Timeline Tuesday

  • Red Arrow Industries Utilizes Avid Shared Storage for Animal Planet Special

    Red Arrow Industries recently installed its very first Avid shared storage system to edit a reality show that would benefit from editors having access to all footage at all times.

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  • De-Squeezing a Bare Bone Budget into a Well Crafted Anamorphic Web Series ‘The Ferryman’

    Go inside the edit bay of AFI Conservatory Alum Cyndi Trissel as she gives life to the after-life in the high production value, low budget supernatural drama web series ‘The Ferryman’.

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  • Editor Judith Allen Illustrates the Difference Between Cutting Animation and Live Action Films

    Editor Judith Allen has a keen interest in animation, VFX, and drama editing—but above all, storytelling. In between projects, we asked her about the differences between cutting animation and live action films.

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  • Tina Richardson Smith Reveals Tricks of the Trade of a VFX Editor

    The job of a VFX editor involves precise preparation, planning and refining the visual effects shots before they get ready to shoot. Avid Blogs had the opportunity to chat with ‘The Legend of Tarzan’ VFX editor Tina Richardson Smith.

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  • Sitcom and Feature Film Editor Paul Machliss, ACE, Gets Tension and Timing Right in the Cutting Room

    Originally from Melbourne in Australia, UK-based editor Paul Machliss is a huge fan of British comedy, having edited some of the most popular sitcoms such as ‘Black Books’, ‘Peep Show’, and ‘The IT Crowd’.

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  • Cutting Feature Film ‘Feriado’ Simultaneously Between Ecuador and Argentina with Media Composer

    Since feature film ‘Feriado’ had to be cut between Ecuador and Argentina, Avid Media Composer was the editorial team’s first choice in terms of media management and sharing capabilities.

    by Diego Araujo
  • The Story of Nicola Matiwone—From Student to Award-Winning Editor

    Follow Nicola Matiwone on her academic journey from student to editor, facing the many challenges during her post production course, and how she utilized every opportunity to further her learning.

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  • Editor Jim Page Gave Low-Budget Fantasy Film ‘Arthur and Merlin’ the Epic Feel It Deserved

    After 11 years as an editor of documentaries for BBC and Discovery, fantasy action film ‘Arthur and Merlin’ was Jim Page’s first paid feature. Read about his experience in this article.

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  • Turning Complexity into Simplicity—the Story Behind a Short Film’s Timeline in Media Composer

    Film editor Fernando Maganda explains how color coding clips and bins, different timeline views, and dedicated workspaces help turn timeline complexity into simplicity.

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  • Editor Daniel Oberbillig Painted his Timeline to Shape the Future Vision of Connected Home Appliances

    As there was no time to write a script for his latest advertizing project, editor Daniel Oberbillig decided to treat his Media Composer timeline as a colorful animated mood board.

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  • How Pictures Lead the Story of Earth’s 4.6 Billion Year History in Documentary Film ‘Life’s Rocky Start’

    Let’s follow editor Rob Tinworth as he cuts documentary ‘Life’s Rocky Start’ from first assemblies, over rough cuts, to the finished film, ready for broadcast on PBS’ NOVA.

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  • Distilling the Life of the Man who Changed American Television into an Artful and Moving Portrait

    To tell the story of TV producer Norman Lear, editor JD Marlow relied on Media Composer, the NLE that provided a robust workflow for this massive project with over 3,000 unique archival assets.

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