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Avid Celebrates Women Editors in Film and Television: Getting Dramatic

March is Women’s History Month, and in this blog series, Avid celebrates some of today’s most talented women editors in film and television. This week, we get deep with Úna Ní Dhonghaíle and Sandra Adair, ACE, and learn about editing film and TV dramas.

They are stories that can make you laugh and leave you crying. They strike that delicate balance of joy, fear, sadness, and hope. Film and TV dramas hold a mirror up to our own lives and create deeply reflective emotional experiences.

Two editors who have consistently delivered celebrated dramas over the past decade are Úna Ní Dhonghaíle and Sandra Adair, ACE.

“I actually always wanted to do filmmaking… my father was a great storyteller,” says Ní Dhonghaíle. Today, her credits include television series The Crown and The Missing. For Ní Dhonghaíle, finding the rhythm of a dramatic scene is about drawing on your own experience to make characters relatable—regardless of the cut’s pace. “How to keep the characters alive and the audience identifying with the characters… I think that is something that comes from you,” she says.

With a powerful suite of visual effects and precision-editing tools, Media Composer helps Ní Dhonghaíle craft stories with ease. Instead of worrying about the software, she can focus on important aspects of a scene: “What is the story about? What is the audience to feel? And use the tools to do that… that’s what I like about Avid”, she shares.

While Úna works primarily in television, Adair has spent decades editing critically acclaimed feature films. In 2014 she completed the 12-year epic, Boyhood, with long-time collaborator Richard Linklater. Adair was nominated for an Academy Award, and won an Eddie for her outstanding work on the project. She notes that personal experience was foundational to creating the dramatic masterpiece. “I did bring a certain emotional quality too—I brought my own experience as a mom and as a sibling to the way I saw the footage, and the moments that I selected were moments that resonated with me as a mother and a sister, and as a family member, as a wife…”

Adair’s impressive career has included editing such films as Dazed and Confused, and Linklater’s Before trilogy. She recognizes that the best drama comes from exploration our collective cultural experience.

“You think about experiences you may have had as a kid… it’s not about the specific milestones that one hits in life, it’s about the accumulation of the little moments that are poignant, that make you feel something,” Sandra says.

For Ní Dhonghaíle, it’s about taking those personal experiences and finding them in the quiet moments of the story.

“Trying to tell a story that moves an audience really interests me… I try to find what is actually happening underneath… The unsaid is as relevant, and as necessary for an editor to carve out as what is being said,” concludes Úna.

Get dramatic with your own storytelling.
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Avid Celebrates Women Editors in Film and Television: Bringing Us the Action

March is Women’s History Month, and in this blog series, Avid celebrates some of today’s most talented women editors in film and television. This week, experience the thrill of editing TV action/drama with Kelley Dixon, ACE, and Sharidan Williams-Sotelo.

When Emmy Award-winning editor Lynne Willingham told her then-assistant Kelley Dixon, ACE they were going to cut a pilot, Dixon was skeptical. But when she learned that the pilot was for Vince Gilligan of X-Files fame, Dixon couldn’t contain her excitement. “I was like, ‘Yes! Let’s go. I can’t wait…’ And I didn’t know what it was!”, she says.

Five years, three Emmy nominations, and an Emmy Award later, Kelley Dixon, ACE is now known for her outstanding work as editor on Breaking Bad. “I won the assistant lottery,” Dixon jokes. But it was her natural sense of pacing, and talent for creating visually striking cuts that caught Gilligan’s eye. Her work on the pilot boosted Dixon to editor. And her knack for building dramatic tension can be felt through the entire groundbreaking television series.

As the show’s popularity exploded, Sharidan Williams-Sotelo (Lara Croft: Tomb Raider, Lethal Weapon 4) joined the staff as assistant editor. Breaking Bad imposed an intense editorial schedule. Each week, the team needed to craft powerful 47-minute stories from hours of content. They relied on Avid Media Composer to meet the show’s deadlines. With support for virtually any media format, and industry-proven media-management tools, Media Composer was the perfect choice to create highly efficient workflows for the team.

