Avid Blogs http://www.avidblogs.com/ The media industry is changing fast. Get the insight you need to succeed—read Avid Blogs. Wed, 10 Jun 2015 20:21:52 +0000 en-US hourly 1 http://wordpress.org/?v=4.2.2 Inspiring Stories from Mission of Hope Haiti http://www.avidblogs.com/timeline-tuesday-mission-of-hope-haiti/ http://www.avidblogs.com/timeline-tuesday-mission-of-hope-haiti/#comments Tue, 09 Jun 2015 13:34:52 +0000 http://www.avidblogs.com/?p=43917 The article Inspiring Stories from Mission of Hope Haiti by Jonathan Cordell appeared first on Avid Blogs - The media industry is changing fast. Get the insight you need to succeed—read Avid Blogs..

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About a year ago, I was assigned with the shooting and editing of inspiring stories involving the partnership between First Baptist Church Jacksonville and Mission of Hope Haiti, a large organization actively involved in meeting the physical and spiritual needs of the Haitian population. These videos have served as a way to introduce the church and the community to Mission of Hope, as well as encourage others to take part. In the last year, I have traveled there twice. On June 12, I will be leaving for my third trip to the country.

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For this project, we followed several key staff members and lay leaders from different vocational backgrounds as they traveled to Cabaret, Haiti to see firsthand the life-changing work Mission of Hope is involved in. Among other things, they currently have their own medical facility and make food packets to feed around 90,000 (!) children a day. On June 12, I will be traveling back with over 100 high school students from First Baptist Church as they serve in the area and share God’s love for a week.

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My Timeline

In the edit, we decided to go with a more traditional, journalistic approach for the first videos, as opposed to a first person —‘in their own words’ style—which we often implement. These videos needed to be relatively short, to the point, but with a strong impact. After each trip to Haiti, our Assistant Editor offloaded each of the cards from the 3 cameras (Sony PMW‐EX3 for local stories, or 2 Sony HXR‐NX5U’s and a GoPro for international coverage) onto the server where we used AMA to link the material before transcoding.

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Because Mission of Hope covers so much ground in what they do, we had to cover a lot in a short amount of time. At the end of every trip, we had hours of footage to sift through, so the use of metadata and keywords was important.

The writer, Katie Jeffries, a reporter from WTLV and a member of First Baptist, used Media Composer to log all the footage. Because she was never on‐site in Haiti, it was important for her to easily access and log the hours of interviews and b‐roll in an efficient way.

First Baptist Church Jacksonville has been broadcasting on the NBC affiliate since the 1970s and was one of the first churches to broadcast in HD. Currently they have 4 time slots on 3 stations for programming.

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Haiti is full of interesting sounds and beautiful images which the audience needed to experience through our videos. I personally think the music and natural sound carried the first package, so I ended up doing all the audio mixing in Media Composer. As a musician, I have to admit that I enjoy the process of editing music, foley, etc. It’s sometimes hard to let go when the tools are in front of me. At the end of the day though, it goes beyond the tools.

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After we finished the edits, we mastered to HDCAM tape through Digital Cut and exported master files to miscellaneous destinations, such as online video platforms and satellite campuses.

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Mick Audsley’s Editing Masterclass in Milan was Packed with Students and Pros. Here’s What You Missed. http://www.avidblogs.com/mick-audsley-editing-masterclass-in-milan/ http://www.avidblogs.com/mick-audsley-editing-masterclass-in-milan/#comments Tue, 09 Jun 2015 12:50:07 +0000 http://www.avidblogs.com/?p=43681 The article Mick Audsley’s Editing Masterclass in Milan was Packed with Students and Pros. Here’s What You Missed. by Wim Van den Broeck appeared first on Avid Blogs - The media industry is changing fast. Get the insight you need to succeed—read Avid Blogs..

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On May 26th, Avid offered the opportunity to attend an editing masterclass with renowned film editor Mick Audsley in Milan, Italy. The event took place at the Auditorium Ca’Grande of La Civica Scuola di Cinema, and included a Q&A panel session with Mick who has crafted some of the most exciting and well-known movies: from Harry Potter and the Goblet of Fire, Dangerous Liaisons and lnterview with the Vampire, to the upcoming release of Everest later this year.

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This free masterclass formed part of Avid’s Creativity Inspired hang-outs, where the brightest, most talented and best-known editors tell their stories, discuss their award-winning projects and share their secrets.

Before the Q&A panel session started, Alessandro D’Auria and Giuseppe Angilello from Avid Italy presented the latest news and products updates, highlighting the company’s engagement with students and educators.

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Giuseppe Angilello of Avid Italy presenting Media Composer | First

After a brief introduction by Claudio Cipelletti and Mark Fiocchi from La Civica Scuola di Cinema, Mick Audsley gave an overview of British Cinema through his countless collaborations with some of the best English directors, like Stephen Frears, with whom he has edited over a dozen feature films. Mick also illustrated how he organizes his timeline sequences, and how he assembles all of the scenes to form a finished feature film.

