Buzz : Television/Film Production

New Avid systems speed up reality for 10 Years Younger post production

TUnruh — Tue, 16 Dec 2008 15:10:00 GMT

Read about the transition to HD for TLC's 10 Years Younger show in TV Technology this month and learn the benefits of Avid DX systems, including performance that is '20 times faster than Adrenaline.'

"We have several layers of video going on: in the past we had to render them to see them. The ability of this system to play multiple layers without having to render is by far the biggest benefit." - Lori Szybist, Lead Editor

"Moreover, if you're in a screening and you want to change out an effect-a wipe, dissolve, whatever-it can be as simple as dragging the new effect on top of your clip and playing it right there." - Eric Rodriguez, Post Production Supervisor

Storage Video: Avid Unity - Working in the Real World

TUnruh — Tue, 02 Dec 2008 16:45:00 GMT

New video - Customers chime in about the benefits of Avid's shared storage solutions.

For more of the latest storage news, read: Broadcast Engineering 'Avid increases capacity of Unity ISIS system' and Sports Video Group 'Avid amps up Unity ISIS storage; supports up to 330 clients, 384TB of storage'.

WIRED Interview: DIY artists host student workshops; create viral Webisode content

TUnruh — Tue, 02 Dec 2008 16:20:00 GMT

WIRED spoke with Avid Editor Lenny Mesina about the Make Something! Webisodes which document a series of student filmmaking and artist workshops. You can read the article online - "Street artists launch DIY vid series"

Here is the full Q&A with Lenny Mesina (LM):

Did your students first go out and shoot the subject matter for their short films?

[LM] In keeping with the spirit of inspiration and true collaboration as seen in the film I edited Beautiful Losers, (which is how Make Something!! came about with Aaron Rose directing the film and then subsequently working with Nike Sportswear to create artist led D.I.Y. workshops for kids in NY, LA, SF, and Tokyo) the workshop I taught on editing was directly connected to three other workshops in NY and LA: (cinematographer of Beautiful Losers) Tobin Yelland's documentary interview workshop, (music composer of BL) Money Mark's class on creating musical scores for films, and (graphic designer for BL) Keith Scharwath's make merch workshop. Early on during the planning stages of the curriculums, Stefani Relles (our wonderful teacher who led the way for all of our classes), Aaron Rose, and I came up with the idea that it would be appropriate to incorporate Tobin's, Mark's, Keith's, and my workshops since we all worked together during the making of the film. What it basically came down to was; since Tobin was going to teach kids how to shoot doc style interviews, and Mark was going to teach his class how to create music for films, and Keith's class was about creating movie merchandise based on the subject matter from the interviews, why don't I use the end products from their respective classes to show my kids how it can all come together to create a sum bigger than it's parts. So the footage my kids ended up editing in Los Angeles was actually shot by kids on the streets of New York.

What kind of Avid equipment did they do the editing on?

[LM] Working closely with high school kids and teaching aspects of editing was definitely fun and ultra rewarding on a personal level, but I found that during the creation of the web series we really had a golden opportunity to inspire people on a much larger scale. And for me that started as the supervising editor of a team of up and coming editors. In working with Meg Decker, Siobhan Prior, and Sin-Halina Sy, we were able to speak the same language of editing using Avid Media Composer systems. Using Avid was really important to me because I wanted this team of editors to continue to work with the industry's leading tool, especially since the majority of professional work is still cut with Avid editing systems. I felt that the more time they had to work with a program as established as Avid, the better off they would be when they work on their own big jobs.

Why did you feel Avid systems were the best fit for this project?

[LM] First and foremost, the efficiency of Avid editing tools easily made it the system of choice. We had a constant flow of footage to bring in each time we wrapped a workshop shoot and we knew time was going to be a factor in the completion of this series. And since all of us were already fluent with Avid and its superior media management, it made no sense for us to use any other program, especially the clunkier ones that require multiple steps to do the simple tasks an Avid can do in one stroke. To me, efficiency is always the key to editing; the smoother the workflow the more time an editor has to concentrate on what's important and that's being a creative storyteller. And with the quick turnaround inherent in web-based projects, I knew using Avid systems would enable us to deliver the content Nike Sportswear expected and on deadline.

What makes editing a webisode different than a feature length film?