Breaking Bad is considered by many to be one of the best TV shows of all time. And both women have gone on to influence more of today’s top television programs. Dixon is an editor on Breaking Bad spin-off, Better Call Saul, for which she has garnered four Emmy nominations. And she has lent her talents to other hit shows like Shameless and The Walking Dead. Williams-Sotelo graduated to work as an editor on Empire, and the critically-acclaimed, Mr. Robot.

For both Dixon and Williams-Sotelo, their work on Breaking Bad helped define their careers in ways they never imagined. Dixon says, earnestly: “Breaking Bad is a place where dreams come true.”

Learn more about working on Breaking Bad with Kelley Dixon, ACE and Sharidan Williams-Sotelo here.

Get in touch with your inner thrill-seeker.
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Editors on Avid: Unleashing Creativity with Media Composer

Welcome to the final installation of Editors on Avid, a three-part blog series that explores why editors choose Media Composer to tell stories. In this article, we’ll learn how Media Composer helps video professionals achieve their creative vision.

Filmmakers are constantly inspired by the latest creative trends. So when it comes to software, editors need a platform to help them realize their ideas. And Avid Media Composer helps editors turn that creative vision into reality.

Media Composer brings the latest ACE-certified editing tools to your workflow. So you can produce video content exactly as you imagine it. Create immersive cinematic experiences with a full-featured 3D video toolkit, or bring scenes to life with high dynamic range (HDR).

“It’s not that Avid is the standard, it’s that Avid lets you be creative, you can actually edit your project and be creative, unlike many other programs.”

—Andrew Zepina

With Media Composer, independent editors don’t need to rely on an external VFX team—you can create gorgeous stunning visual effects right in Media Composer. Track and stabilize your footage for a smooth, cinematic feel. Add drama to your cuts with a suite of beautiful transitions. Design compelling titles with built-in text treatments. Plus, Media Composer includes a robust set of color grading tools to style your project exactly as you envision it.

“I learned on Final Cut Pro, but once introduced to Avid, I never went back. So much more professional and practical in every way.”

—Brian D’Amico

But Media Composer isn’t just a way to take your project from concept to masterpiece. It’s a window into a broad array of production tools. With a direct link to the Avid Store, you can access the latest video effects, like Boris FX or Mocha Pro. For real-world editors, Media Composer is the fastest way to bring ideas to life—so their creative flow doesn’t miss a beat.

“The biggest thing to me, aside from Avid being able to handle multiple workstations better than anything, is that it feels like Avid was made for editors…I find I can work much faster in Avid because the designers thought like an editor as they made it…”

—Justin Dornbush

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Avid Celebrates Women Editors In Film and Television: Taking Us Beyond

March is Women’s History Month, and in this blog series, Avid celebrates some of today’s most talented women editors in film and television. This week we go beyond to the universe of science-fiction film editing on Avid Media Composer with Maryann Brandon, ACE and Mary Jo Markey, ACE.

Expansive stories that stretch the imagination. Heart-pounding interstellar action. The fascinating world of science-fiction films can take us light years away from our seats and back again in just a few hours. And over the past decade, no editing team has had greater impact on the genre than Maryann Brandon, ACE and Mary Jo Markey, ACE.

Brandon and Markey are lead editors for J.J. Abrams’ production company, Bad Robot. And they’re the common thread that runs through huge titles such as Star Trek (2009), Super 8, and the Academy-Award-nominated Star Wars: The Force Awakens.

For the editing duo, creating new galaxies requires a collaborative effort of epic proportions. Impressive visual effects, complex sound design, and hundreds of hours of footage come together to form a tightly crafted narrative. The success of each film depends on multiple departments’ ability to share assets with lightning speed. Avid shared stored is an essential part of their workflow. “For these films… we rely on quick changes,” Brandon notes. And with Avid [shared storage], the editors can easily integrate revisions from VFX or new 5.1 surround mixes—even if they arrive mid-cut.