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Mark Fiocchi, Claudio Cipelletti, Mick Audsley and Giuseppe Angilello

“My favorite project so far? High Fidelity! It was a perfect example of a great collaboration between all the participants of the filmmaking team in front of and behind the camera.”

—Mick Audsley

The Auditorium Ca’Grande in Milan was packed with film students and professionals from the post production and broadcast world who didn’t want to lose the opportunity to attend this exclusive masterclass. More than 180 attendees came to listen and learn from Mick Audsley’s presentation on the art and science of editing. Mick was delighted to share some of the tricks of the trade with the audience.

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Mick also discussed the technological revolution in post production; how the digital editing process doesn’t cut down the amount of work, but instead, produces a huge amount of rushes and footage. He shared some anecdotes from the cutting room, talked about the way he approaches a script, and the countless challenges an editor has to face during post production.

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“Avid gives you the freedom to create by putting all shots within reach, with the addition of countless effects.”

The London-based filmmaker answered questions about the editor’s role in movies with lots of digital effects. He detailed the workflow, especially when having to deal with hours of footage of actors in front of green screens, or when trying to work with temporary mock-ups of the special effects shots. Mick also explained how he works with his assistants, the audio post production team and the digital effects artists.

“Nowadays special effects don’t get added just to surprise the audience, but to help tell the story.”

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The masterclass with Mick Audsley, followed by a Q&A lasted for more than an hour and a half, and Mick was happy to stay and chat with some of the attending film students. He answered their questions, took selfies, and even signed autographs. Mick confessed he was amazed by the great interaction and feedback from the audience, and didn’t regret coming to Milan to share his experience in this unique editing masterclass.

Mick Audsley was recently featured in a previous Avid Blogs article where he discusses the power of filmmaking in picture editing, the upcoming movie Everest by Baltasar Kormákur, and how he uses Media Composer to shape the stories he cuts.

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The article Mick Audsley’s Editing Masterclass in Milan was Packed with Students and Pros. Here’s What You Missed. by Wim Van den Broeck appeared first on Avid Blogs - The media industry is changing fast. Get the insight you need to succeed—read Avid Blogs..

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Remix: Effects and Vocals http://www.avidblogs.com/master-the-art-of-music-creation-remix-effects-and-vocals/ http://www.avidblogs.com/master-the-art-of-music-creation-remix-effects-and-vocals/#comments Fri, 05 Jun 2015 20:42:05 +0000 http://www.avidblogs.com/?p=43789 The article Remix: Effects and Vocals by Lars Kischkel appeared first on Avid Blogs - The media industry is changing fast. Get the insight you need to succeed—read Avid Blogs..

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Welcome back to Master the Art of Music Creation. In previous episodes, we created synth, beats, and bass elements. Now let’s take a look at the original acoustic drum parts and see if we can take the main riff fill part and reuse it in the remix with various plug-ins to give it a more electro sound. I’ll also work on the vocals by editing and adding some effects to them so they more closely fit the feel of this new version of the song. I’ll also go through the multiple AAX plug-ins I use on vocals, from Avid, AIR, Softube, McDSP, Brainworx, Slate, and Antares to show you how you can refine the sound so the vocals stand out and enhance the other elements in the track.

During this episode I will be using the song ‘Words to Say’ from the South African band The Arrows. You may remember the song when it was featured in the From Creation to Final Mix series. Let’s get started with Episode 9.

To learn more about the production of ‘Words to Say’ watch the 6-part video series, From Creation to Final Mix, featuring music producer Fab Dupont and The Arrows. In addition to learning about the creative process, you can download the tracks to try creating your own remix.

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Unlock Your Mastering Potential with this Free Mastering Guide from iZotope http://www.avidblogs.com/izotope-free-mastering-guide-download/ http://www.avidblogs.com/izotope-free-mastering-guide-download/#comments Thu, 04 Jun 2015 16:39:06 +0000 http://www.avidblogs.com/?p=43050 The article Unlock Your Mastering Potential with this Free Mastering Guide from iZotope by Alex Westner appeared first on Avid Blogs - The media industry is changing fast. Get the insight you need to succeed—read Avid Blogs..

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Get approachable advice on the art of mastering in Pro Tools, using the Ozone AAX 64-bit plug-in from iZotope, with a free guide that provides valuable tools, tips, and techniques.

We’re happy to share the 2015 update to our acclaimed guide, Mastering with Ozone. You can get it for free as a PDF or as an iTunes download for your iPhone or iPad. Check out the links at the bottom of this article.

If you don’t know anything about mastering—or if you could use a refresher—this guide is a great place to dig into the basic principles and techniques. You don’t need to own iZotope Ozone 6, our AAX creative mastering platform plug-in, to enjoy the guide, but we use it as reference point to provide illustrative examples of tips and concepts. If you want to get hands-on as you read, you can always download the free Ozone 10-day trial. Ozone is AAX 64-bit compatible, which makes it an excellent companion to Pro Tools when you’re finishing your mix.

Our 2015 edition was revised by Jonathan Wyner, iZotope’s Education Director. Jonathan is the Chief Mastering Engineer at iZotope and founder of M-Works Mastering Studios in Cambridge, Massachusetts.

