Chris Rouse talks to The Hollywood Reporter about his editing process on Paul Greengrass' thriller-at-sea Captain Phillips.
He says, "Paul brings me aboard months before shooting; I'm able to root myself in the piece long before I ever make a cut. Once I start editing, my process is similar to Paul's: I make choices carefully -- trying to be attentive to story, character and theme -- but I also work very openly and intuitively, trying to get the most out of the material no matter where that takes me."
Read the full story here.
Editor Oral Ottey talks to Definition Magazine about the challenges of editing a show as epic and dense as Game of Thrones.
He says, "The sheer volume of stuff you have to somehow log inside your brain is amazing. You have to come up with an idea for the edit based on your memory. They could be shooting six episodes at the same time. You could have Daenerys who in this season was out in Morocco and Croatia, then you have the character Jon Snow in Iceland, then Tyrion in Belfast and so on and so. It just depends where the characters are. I might get assigned to three directors for three separate episodes which also might overlap the actual shooting, one editor couldn’t do it.”
Matt Johnson provides a tutorial highlighting the best export settings for uploading Premiere Pro-edited videos unto Instagram.
He writes, "I realized that while Instagram now lets you crop and upload videos in the app, it really is still lacking the finer control that you can get by editing a video in a traditional NLE such as Premiere Pro CC. By editing a video before copying it to your camera roll for uploading to Instagram, you can perfectly control the quality, framing, and get a much higher quality than just shooting and uploading. This tutorial will show you the export settings for the highest render quality for Instagram, and even show you how to upload widescreen videos."
Not everyone has the time and resources available to see everything presented at the annual IBC in Amsterdam. Yet, keeping up with the news and significant new technology introductions is vital to your job and career. TV Technology can help.
Join them for a FREE executive briefing on the 25 Things You Might Have Missed at IBC. The TV Technology editorial team traveled the sessions and exhibit floors of the RAI Amsterdam to find the people, news and technology certain to have an impact on TV broadcasting and professional video throughout the coming year and beyond.
The webinar is taking place on October 10 at 12:00 PM EST. Register here.
Oliver Peters writes up Rampant Design Tools, a new series of looks and effects that are not locked into a host application, leaving editors free to move their projects between NLEs.
He writes, "The products...work in any editing and compositing application that can read QuickTime files. The quality of the tools are fine – designed by an experienced compositor for other artists. If you don’t want to be locked into plug-ins that might not work with the next version or OS change, then Rampant Design Tools could just fit the bill."
Read the full post here.
We are conducting primary research around non-linear editing usage and preference. We are reaching out to our users, as they are the most knowledgeable in this space and up-to-date on all new tools/technologies. This is a great opportunity to have your opinions, preferences, and comments be heard by those who can make a difference in the industry. Also, the research is aimed at understanding what specific features and tools are most important to NLE users.
Please take our survey here.
The survey should take no more than 5 minutes. All contact information will remain confidential and responses are anonymous. Submit your answers today and thanks in advance for taking the time to complete this survey!
Filmmaker Noam Kroll talks to FCP.co about his workflow for his short film "Brother Sister," which involved shooting on a Blackmagic Cinema Camera and editing on Final Cut Pro X.
He writes, "This was a new experience for me as I typically shoot straight to ProRes on the BMCC, but due to the nature of this project I opted to shoot everything in RAW, which turned out to be a great choice. It added a couple of extra steps to my normal process, and even though I used a fairly standard workflow, I still wanted to outline it here for those looking to work with this combination of camera and NLE as it seems to work exceptionally well and quite seamlessly."
In a short interview from BAFTA, editor Walter Murch (Apocalypse Now, The English Patient) talks about everything from the importance of rhythm to the role of an assistant editor.
He says, "Editing is certainly 70% about rhythm and what you are showing and the rate at which you are showing it. It's very hard to teach this. In a sense, it's like dance. You can explain the rudiments of dance, but to really learn how to dance you have to dance. You just have to get out there and do it."
Watch it here.
Matt Brading goes in-depth on his workflow editing short 3D film "The Hub" using Final Cut Pro X and DaVinci Resolve.
He writes, "The film was a test to see whether low-budget stereoscopic film making was a reality and was shot using a DIY Beam-Splitter Rig with two Canon 550Ds. My main role in the project was to design and test an end-to-end post production workflow for stereoscopic film. This workflow was then used to handle the editing of the film. The workflow centered around using Resolve to carry out the stereoscopic grading and Final Cut to handle media organization and editing."
Read the full post here on FCP.co.