[LM] One of the major differences between editing this web series and a feature length film was just knowing that the final destination for these pieces was going to be on the internet. Working closely with Arlo Rosner and Jon Barlow, the director and producer of the series respectively, we came up with a model of how we wanted the pieces to be presented as a whole before we even began shooting. Knowing that our audiences were going to be online viewers meant that we would be editing each piece down to approximately three to four minutes, in a form that would maximize impact and at the same time be easily digestible for internet audiences. In a film like Beautiful Losers, we had the luxury of allowing scenes to play out longer and had more freedom to explore the nuances of each character which inevitably made the film so personal and intimate. That isn't to say these webisodes lack any of that personal intimacy, in fact the film and the web series have much in common in the end, but rather the medium directly dictated the approach during the editing process. Using Avid systems made the technical side of things transparent, which let us dedicate our time to fully engage the creative process.

Are there plans to continue this workshop approach or is it a one-shot deal?

[LM] I really hope the Make Something!! workshops can continue to live on, grow larger, and travel to different parts of the country and the world with new and different artists attached along the way. I believe we've created a blue print which can easily be followed for future workshops to happen wherever there are kids who are willing to be inspired and be creative.

Tell me about some of the projects you've worked on yourself as an editor.

[LM] My editing background comes from the world of music videos and commercials during a time when music videos were thriving both creatively and in quality. Having the good fortune to have learned from some of my editing heroes like Fernando Villena and Chris Hafner, and then working with directors such as Francis Lawrence, Meiert Avis, and Motion Theory, I feel like I was already set up to follow a path that would lead to more unconventional collaborations. I eventually started to work with creatives whose backgrounds didn't necessarily originate as film directors. Editing with musicians like Kanye West (Common "The Corner") and Tom DeLonge of Blink 182 (Taking Back Sunday "This Photograph Is Proof"), photographers Estevan Oriol (Blink 182 "Down") and Nylon Magazine's Marvin Scott Jarrett (Good Charlotte "Fast Future Generation"), to even actors Jared Leto (30 Seconds to Mars "The Kill") and Joaquin Phoenix ("Lydia"), all led me to the film of a lifetime, Beautiful Losers directed by Aaron Rose and Joshua Leonard. With Beautiful Losers not only did I get to edit a documentary that featured some of my favorite artists who I've looked up to over the years, but I was part of something that was much bigger than just a film. We were able to create something special that truly inspires people to go and make stuff, to go out and be inspired by the people you're with and your surroundings. And even in the way we made that movie was extremely special. We ended up renting a house out in Silver Lake and I had setup the Avid system in one little corner room and Money Mark setup shop in another room with his ProTools and all his instruments and keyboards, and we'd go back and forth working on scenes just handing off media to each other on a little zip drive or CD. Then I'd adjust the cuts to fit the new music and all of us, from directors and producers to our post coordinator from Brooklyn who lived in the house while we rented it, would just sit in the living room and watch what we came up with like a little family. The completion of the film and the successes we've shared from it eventually led to the Make Something!! workshops with Nike Sportswear, totally changing my way of thinking about how I can use editing as a tool for good. For example, I just recently cut a piece with local screen-printing shop Fresh Pressed prior to the election using Barack Obama's "Yes We Can" speech, Z-Trip's Obama mix, and Shepard Fairey's "Obama/Hope" wheat pasting to create a viral video which I did for free because I believed it to be for a good cause. Being able to inspire people on that level and to have a positive effect on people through editing, those are the things that made Beautiful Losers to me quite possibly the best project I've ever edited or maybe ever will edit.

New Functionality: What You're Missing In Meridien

TUnruh — Tue, 18 Nov 2008 19:20:00 GMT

For folks who are wondering why they should upgrade to new Avid Media Composer versions, Steve Cohen (Splice Here) has summarized the latest features. Here's an overview (versions 3.0.5 and beyond):

16 tracks of playable audio.
Realtime audio dissolves.
Multiple tracks of realtime visual effects.
Select everything to the right.
Realtime timecode burnin.
Spectramatte.
Faster waveform display
Faster saves, even with big bins.
Timeline responsiveness.
Overall responsiveness.
Stability.
Scroll Wheel support.
OS X Leopard.
Improved locators.
Additional improvements to segment and trim modes.
High Def.

For Steve's full post, check out: Time to Upgrade (Splice Here).

Avid demonstrates support for RED camera at LA event

TUnruh — Thu, 06 Nov 2008 15:45:00 GMT

Here's a quick review from Igor Ridanovic, co-founder of the LA-based RED User Group, who attended one of the Avid+RED sessions in LA this week. Learn more about the existing RED workflow and what's new - from Media Composer to Avid DS.