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We hope Mastering with Ozone helps you in your quest for better-sounding masters!

GET THE PDF GET THE EBOOK

 

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Separate Lead Vocals From Music Tracks with Ease Using ADX VVC Plug-In for Pro Tools http://www.avidblogs.com/audionamix-adx-vvc-aax-plug-in-for-pro-tools/ http://www.avidblogs.com/audionamix-adx-vvc-aax-plug-in-for-pro-tools/#comments Tue, 02 Jun 2015 21:00:10 +0000 http://www.avidblogs.com/?p=42377 The article Separate Lead Vocals From Music Tracks with Ease Using ADX VVC Plug-In for Pro Tools by Rick Silva appeared first on Avid Blogs - The media industry is changing fast. Get the insight you need to succeed—read Avid Blogs..

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At Audionamix, we pride ourselves in being a company that provide creative solutions for complex audio problems. For many years we’ve delivered our unique brand of audio source separation services for major projects in the entertainment industry, and along the way I’ve been asked by veteran sound engineers countless times, “when are you going to make your software available for us to purchase?”. Their question was finally answered at NAMM last year when we debuted ADX Trax, the world’s first automated audio source separation software for the pro audio community. Much to our surprise, our first stand alone software earned a Best of Show award from ProSound Network, as well as numerous follow-up features and honorable mentions in other notable audio rags shortly after its NAMM debut.

From there, it was time to get the ball rolling with the first-ever audio source separation plug-in for pro audio users. Once the proof of concept was accepted by a few key Audionamix beta testers, we went on to seek a development partner with vast experience in creating new and exciting plug-ins. That search led us to Guillaume Jeulin (Founder and CEO at Blue Cat Audio). After discussing the possibility of developing a source separation plug-in with Guillaume, his enthusiasm for the project made him the obvious choice to become the lead development partner for the ADX Vocal Volume Control (VVC) plug-in.

As we all know, there are many types of AAX plug-ins for Pro Tools: EQ’s, delays, reverbs, compressor/limiters, gate/expanders, etc…but every so often an innovative plug-in like VVC comes along that defies categorization, and places itself firmly in the “Other” column. ADX VVC for Pro Tools 10, 11 and 12 uses the same cloud-based, multi-algorithmic and automatic VEX technology as ADX TRAX and ADX TRAX Pro, with the convenience of working within a Pro Tools session.

Using state of the art audio analysis and separation techniques, this revolutionary plug-in will automatically separate a master recording’s lead vocal from its accompanying mono or stereo music track. Once the file is separated, users can effectively adjust the volume (+/- 9dB) and pan positioning (60% left and right) of the lead vocal for various pro audio workflows in the post production, broadcast, advertising and marketing industries.

In the coming months, ADX VVC will be available in the all-new Avid Marketplace for a special introductory price, so stay tuned for the official announcement of this special offer!

In the meantime, watch VVC in action in the following video. Then, read our brief tutorial on VVC’s use in Pro Tools.

After importing your chosen audio file (Stereo or Mono) to a new track, choose VVC from the Inserts menu under Multichannel/Other for a stereo file or Plug-in/Other for a mono file.

Audionamix VVC Select

When VVC first loads, the Acquire button will be activated and the red light will be on. This indicates that the plug-in is ready to acquire the audio data for separation.

Audionix VVC Window

Make a selection of the audio that you would like to make volume or panning adjustments on and press play. This will send the desired audio data to the plug-in, and the red light will turn blue. Using the offline bounce feature in Pro Tools 11 or higher will speed up this process significantly. It is also suggested to simply acquire the entire audio file, so you can make several adjustments throughout the full duration of the song.

To help our algorithm focus on a main melody, you can set the pitch range of the (desired vocal) performance (for separation). In this example we’ve set the highest note in the melody to A4 and the lowest note of the melody to B3.

Audionamix VVC Pitch Range

Before separating, you can also choose to activate two separation options. The HQ algorithm is a more intense extraction process with extended filtering which can greatly improve results depending on the source material. Reverb, when turned on, will separate the target vocal’s reverb along with the lead vocal so that you adjust the level of the melody and its associated reverb at the same time.

Audionamix VVC

Once you’ve selected your desired options, press the Separate button. ADX cloud processing will automatically separate the vocal from the music so that you can then raise and lower the volume, and change the pan position of the separated vocal.

As with other plug-ins, VVC’s gain and pan position parameters can be automated from the automation lanes in Pro Tools or in real-time from the sliders on VVC’s user interface.

Audionamix VVC Automation

Learn more about our ADX VVC plug-in or connect with Audionamix for comments or questions at support@audionamix.com.

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How Avid Everywhere in Education Prepared Me for a Future in Broadcasting http://www.avidblogs.com/avid-everywhere-prepared-me-for-a-future-in-broadcasting/ http://www.avidblogs.com/avid-everywhere-prepared-me-for-a-future-in-broadcasting/#comments Mon, 01 Jun 2015 21:17:47 +0000 http://www.avidblogs.com/?p=43012 The article How Avid Everywhere in Education Prepared Me for a Future in Broadcasting by Ken Moreno appeared first on Avid Blogs - The media industry is changing fast. Get the insight you need to succeed—read Avid Blogs..