Both editors got their start working in film. Markey was an intern on Turner and Hooch, and Brandon’s early work included interning on Grumpier Old Men. Each worked with Abrams on his TV shows, Felicity and Alias. But their first feature film as a team was working with Abrams on Mission Impossible III.

Markey’s approach to editing is tightly connected to her own emotional response to the cut. She tells each story through character perspectives to deliver deeply authentic and emotional experiences for the viewer. Perhaps that focus on humanity is what makes her work perfect for the sci-fi genre.

For Brandon, there’s just one option for every aspect of the film: “We work until it’s perfect, and then we work beyond that.”

Go behind the scenes of Star Wars: The Force Awakens to learn more about Maryann Brandon, ACE and Mary Jo Markey, ACE here.

Take your sci-fi story beyond.
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Editors on Avid: Cutting Faster with Media Composer

Welcome to the second installation of Editors on Avid, a three-part blog series that explores why editors choose Media Composer to tell compelling stories. In this article, we’ll learn how Media Composer accelerates editing workflows for video professionals everywhere.

Filmmakers are obsessed with workflow. And for good reason. From independent directors to full-scale production teams, editors need efficient workflows to create more content, faster. It saves the client time and money. It allows you to take on more projects. That’s why Media Composer is designed to make quick work of creative editorial—from ingest to export.

Acceleration begins right from the camera. Media Composer features native support for most media formats, so whether it’s from an iPhone or a 4K camera, Panasonic AVC-LongG or Sony XAVC-I, you can start editing footage right away. Or simply transcode on ingest to Avid’s intermediate DNxHR or DNxHD codec, and work with gorgeous hi-res and HD content with ease. Any way you cut it, it’s the fastest way to work with footage from a variety of sources.

“What I like the most is transcoding at the front end, making the edit and final versions a breeze. I really like exporting a QT reference to Sorenson Squeeze for mp4 approvals or web masters is super fast… especially when working on a long form (project).”

—Brian Fearon

The editing tools in Media Composer are precise and efficient. Tighten cuts in trim mode, see every move before you make it with high-visibility feedback. And quickly experiment with new ideas by dragging clips directly into new tracks onto the timeline.

“New to Avid and really love it. Mostly the trim mode functions are scratching an itch that I could never quite reach in Premiere.”

—Aron Meinhardt

“It has the best trimming of all NLEs that I’ve used in 20 years of editing.”

—Nigel G Honey

Editors in the Avid community craft stunningly beautifully and compelling stories. We’ve built Media Composer to support them in every aspect of their workflow. With each revision, we carefully consider their feedback. Feature requests from the Avid Customer Association (ACA) are being added on a regular basis. That dedication makes it the most comprehensive editing platform available.

“Avid always seemed to be designed with professional editing in mind….you can really fly on it.”

—Erik T Chappelle

Ready to start cutting with unmatched speed?
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Avid Celebrates Women Editors in Film and Television: Making Us Wonder

March is Women’s History Month, and in this blog series, Avid celebrates some of today’s most talented women editors in film and television. This week we take a look at the wonder-filled world of editing animated films with Sarah Reimers.

Animated films are truly wondrous. Hundreds of artists and animators collaborate to create worlds that transport us far beyond our imagination. And editors play a critical role in shaping how animated stories are told. Few know this as well as animation editor Sarah Reimers.

Reimers knew that editing was her passion early on. At film school, “when they said, ‘who wants to be an editor?’…my hand was the only one that went up,” she says. Today, Reimers’ credits include Pixar’s Brave and last year’s hugely successful Finding Dory. She also took the lead editor role on Piper, the Academy Award-winning animated short that accompanied the Disney smash hit.