"The Media Composer's unmatched ability to track all kinds of metadata and it's connectivity with Avid DS via Avid's AFE file format is a step ahead from the typical EDL based transfer between offline edit systems and DI workstations. This will allow facilities to work faster having to rebuild fewer effects and timeline tracks." - Igor Ridanovic (Kappa Studios)

Product Review: Avid MC 3.0 and DX Line

TUnruh — Tue, 28 Oct 2008 15:50:00 GMT

Videography's Oliver Peters posted a review on Avid's HD editing lineup. Read his article to learn more about what's new in the software and hardware, and how the systems will impact you as a digital content creator. A few excerpts:

"...unlike other software NLEs, when a Media Composer real-time effect plays in the full quality mode, it is indeed just that and does not require rendering."

"These results exceed the performance of Avid Media Composer Adrenaline or an Apple Final Cut Pro system with an AJA or Blackmagic Design card."

"As with real-time performance, Media Composer 3.0 won the speed test when compared with similar sequences using Final Cut Pro 6.0.3 running on a quad-core (3GHz) MacPro."

"Avid Media Composer remains the most feature-laden, powerful NLE on the market - at the most affordable price ever."

For the full review: "Avid's New Thinking and the DX Hardware"

Online Exclusive: Editors Guild Magazine features Avid DS 10

TUnruh — Fri, 10 Oct 2008 15:50:00 GMT

Latest Editors Guild Magazine feature names Avid DS 10 "one of the first tangible expressions of Avid's hyped 'new thinking' philosophy." The article covers Avid DS 10 news, including commentary from DS user Marc Fisher.

Here's an excerpt from the piece ("DS10: Avid's New High-Performance Platform") -

"The DS is powerful enough to handle any file format or frame size. You can go from an SD edit on Media Composer and then bring it in for an HD pass or a 2k pass...I was able to simply duplicate entire sequences into 2K--and all the effects that [the] editor cut in the composer translated 100 percent into HD and the 2K conform. It was phenomenal, and now it's become even more powerful. Avid has finally realized what a terrific product they have here, and a lot of other users feel the same way." - Marc Fisher (Editor)

Studio Monthly Q&A: Avid Storage

TUnruh — Fri, 10 Oct 2008 15:40:00 GMT

Avid's Doug Hynes recently spoke with Studio Monthly about all things storage The interview is available online and presents readers with a high-level snapshot of Avid's product line, storage philosophy and some of the key factors worth considering when evaluating storage solutions.

Final Cut Pro vs. Avid - An Ode to the Moviola

TUnruh — Fri, 26 Sep 2008 22:30:00 GMT

Larry Jordan of HDFilmtools.com has posted his first article in a series on FCP vs. Avid - and how today's editing solutions stack up in terms of responsiveness and performance.

Read the article for his thoughts on why Avid continues to be the tool of choice for 99% of all professional film editors.

Rapid Adoption of New Editing Solutions

TUnruh — Wed, 24 Sep 2008 18:15:00 GMT

This Fall, you'll be watching Avid's next-gen HD editing systems in action on shows such as: J.J. Abram's Fringe, LOST, TLC's 10 Years Younger, Fox's Family Court with Judge Penny, TBS' 10 Items or Less, The CBS Evening News with Katie Couric, and many others.

The American Film Institute (AFI), Catalyst Post, CBS, Universal Studios, KFox Television, FOX Sports Network, No Doubt Productions, Raycom Sports, Rhythm and Hues, Telemundo, Wachovia Video Network and Vertical Interval Media are some of the first sites to purchase and deploy Avid's next-gen HD editing systems.

Here's what our customers are saying:

"Processes that used to take an hour are now done in minutes. We're also taking advantage of the Nitris DX hardware acceleration for HD projects. This is Avid's best product release to date and sets the new standard for edit workstations." - Darin Kerby (Catalyst Post Services)

"The editors [on LOST] wanted to work with the best quality media possible and Avid DNxHD allows them to do that. Combine that with the performance of the new systems and you have a fantastic workflow." - Jim Longeretta (Digital Vortechs)

"The new systems are very stable and responsive - I am never waiting for the machine to catch up to me." - Dan Schalk (Film editor)

"The new Symphony Nitris DX systems will enable the students to get exposure to working with things like tapeless workflows, editing real-time in HD, color correction and finishing. And, with the improved stability and performance these systems offer, our students are able to engage in the editorial process and excel at the art and craft of post production." - Phil Linson (The American FIlm Institute)

Emmy 2008 Award Season - Did you know...