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Originally from North Carolina, I recently graduated from Fort Hays State University (FHSU) in Kansas with a BS in Information Networking & Telecommunications concentrating in Media Studies. FHSU was an affordable option for me and seemed like a smart move – but little did I know how much the school and its technology would change my life.

When I first came to FHSU, coursework was focused on producing “backyard” content, such as YouTube videos that were fun to make, but didn’t hold much weight. FHSU has gone on to make immense progress in preparing its students for future careers. From our initial attempts at simple videos, I was recently part of a team that took home ten Kansas Association Broadcasting Awards this year.

I am very grateful for the changes at FHSU and the doors that it will open for me. During my senior year, FHSU went the direction of the professional media industry and made the decision to go all in for Avid Everywhere. I remember learning of this change and the excitement that came with it. As a Media Studies student, I had always been aware of Avid’s products: I knew they were used by the big 5 broadcasting networks, I knew they were the products of professionals, and I had often heard “you have to learn Media Composer if you want to go to Hollywood.” But I had never been afforded the chance to actually use these products and – I am not joking – our school is now outfitted in Avid EVERYTHING!

Ken Moreno

“As a student, I now have the opportunity to take hold of all of this professional technology and software, equipment I had always dreamed of getting my hands on.”

– Ken Moreno, FHSU

FHSU becoming one of the first universities to implement Avid Everywhere in education was, and still is, an amazing occurrence for me. As a student, I now have the opportunity to take hold of all of this professional technology and software, equipment I had always dreamed of getting my hands on. Avid has flooded our media studies department with educational riches.

With Avid now in full force at FHSU, the learning environment is far from what it used to be: We practice live broadcasts in class, we are project editors, and we use the Media Central platform both in class and at home. Operations are smooth: From sending out field producers to shoot rundowns to having the edit team in the edit bays to being able to make changes visible to  everyone. Further, FHSU now offers Avid certifications and I was able to become Media Composer Certified with 21 of my classmates.

“I know Avid is going to be there for me as far as customer service relationships go and I see the company and the community of Avid users as a critical part of my professional life.”

It was inspiring and impressive to see Avid experts come all the way out to Kansas to train students and professors alike. They truly embraced everyone involved at FHSU and I can’t imagine seeing that from any other media company. It was during these training sessions that I felt Avid really accepted FHSU as a part of their community and was truly vested in the next generation. I know Avid is going to be there for me as far as customer service relationships go and I see the company and the community of Avid users as a critical part of my professional life.

The opportunity for this real life curriculum would not have been possible without dedicated professors like Toby Yoshimura. Toby recognizes industry standards, the importance for students to learn Avid, to become more involved with companies who are industry leaders and to integrate certifications. He represented students in the fight for this transition that drastically changed our university and the quality of our education. I feel so lucky to have professors that would go above and beyond to provide me with the tools I need to compete in this industry.

What I have also learned from seeing this transition is the importance of being involved in the professional community. Toby is a member of the Avid Customer Association (ACA) and is involved in some of the deeper conversations with Avid – topics such as what companies are looking for when they hire students, how efficiencies in the industry can be realized, the impact on business models when students are not prepared for the professional environment and more. Innovative and active groups like the ACA are inspiring and I look forward to diving into the online culture of Avid, joining in the momentum, and continuing to learn.

“I have confidence in my future career path and in going into the real world, having received my degree and certifications on Avid products.”

I recently decided to attend grad school at FHSU, based on what they are doing to truly prepare us.  I have confidence in my future career path and in going into the real world, having received my degree and certifications on Avid products. Due to the collaboration of FHSU and Avid, I know that my education will help me to be one step ahead of everyone else coming out college and I will be ready to launch my career in the media industry.

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Editor Ali Salloum Wins Best Editing Digital Studio Award for ‘From A to B’ http://www.avidblogs.com/editor-ali-salloum-wins-best-editing/ http://www.avidblogs.com/editor-ali-salloum-wins-best-editing/#comments Sat, 30 May 2015 23:00:31 +0000 http://www.avidblogs.com/?p=43301 The article Editor Ali Salloum Wins Best Editing Digital Studio Award for ‘From A to B’ by Wim Van den Broeck appeared first on Avid Blogs - The media industry is changing fast. Get the insight you need to succeed—read Avid Blogs..

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Lebanese Editor Ali Salloum from twofour54 Abu Dhabi has won this year’s Best Editing Award at the Digital Studio Awards during CABSAT for his work on the movie From A to B. The film won the award for best editing by blending comedy and drama in an entertaining way.  “Comedy is always about timing and the editing of this film brought out the best in the material that wound up on screen” according to Ali.

From A to B follows three friends who decide to go on a road trip from Abu Dhabi to Beirut. The film is co-produced by twofour54 and Image Nation while filming took place in Abu Dhabi, Dubai and the Empty Quarter Desert in the UAE, and Petra in Jordan. Filming was completed after 26 days of production. The film stars Saudi stand-up comedian and social media star Fahad Albutairi, Egyptian actor Shadi Alfons and Syrian actor Fadi Rifaai.