For Reimers, creating animated films that stick with viewers is about excellent storytelling. She relies on Avid Media Composer to help craft that story behind the scenes. Powerful built-in tools like the Animatte enable Reimers to shape scenes before they go to animation. She can quickly pre-vis a new background, move characters, and even adjust their expressions. Media Composer is also the software she’s seen in nearly every editing environment throughout her career.

“I edit on Media Composer, because besides being a wonderful tool… I personally appreciate the continuity that Avid has had over my entire career. I’ve stepped in on other systems, but Avid has been the benchmark, and the one I could count on to be there.”

For audiences around the world, it’s clear that Reimers has a natural gift for storytelling. Finding Dory was a critical and commercial success, and Piper recently won the Academy Award for Best Animated Short Film. She credits her talent to years of experience and generous mentors. But her peers in the industry know that crafting a story isn’t just about great career experience. It’s about raw talent and excellent tools.

“When it comes to storytelling I tend to go on instinct, and go with my gut. And what feels right, and what pacing and rhythm. And what arc feels good—where, emotionally, I want things to land.”

Create wonder-filled worlds of your own.
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Editors on Avid: Working as a Team with Media Composer

Welcome to Editors on Avid, a new three-part blog series that explores why editors choose Media Composer to tell their stories. In this article, we’ll look at how Media Composer helps editors collaborate together to tackle big projects.

Media Composer is built for team collaboration. When deadlines are tight, big projects need multiple editors to get the job done, and Media Composer makes it easy to do that by sharing assets. In fact, editors can seamlessly work on the same project at the same time. Color correction, new sequences, audio edits—every change is reflected in each user’s timeline with every save.

“Nothing is better than Avid for multiple editors sharing footage and working on the same project at the same time.”

—Rick Ferguson

One of the reasons editors love Media Composer is its rock-solid media management. Large projects can often mean hundreds of hours of footage in a variety of different formats. Luckily, Media Composer keeps track of all of these assets for the team of editors. Source material, rendered files, and metadata are all organized automatically for the workflow. So your team can focus on editing, and not on wrangling, sorting, and finding clips.

“It is the king of shared projects and media. None of the other NLEs come close in a collaborative environment.”

—Ron Sussman

Media Composer is complemented by a comprehensive range of Avid storage solutions that are optimized for sharing media. Avid NEXIS | PRO is affordable and blazingly fast, enabling teams to easily share assets and tasks. For example, different editors can sweeten audio in Avid Pro Tools or work on VFX in Adobe After Effects. Production teams can even share sequences from other editing platforms, like Apple Final Cut Pro X or Adobe Premiere Pro—all in real-time, on the same network.

For over 25 years, Avid Media Composer has been the benchmark for professional editors everywhere. When it comes to supporting editors in the field, Avid delivers innovative technologies that help teams work together, faster.

“20+ years as an editor. Avid is the standard. I’ve used FCP for small projects, but for multiple users on a multi-cam, bigger project—Avid all the way.”

—Robyn Migel

Ready to take your team workflow to the next level? Subscribe to Media Composer today.

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Avid Celebrates Women Editors in Film and Television: Making Us Laugh

March is Women’s History Month, and in this blog series, Avid celebrates some of today’s most talented women editors in film and television. Each week, we’ll explore the careers of female editors who have shaped modern culture with their work. In our first installment, learn how comedy editor Ryan Case makes laugh-out-loud hits with her comedic timing.

Ryan Case is one of those “weird people that knew what they wanted to do when (she) was really young.” From an early age, she made her own movies by editing stories with two connected VCRs. Today, she’s the editor behind the Emmy-award-winning comedy, Modern Family.

Case knows it’s essential “to be funny, and have a really good sense of humor to edit comedy. Because you’re constantly having to make small and large decisions about what is funny.” For Case, knowing what’s funny is all about timing. Having an eye for the beats. Setting the pace. And stopping to let jokes land.

With powerful editing tools that deliver precise visual feedback, Avid Media Composer is integral to Case’s work. Pushing and pulling at a scene. Previewing creative ideas. They all happen faster with Media Composer. And with add-on options like ScriptSync, it’s the perfect tool for working on scripted TV shows that produce hours of footage from multiple cameras.