TUnruh — Thu, 18 Sep 2008 22:05:00 GMT

The majority of post-production teams behind this year's Emmy nominated shows are using Avid solutions. Here's a quick rundown -

All of the nominees in the 'Outstanding Picture Editing' (reality programming) category used Avid-based workflows:

- The Amazing Race
- Extreme Makeover: Home Edition
- Project Runway
- Survivor
- Top Chef

And, more than 90% of the top TV shows for 'Outstanding Picture Editing' (drama or comedy series) use various Avid systems, including:

- Lost - Avid Unity MediaNetwork, DS Nitris and Symphony
- Heroes - Media Composer Adrenaline, Unity MediaNetwork, Symphony Nitris and DS Nitris
- Boston Legal - Media Compoer and Xpress Pro
- The Office - Media Composer Meridiens and Avid Unity
- Pushing Daisies - Avid Media Composer and ScriptSync

We congratulate all 2008 nominees. Tune in to see which shows snag TV's top awards on Sunday, September 21.

Want to know the stats from 2007?

Student to Pro (POST Magazine)

TUnruh — Mon, 15 Sep 2008 20:45:00 GMT

POST Magazine has an interesting article that profiles five post production professionals about their transition from student life to an 8-to-5 work schedule. These young professionals discuss landing their current jobs, reflect on the adjustments they made, and the steps they walked to get there - from networking in Hollywood to the value of internships, people skills and luck.

Of those profiled, Adam Greenberg shares his account of how he worked his way up from summer intern to his current position at New York City's Post Factory.

In addition, Chad Galster lends a fresh perspective on editing today and how he's applying what he learned at USC's Avid lab to editing the second season of MTV's reality series, The Hills. On why he still uses Avid's Media Composer software:

"The reason being it's [Media Composer] a workhorse - it's incredibly stable. We're tied into a Unity system with between eight and 10 of us editing the series at any given time."

Top 28 Highest-Grossing Summer Blockbusters Created by Avid Customers

TUnruh — Fri, 12 Sep 2008 21:20:00 GMT

The top 28 highest-grossing movies this summer were created by Avid customers using systems from at least one Avid brand (generating a combined revenue of more than $3.68 billion at the U.S. box office!). Also worth noting is that the long list includes The Dark Knight, which is the second film in history to top the half-billion dollar mark.

Creative teams behind the majority of these films used workflows with a variety of Avid solutions, such as: Avid Media Composer systems, Avid DNxHD 36 codec and Avid Unity MediaNetwork for video editing and shared storage; Digidesign Pro Tools for editing and mixing sound; Sibelius 5 for music composition and scoring; and Softimage|XSI for 3D animation, 3D design and visual effects.

If you missed out on some of these summer flicks, catch up with the latest customer stories:

Get Smart
The Incredible Hulk
Iron Man
Journey to the Center of the Earth
Sex & the City: The Movie

How to Use ScriptSync

TUnruh — Wed, 10 Sep 2008 00:32:00 GMT

Harry B. Miller III, A.C.E. has posted a piece on 'How to use ScriptSync' (ACE Tech Blog). He surveyed a handful of A.C.E. editors and assistant editors for their thoughts on using the feature. Here is some feedback:

"I figure ScriptSync takes 3 hours off my day." - Stuart Bass, A.C.E.

"The most important use of ScriptSync, and the biggest time saver, is when producers want to check performances during their cut. I have found that once producers realize that this process goes so much quicker because of ScriptSync, they will insist that all editors they work with use it, and will not work with Final Cut because it doesn't have it." - Richard Candib, A.C.E.

Check out the fuil article for tips on best practices and how to maximize the benefits of ScriptSync.

Film & Video Feature: 2K Red and HDV Footage in Avid DS Workflow

TUnruh — Fri, 29 Aug 2008 01:47:00 GMT

Film & Video Magazine has posted feature coverage on Avid DS Artist Igor Ridanovic (Kappa Studios) discussing the Avid DS workflow on his latest RED project (an extended trailer for the documentary film - ‘The Wordz from the Street’). In the Q&A with Igor, he discusses his experience with the RED|Avid DS workflow and what was unique about the post production process for this piece.

“That’s why this workflow is interesting...some of the visual effects we had to do would be difficult, if not impossible, to do in Final Cut.”

“You can do those quick fixes in [Avid] DS really fast. You might be working on color, but you can stop and just do a quick comp and take something out or add something in, track a logo out of the shot or replace something.”

"The whole process took just minutes in the [Avid] DS, and the result really helped the story.”

Check out the full article in Film & Video: '2K Red and HDV Footage in an Avid DS Workflow'