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Alli Salloum winning Best Editing Award at the Digital Studio Awards

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“I work for the post-production facility at twofour54, one of the co-producers of the movie. Ali Mostafa, the Director, was given the choice between bringing his own editor and using a senior editor from the twofour54’s Film and TV Services department, who happened to be me.

Right after finishing principal photography, Mostafa took two weeks off. The day before we would meet, he rang me to ask what the plan was; how and when were we going to start editing. I suggested to first watch the film together.  Mostafa was surprised that I had already finished a first version of his film, even before he had set one foot in the edit suite. While he was shooting on set, I went ahead and started editing with the dailies, so that by the time he came back for the post, I could show him my initial version of the film.

We viewed the movie twice on the first day of post-production. There were some elements he liked, some he didn’t like, and some that he thought added a new perspective to his project. During the following few days we analyzed every scene in detail. I would take notes, and work on that scene for the rest of the day. I was given a lot of freedom, and was able to put some of my vision into ‘From A to B’.”

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Editor Ali Salloum and Assistant Editor Yousef Bukhamas

Ali Salloum’s editorial team consisted of only 2 people; himself and his Assistant Editor, Yousef Bukhamas. “I wanted my Assistant to be in my head, to be on the same level. I completely trusted his judgment on selecting the footage we could use in the edit. He presented me with the best quality of work; he numbered the scenes and logged the most interesting takes. We each had our own media composer edit suite. He would prepare and select dailies for me in one suite, and I would start editing the scenes in the other one which made the process easy, efficient and harmonious.”

“Editing is more than just pressing buttons. Sometimes I can go into the technical details and explain it, but most of the time I just follow my gut.”

—Ali Salloum

“When I left film school, I started my career directing short movies. But soon I discovered that editing is more than just pressing the buttons. Sometimes I can go into the technical details and explain it, but most of the time I just follow my gut. That’s why I didn’t feel comfortable constantly telling my editor how I, as a Director, envisioned my movie. I saw editing as the perfect tool to tell my story, so I made the switch.

A few years later I was working as a Promo Producer in a local TV channel, were I got to know someone who edited all the music videos. Having never seen anyone work that quickly and efficiently before, I learnt a great deal from him, and picked up his fast pace.”

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“I just knew that I could rely on Avid for this kind of a large-scale project.”

“Since ‘From A to B’ was going to be my first feature-length movie, I decided from an early stage that I was going to use Media Composer.  I knew that I could rely on Avid for this kind of a large-scale project. Prior to this project, I had only worked with Avid while editing some music videos in the late 90’s, so it was time to refresh my skills, covering as much as I could in the time available.

By doing so, I discovered some great features in Media Composer that I now use on a daily basis. For example, ‘Match Frame’ and ‘Find Bin’ are two shortcuts that can save you hours of work. Another favorite of mine is the ‘Add Edit’ button. Finally, I can’t stop praising the Trim Tools in Media Composer. These are fantastic and way more flexible than other NLE tools.”

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“As for basic effects in this movie, I used masks, resize tools, wipe transitions and stabilization tools. For me it was important to give every scene the right mood from the get-go. To achieve this, I frequently used the Color Correction tools inside Media Composer.

Another way to set the different moods for this road movie was by means of its soundtrack. Director Ali Mostafa liked to call this film a ‘dramedy’; a combination of drama and comedy. We would play with the soundtrack by putting sad music on funny scenes and vice versa. That way we pointed out the ambiguity of a scene or had fun with the audience’s perception.”

Editor Ali Salloum and Assistant Editor Yousef Bukhamas

“Before starting this project, I was given the chance to attend an editing session with Oscar-winning editor Mark Sanger.  As it was going to be my very first feature film, I asked him how to handle vast amount of footage, and how to approach the editing process. I asked if I should wait for the very first scene to be shot, and edit the film chronologically or work on scenes in the order as they were being shot. His advice was to start editing right away, with the footage that I had. He said that in the end you could always change or reorder scenes and assemble them differently.  While working on this film, I came to realize that this is what I love most; ‘juggling’ the scenes, merging and reassembling them and finding the perfect way to tell a great story.”

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Creativity. Inspired.

Follow renowned Editors as they share their experience working on feature films, attend Avid hosted events around EMEA and stay updated on the latest Avid technology that can improve your edit —on creativity-inspired.com.

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The article Editor Ali Salloum Wins Best Editing Digital Studio Award for ‘From A to B’ by Wim Van den Broeck appeared first on Avid Blogs - The media industry is changing fast. Get the insight you need to succeed—read Avid Blogs..

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Remix: Mixing Bass and Beats http://www.avidblogs.com/master-the-art-of-music-creation-remix-bass-and-beats/ http://www.avidblogs.com/master-the-art-of-music-creation-remix-bass-and-beats/#comments Fri, 29 May 2015 22:00:42 +0000 http://www.avidblogs.com/?p=43375 The article Remix: Mixing Bass and Beats by Lars Kischkel appeared first on Avid Blogs - The media industry is changing fast. Get the insight you need to succeed—read Avid Blogs..