“It’s really easy to do an asymmetrical edit… You can play with different timings. You can tighten a joke, or give it air really effortlessly… I don’t think that exists as efficiently in other systems,” she says.

From cutting on VHS tapes, Ryan honed her skills and relentlessly pursued telling funny stories through film. Eventually her talent and tenacity landed her a role editing the pilot for Modern Family. Working on the show, Case earned an Emmy Award for editing, and helped the show garner an Emmy for Outstanding Comedy Series in each of its first five seasons.

Ryan’s career continues to grow. She helped edit the pilot for Brooklyn Nine-Nine, and has directed for The Mindy Project. It’s clear that Case has brought some of today’s best comedy television to life. For her, it’s about having a keen eye, the best tools, and just being true to the moment.

“I think comedy editing should be unnoticeable—it shouldn’t be in your face or too stylized. It’s more about feeling natural and feeling comfortable.”

Learn more about Ryan Case and her work on Modern Family here.

Start cutting your own comedic hits today.
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Discover the Fastest Way to Create Epic Stories with Media Composer

Awe-inspiring blockbusters in the theater. Thought-provoking indie flicks streaming on our laptops. Shareable content that keeps us scrolling through social media. Today, audiences consume more video on more devices and platforms than ever before. To keep up with demand and stay competitive, filmmakers need to tell engaging stories through a constant stream of immersive, high-quality content. And Media Composer helps video professionals stay at the forefront of their craft.

Media Composer features the most comprehensive tools to accelerate your workflow and help you create at your best.

 

• Cut faster and with greater precision—Deliver projects with astonishing speed using high-visibility feedback, live trim mode, and an all-new interface

• Edit HDR material—Stun your audience with support for brilliant HDR workflows, including Dolby Vision, Sony S-Log3, BBC/NHK, and ACES profiles

• Collaborate faster with your team—Share media and bins in real time—even across other editing platforms—to complete complex projects ahead of schedule

• Optimize media for the highest-quality playback online or on disc—Create content for your audience in the formats they prefer

• Easily find the best takes and the right clips with ScriptSync and PhraseFind—Save hours of time with powerful dialogue-search solutions

 

At Avid, we know that staying on top of trends is essential to your business. That’s why Media Composer is under constant development. We provide frequent updates with new features added to support filmmakers everywhere. So when you get Media Composer, you don’t just get the best tools. You’re future-proofing your workflow with a platform that keeps up with your creativity.

“As other non-linear editing systems come into the marketplace, they change, morph, get bought out, disappear and so on, but Avid has proved to be the most stable and consistent platform out there. Their support for the professional editor has been totally unwavering and that really solidifies my relationship with the company.”

—Barney Pilling, ACE, editor The Grand Budapest Hotel

Adding Media Composer to your workflow is easy. Check out this infographic to discover the best, and most affordable way to start creating eye-catching content with these industry-leading tools.

Buy or subscribe today and get the latest Media Composer software along with every new feature update for the duration of your subscription or Upgrade and Support plan.

Even better, if you already use an older version of Media Composer, you can save nearly 70% when you upgrade your license before June 30.

Plus, we’re excited to once again offer Media Composer | ScriptSync and Media Composer | PhraseFind options. These tools are essential for media workflows with multiple takes of scripted dialogue—and these options are only available with today’s Media Composer.

 

“I edit on Media Composer, because besides being a wonderful tool… I personally appreciate the continuity that Avid has had over my entire career. I’ve stepped in on other systems, but Avid has been the benchmark, and the one I could count on to be there.”

—Sarah Reimers, editor Finding Dory

Your Media Composer. Your best stories.

Media Composer lets you tell stories exactly as you see them. And just how you want to tell them. Edit locally or through the cloud, choose a low-cost subscription, or buy a perpetual license. Media Composer is the most open, accessible end-to-end tool for professional creative editorial.

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