure Media.

Steve McQueen on directing Widows

By Iain Blair

British director/writer/producer Steve McQueen burst onto the international scene in 2013 when his harrowing 12 Years a Slave dominated awards season, winning as Academy Award, Golden Globe, BAFTA and a host of others. His directing was also recognized with many nominations and awards.

Now McQueen, who also helmed the 2011 feature Shame (Michael Fassbender, Carey Mulligan) is back with the film Widows.

A taut thriller, 20th Century Fox’s Widows is set in contemporary Chicago in a time of political and societal turmoil. When four armed robbers are killed in a botched heist, their widows — with nothing in common except a debt left behind by their dead husbands’ criminal activities — take fate into their own hands to forge a future on their own terms.

With a screenplay by Gillian Flynn and McQueen himself — and based on the old UK television miniseries of the same name — the film stars, among others, Viola Davis, Michelle Rodriguez, Colin Farrell, Brian Tyree Henry, Daniel Kaluuya, Carrie Coon, Jon Bernthal, Robert Duvall and Liam Neeson.

The production team includes Academy Award-nominated editor Joe Walker (12 Years a Slave), Academy Award-winning production designer Adam Stockhausen (The Grand Budapest Hotel) and director of photography Sean Bobbit (12 Years a Slave).

I spoke with McQueen, whose credits also include 2008’s Hunger, about making the film and his love of post.

This isn’t just a simple heist movie, is it?
No, it isn’t. I wanted to make an all-encompassing movie, an epic in a way, about how we live our daily lives and how they’re affected by politics, race, gender, religion and corruption, and do it through this story. I remember watching the TV series as a kid and how it affected me — how strong all these women were — and I decided to change the location from London to Chicago, which is really an under-used city in movies, and make it a more contemporary view of all these issues.

You assembled a great cast, led by Oscar-winner Viola Davis. What did she bring to the table?
So much weight and gravitas. She’s like an iceberg. There’s so much hidden depth in everything she does, and there’s this well of meaning and emotion she brings to the role, and then everyone has to step up to that.

What were the main technical challenges in pulling it all together?
The big one was logistics and dealing with all the Chicago locations. We had over 60 locations, all over the city, and 81 speaking parts. So there was a lot of planning, and if one thing got stuck it threw off the whole schedule. It would have been almost impossible to reschedule some of the scenes.

How tough was the shoot?
Pretty tough. They’re always grueling, and when you’re writing a script you don’t always think about how many night shoots you’re going to face, and you forget about this big machine you have to bring with you to all the locations. Trying to make any quick change or adjustment is like trying to turn the Titanic. It takes a while.

How early on did you start integrating post and all the VFX?
From day one. You have to when you have a big production with a set release date, so we began cutting and assembling while I shot.

Where did you post?
In Amsterdam, where I live, and then we finished it off in London.

Do you like the post process?
I love it. It’s my favorite part as you have civilized hours — 9 till 5 or whatever —and you’re in total control. You’re not having to deal with 40 or 50 people. It’s just you and the editor in a dark room, actually making the film.

Joe Walker has cut all of your films, including Hunger and Shame, as well Blade Runner 2049, Arrival and Sicario. Can you talk about working with him?
He wasn’t on set, and we had someone else assembling stuff as Joe was still finishing up Blade Runner. He came in when I got back to Amsterdam. Joe and I go way back to 2007, when we did Hunger, and we always work very closely together. I sit right next to him, and I’m there for every single cut, dissolve, whatever. I’m very present. I’m not one of those directors who comes in, gives some notes and then disappears. I don’t know how you do that. I love editing and finding the pace and rhythm. What makes Joes such a great editor is that he started off in music, so he has a great sense of how to work with sound.

What were the big editing challenges?
There are all these intertwined stories and characters, so it’s about finding the right balance and tone and rhythm. The whole opening sequence is all about pulling the audience in and then grabbing them with a caress and then a slap — and another caress and slap — as we set up the story and the main characters. Then there are so many parts to the story that it’s like this big Swiss watch: all these moving parts and different functions. But you always go back to the widows. A script isn’t a film, it’s a guide, so you’re feeling your way in the edit, and seeing what works and what doesn’t. The whole thing has to be cohesive, one thing. That’s your goal.