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Welcome back to Master the Art of Music Creation. The remix is starting to come together, now we have to add a bass line to support the existing synths. I like using ReFx Nexus, and Native Instruments FM8, for the bass, and I’ll show you how to add the new MIDI bass parts to match and work with the synth tracks that are audio clips. We’ll also cover VCA grouping in Pro Tools | HD, EUCON control with the Artist Series, and some basic mix and plug-in techniques to finish the bass track.

During this episode I will be using the song ‘Words to Say’ from the South African band The Arrows. You may remember the song when it was featured in the From Creation to Final Mix series. Let’s get started with Episode 8.

To learn more about the production of ‘Words to Say’ watch the 6-part video series, From Creation to Final Mix, featuring music producer Fab Dupont and The Arrows. In addition to learning about the creative process, you can download the tracks to try creating your own remix.

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‘Paddington’ Editor Mark Everson on Cutting Comedy with a CGI Main Character http://www.avidblogs.com/paddington-editor-mark-everson-on-cutting-comedy/ http://www.avidblogs.com/paddington-editor-mark-everson-on-cutting-comedy/#comments Thu, 28 May 2015 15:27:06 +0000 http://www.avidblogs.com/?p=43250 The article ‘Paddington’ Editor Mark Everson on Cutting Comedy with a CGI Main Character by Wim Van den Broeck appeared first on Avid Blogs - The media industry is changing fast. Get the insight you need to succeed—read Avid Blogs..

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London based Editor Mark Everson is known for cutting comedy and documentaries for television and feature films. His TV credits include The Might Boosh, Peep Show, Come Fly with Me, and Pete Vs Life. His Film credits are 4.3.2.1, Bunny and the Bull, Burke and Hare, Alan Partridge: Alpha Papa, and the recent hit movie Paddington, directed by Paul King.

“I got involved in Paddington through my relationship with Director Paul King. We first worked together on a sketch show in 2006 and we’ve worked together ever since. Paul and I work very closely together in the edit. We have developed our own process and short hand. We generally communicate through a series of grunts and non-verbal ticks. This tends to happen when you spend hundreds of hours together in a dark room.”

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“One of the complications of having a CGI main character is that you keep getting new rushes in the form of VFX submissions right till the last moment.”

—Mark Everson

“Fiona DeSouza was the Assistant Editor and Tom Sainty was the Second Assistant on Paddington. Richard Ketteridge was our VFX Editor and Henry Kemplen was the Assistant VFX Editor. And that was it. It wasn’t a massive post department considering the size of the movie. We just didn’t sleep much…

Paddington Bear started his ‘early life’ looking very rough and he was floating around the shots (not walking yet), usually with a guide dialogue from Paul King. Later on he slowly started to walk; fur, expressions and eye movements were added, and lastly gravity (on the fur), lighting and environmental interactions such as water on his fur completed the CGI main character. Along the way, we inserted Ben Wishaw’s dialogue performances and slowly signed them off for dialogue animation. Consequently, we would revisit and recut scenes far more often than on live action, because as the rushes and the dialogue performance changed, we would need to tweak our cuts. It was also a bit off-putting that our timeline was never the same as how we had left it, because the VFX submissions were being added while we were cutting. It felt like we were herding cats for a long while. What you end up with gives the illusion of simplicity and looks very straight forward but it took a long while to make Paddington feel like he was in the room. I look at it now and can hardly believe he’s not real.”

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Timeline of Paddington

“At University I read ‘Scorsese on Scorsese’ where he said that all directors should be editors first. It was then that I decided to be an editor.”

“It all started for me when my dad got a video camera for family holidays when I was 13. I soon started to make videos that starred my friends. They generally involved murders or ‘comedy’ sketches. At this stage they were all edited ‘in camera’; which means you shoot your film in sequence, shooting one take for each shot and pausing the camera after each. So chronologically and shot by shot your movie is constructed.

When I left school I wanted to continue making films so I did practical production based courses throughout college and university. At college, I first used a 2 machine linear editing suite. I loved it and was probably in there more than any other student. At university, I was particularly into Martin Scorsese films. It was there that I read ‘Scorsese on Scorsese’, where he said that all directors should be editors first. It was then that I decided to be an editor.”

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Mark Everson editing Bunny and The Bull

“I was the first generation of assistants not to touch film. I was feeding tapes to the Avid when I started assisting in 1998. Nine Gigabyte drives weighed a tonne and knocked out as much heat as a radiator. Monitors were colossal tube based monsters that also knocked out serious heat. In winter, your edit suite would keep you nice and warm. In summer it wasn’t as much fun. Since then we’ve gone tapeless, monitors are flat and you can run Avid on your laptop and fit a TB drive in your back pocket. I don’t know what’s next, but in my opinion, the more mobile and simple editing can become the better.”

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Mark Davies and Mark Everson winning an RTS Award for Pete Versus Life

“I’m happy compositing, animating and doing my own VFX work on the Avid but I’m not abreast of the technical advancements. I’ll generally work on whatever version of Media Composer I’m given. ‘Extend‘ and ‘Add Edit‘ are the buttons that I add to my keyboard that aren’t already there. And the shortcuts that I have on screen are ‘Audio Mixer’, ‘Effects Palette’ and ‘Render’.

I’ve heard lots of editors complain about doing sound work but personally I want the mix inside Media Composer to be smooth, so I prefer having sound effects and atmospheres in the cut. I find that it helps me get the rhythm right if everything that can produce noise is making a sound, especially in comedy. In the final mix, sounds are often replaced but the rhythm of a scene and the comical effect will remain the same.

In Paddington, we had the sound effects for the bear’s actions before we had the animated bear in place. So the different sounds emitted would often inform the animation team of where and when we wanted the bear to interact with the live action shot. This sounds mad but it worked as a good starting point before we had a bear.”

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Mark Everson in the edit suite of Mighty Boosh III

Being known for cutting comedy, Mark Everson is happy to share some comedy editing tips with us. “Firstly ask yourself what is the joke and what shape should it be. You can mess a joke up if you aren’t clear what it is or how it functions. If it’s a comic reveal, make sure you cut from ‘I’m not getting on that bike’ straight to freewheeling down the hill screaming. Seeing them putting their cycle clips on and getting on the bike will ruin your laugh.

Also, I had a note from a producer some years ago and he asked me ‘can I see the funny man say the funny thing please?’ In my cut I had played a funny line off-screen. He was right, in comedy you usually want to see the funny man (or woman) say the funny thing.”

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Mark Everson on the set of Mighty Boosh III

“It’s great when a film or television show you have cut is well received and people have a fondness for it. I really enjoy hearing people’s enjoyment.”

“If a show or movie is good, I can relax and be a normal(ish) viewer. When something just works, I don’t think you need to watch with your head, you just feel it. But when you’re not engaged, your critical editor’s brain kicks in and you start mentally editing it and shouting your notes at the television. Or is that just me?

It takes time for me to watch my own work afresh, and if I do so, I would make some small changes given the chance. These are often last minute editorial decisions (why did we put that back in?) or bits that we were still be perfecting at the end of the editorial process (could that have been a fraction better if we had another crack at it?) This sounds sloppy now that I’m actually saying it out loud, but editors strive for perfection so I guess this feeling is inevitable on occasion. Having said that, most things I edit, I’m actually quite happy with.”

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Follow renowned Editors as they share their experience working on feature films, attend Avid hosted events around EMEA and stay updated on the latest Avid technology that can improve your edit —on creativity-inspired.com.

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The article ‘Paddington’ Editor Mark Everson on Cutting Comedy with a CGI Main Character by Wim Van den Broeck appeared first on Avid Blogs - The media industry is changing fast. Get the insight you need to succeed—read Avid Blogs..

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VENUE | S6L 10K Tour in Scandoland http://www.avidblogs.com/venue-s6l-tour-scandoland/ http://www.avidblogs.com/venue-s6l-tour-scandoland/#comments Wed, 27 May 2015 16:50:30 +0000 http://www.avidblogs.com/?p=42491 The article VENUE | S6L 10K Tour in Scandoland by Robb Allan appeared first on Avid Blogs - The media industry is changing fast. Get the insight you need to succeed—read Avid Blogs..

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For the next leg of the S6L 10K tour, my cohort Chris Lambrechts picked me up in Dusseldorf and we drove the van pretty much non-stop to Copenhagen, with a bit of a ferry in the middle. We arrived in the evening and loaded in. No fork lifts this time, just a moody lift! Our partners in Denmark, Cyber Farm, have a lovely studio kitted out with loads of cool analogue stuff, preamps and compressors etc. We set up our two unabashedly digital and proud consoles—one in the live room and one in the control room. We also had three S3L-X’s in the corridor to explore our “True Gain” preamp sharing without tears and gain tracking workflow.

IO Sharing

You can now have three desks sharing the same analogue preamps and not really notice that there are any other engineers involved. We all have 10 to 60 dB gain control and a pad (even the slaves), so everybody feels like they are controlling the head amp. Your show file just has a gain value whether you’re connected to the stage box by yourself or with one or two mates—no programming, IP addresses, or whatever. Mixing, not IT networking!!

Robb at the wheel

Reminiscing about Teppanyaki

We got everything up and running with tidy cables and gleaming touchscreens and popped out for a bite. Had some lovely Teppanyaki food near our hotel. I was telling Chris about this amazing place we always used to go to in Shinjuku where a couple of chefs would sit in the middle of a horse-shoe bar cross legged on the floor and cook amazing seafood, Kobe beef, and vegetables on a wood fired grill in front of you. When it was ready they’d put it on these huge wooden paddles and stretch it out to you maybe two meters away. These fellas would be dripping in sweat and had huge muscly arms from all that lifting and stretching. They served the large bottles of beer that way as well, so they got plenty exercise when we were in town. They could do an hour shift before they were broken, at which point they’d get swapped out for another couple of chefs. This changing of the chefs was very ritualistic and involved chanting and clapping for some very good reason no one ever explained to us. Also, when you arrived the bloke at the door would shout out something at the top of his voice, then the chefs would reply at “eleven” as well, then the door bloke would reply to that and finally they’d chant a little phrase together. We had no idea what they were saying so we would amuse our selves by making up our own translations. This is one of the few fit for polite company:

“New fellas arriving, look like roadies.”