What about the visual effects?
They were all done by One Of Us and Outpost VFX (both in the UK), but the VFX were all about enhancing stuff, not dazzling the audience. The aim was always for realism, not fantasy.

Talk about the importance of sound and music.
They’re huge for me, and it’s interesting as a lot of the movie has no sound or music. At the beginning, there’s just this one chord on a violin when we get to the title card, and that’s it. There’s no sound for 2/3 of the movie, and then we only have some ambient music and Procul Harum’s “Whiter Shade of Pale” and a Van Morrison song. That’s why all the sound design is so important. When the women lose their husbands, I didn’t want it to be hammy and tug at your heartstrings. I wanted you to feel that pain and that grief and that journey. When they start to act and take control of their lives, that’s when the music and sound kick in, almost like this muscular drive. Our supervising sound editor James Harrison did a great job with all that. We did all the mixing in Atmos at De Lane Lea in London.

Where did you do the DI and how important is it to you?
We did it at Company 3 London with colorist Tom Poole, and it’s very important. We shot on film, and our DP Sean and I spent a lot of time just talking about the palette and the look. When you’re shooting in over 60 locations, it’s not so much about putting your own stamp and look on them, but about embracing what they offer you visually and then tweaking it.

For the warehouse scenes, there was a certain mood and it had crappy tungsten lighting, so we changed it a bit to feel more tactile, and it was the same with most of the locations. We’d play with the palette and the visual mood, which the DI allows you to do so well.

Did the film turn out the way you hoped?
(Laughs) I always hope it turns out better than I hoped or imagined, as your imagination can only take you so far. What’s great is when you go beyond that and come up with something cooler than you could have imagined. That’s what I always want.

What’s next?
I’ve got a few things cooking on the stove, and I should finish writing something in the next few months and then start it next year.

All Images Courtesy of 20th Century Fox/Merrick Morton


Industry insider Iain Blair has been interviewing the biggest directors in Hollywood and around the world for years. He is a regular contributor to Variety and has written for such outlets as Reuters, The Chicago Tribune, The Los Angeles Times and the Boston Globe.

Video editing and VFX app HitFilm gets an upgrade

FXhome has upgraded its video editing and VFX software app. The new HitFilm Version 11.0 features Surface Studio, a new VFX plugin modeled from Video Copilot’s Damage and Decay and Cinematic Titles tutorials. Based on customer requests, this new VFX tool enables users to create smooth or rough-textured metallic and vitreous surfaces on any text or in layers. By dropping a clear PNG file onto the HitFilm timeline, text titles instantly turn into weathered, rusty and worn metallic signs.

HitFilm’s Surface Studio also joins FXhome’s expanding library of VFX plugins, Ignite Pro. This set of plugins is available on Mac and PC platforms, and is compatible with 10 of the most used host software, including Adobe Creative Cloud, Apple Final Cut Pro X, Avid, DaVinci Resolve and others.

Last month, FXhome added to its product family with Imerge Pro, a non-destructive RAW image compositor with fully flexible layers and advanced keying for content creators. FXhome is also integrating a number of Imerge Pro plugins with HitFilm, including Exposure, Outer Glow, Inner Glow and Dehaze. New Imerge Pro plugins are tightly integrated with HitFilm V.11.0’s interface ensuring smooth, uninterrupted workflows.

Minimum system requirements are for Apple are: Mac OS 10.13 High Sierra, OS X 10.12 Sierra or OS X 10.11 El Capitan. And for Windows: Microsoft Windows 10 (64-bit), Microsoft Windows 8 (64-bit)

HitFilm 11.0 is available immediately from the FXhome store for $299. FXhome is also celebrating this holiday season with its annual sale. Through December 4, 2018, they are offering a 33% discount when users purchase the FXhome Pro Bundle, which includes HitFilm 11.0, Action, Ignite and Imerge.