“OK, better gets loads of beer in the fridge.”

“Looks like they like their food too by the size of their bellies.”

Then in unison: “No doubt, no doubt, ha ha ha!”

32D in Denmark

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24D in Denmark

VENUE | S6L-24D System

It’s a little known fact but most roadies are foodies. It’s an occupational hazard. You might be your basic meat and two veg fella when starting out on your career, but I guarantee you will be a slow food, boutique olive oil, 25 year old balsamic and artisan Parmigiano-Reggiano lover by the time you’ve been round the world a couple of times. My oldest friend, Davey C, is no exception—in fact he’s the roadie gastronomic archetype. I remember our first time together in Japan, mid 90s, mixing a punk female duet who had a one hit wonder there that went nuclear. They had the same management as the Manics so I’d got roped in and Davey also joined the circus. I’d promised Davey that we’d have the meal of our lives in the above-mentioned restaurant. The Promoter would always take you there on a sold out tour as a thank you and treat. I’d been bigging it up the whole time until everyone involved—session band and crew—was in a frenzy. Finally we were heading off to the tour’s highlight, taste buds at the ready. We all met in the lobby, eyes bulging with excitement on the way to foodie heaven, to be deflated by some really bad news. The “artists,” when told about this exceptional and mind bogglingly expensive restaurant, had told the promoters rep:

“Nagh, we don’t like that foreign food crap, can’t we go somewhere normal?” They couldn’t be moved despite our entreaties and the worst dirty looks imaginable. We ended up, and I choke to say this, in some Rock Café—McDonald’s with guitars on the walls!! Never in the history of rock and roll have a gang of food loving roadies and musos been so epicure blocked.

Denmark Audience

At Cyber Farm in Denmark

S6L Comes to Denmark and Norway

Anyway, back to the here and now of the 10K tour. The next morning we headed back to Cyber Farm with our Nordic colleague and metal guitar legend, Michael Bohlin (check out his band Pain). We met loads of really interesting Danish engineers from broadcast, theatre, and of course touring. They all loved our new beast of a desk, even the guys who’d previously been fans of another brand. They had some great ideas, too. I’ve actually pinched one of them and sent it to the team pretending it was mine—thanks clever Scando brother engineer!

Michael Bohlin

Michael Bohlin posing with the S6L

Next up Oslo and my top mate Ronald the Viking who runs our distributor there, Benum. The first time I met him he asked me where I was from and I said, “Scotland.” “Aagh, that’s OK then, it means you have some Viking blood in you!” We’ve been best of friends ever since. He’s the size of a moose and twice as loud, God bless him—top chap. Again, a great turnout and some very interesting discussions on monitor workflows. This tour has been a great way to show off a prototype and get some great feedback from our audio chums and hopefully use that feedback to make the desk work the way everyone wants and needs.

Esters

Esters on the E18

Crossing Borders

After a weekend at home swapping the Nordic wind and rain for some Catalan sun and light gardening, we reassembled in Oslo to drive the kit pretty much straight East to Sweden. This of course involves a visit to the Customs with our carnet, as Norway isn’t properly in the EEU. The customs building was a cute wooden house in a pine forest, as if Hansel and Gretel had grown up and decided to check export certificates for a living. What a blast from the past, back in the day every time you crossed a border in Europe you had to have your carnet checked and stamped. This would often involve pulling all the kit out of the truck in some freezing car park so that the customs officers could see a particular box they picked at random. Much of Europe is close together and we crossed borders most days; major pain in the “backstage pass.” We would also have to get what we called “schitters” each day—spending money in local currency. You’d end the tour with pocketfuls of shrapnel all mixed up and useless. Three cheers for the common market and single currency.

Customs House

Customs House

Esters2

Inside Esters Café

Oslo to Stockholm took a leisurely seven hours, what a lovely drive. Beautiful scenery, lakes, mountains, pine trees, beautiful wooden farmhouses and churches. Felt like we were on a driving holiday, pity about the rain. We stopped at what must be the cutest truck stop in the world: Esters on the E18. It looked like some girl who had been in love with dollhouses opened a roadside café that was modeled on one of her childhood toys. All cute furniture and dainty cups. They made all there own cakes and chocolate too.

Arva presentation

Showing off the new system

Even Chris who’s in training for a charity bike ride had a rhubarb tart. Don’t tell his wife!! Anyway we’re an hour out from Stockholm looking forward to seeing Olof the owner of Arva (our Swedish partners) and another old mate who, as well as being a Ferrari driving speed nut and top businessman, has the distinction of swearing in the most original fashion of anyone I know. Next week we’re in Helsinki, Tallin, and Warsaw. May the road be kind to all of us.

Thumbs Up

With Kenneth Vadset from Benum

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