Claremont High School Wins Five Film Awards using Avid Media Composer

We’re proud to announce that the Claremont High School Cinematic Program—an Avid Learning Partner—won first place, among four other awards, in this year’s Directing Change Film Contest. Students throughout the State of California were challenged with producing category-driven, 30 to 60 second public service announcements to encourage discussion around suicide prevention and mental health. The contest is held every year in connection with the State’s “Each Mind Matters” Mental Health Movement.

Out of over 1,000 submissions, Claremont High School won five awards in multiple categories. Avid Media Composer played a large role in the editing and production process for each film, including the first-place statewide win for the animated feature “Petals”.

“Media Composer was our headquarters,” shared the Petals production team. “Animation gives a sort of creative freedom that regular film does not allow. We assembled, cut, and mixed all in Avid. [They] clearly laid out an organized process for completing our PSA.”

The students, ranging from 15-18 years of age, raved about Media Composer’s array of tools, which allowed them to “express creativity and deliver an impactful message to the audience as aspiring filmmakers.”

We asked the team behind the film “Speak Up” (awarded second place for the Mental Health Matters category) why they chose to learn how to edit and produce films. “After we took thevideo production course at Claremont High School, we immediately fell in love with the filmmaking process,” they explained. “Being able to watch our hard work…and to help others, is a feeling we can’t explain.”

This is music to our ears. “It’s this next generation of filmmakers that encouraged us to create more affordable, and free, platforms—like Media Composer First—to inspire teens to pursue a career in filmmaking,” shared Kate Ketcham, Avid’s Director of Product Management. “Taking a video editing course during these formative years help carve a clear path to becoming a cinematic storyteller.”

Sara Hills, an instructor at the Claremont High School Cinematic Program, agrees. “Avid, as a company, has been very supportive of our filmmaking efforts at the high school level. It is wonderful to be part of a community that is investing in the next generation of video storytellers and the tools that they use to tell their stories.”

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Sundance 2019 — Making the Movie Big Time Adolescence

At the 2019 Sundance Festival, Director Jason Orley and the editorial team for the movie “Big Time Adolescence” (Editor Waldo Cent, Post Supervisor Molle DeBartolo, and Photographer/Colorist Andrew Huebscher), about the story of a teen drawn to a group of degenerate young adults.

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Sundance 2019 — Joe Krings on Editing After the Wedding

Film editor Joe Krings talks about making the movie “After the Wedding”, with Michelle Williams and Julianne Moore, at the 2019 Sundance Festival, including compressing the schedule for Sundance, meeting unique technical challenges, choosing the right movies to do, and building the skills to create unique stories.

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Savannah Film Festival Celebrates Film and Benefits SCAD students

A film festival is always an exciting occasion. When you combine it with master classes, workshops and professional panel discussions, it’s cause for celebration. Every year Savannah College of Art and Design (SCAD)—a private, nonprofit, accredited university for creative careers—hosts the Savannah Film Festival, which is now in its 20th year. The festival has grown over the years, moving from a student showcase to include high-profile, international entries. The 2017 festival, held October 28 – November 4, featured competition film showings, special screenings and workshops, and honored cinematic luminaries such as Richard Gere, Holly Hunter and Aaron Sorkin.

In addition to recognizing the achievements of top creative talents and screening films from emerging student filmmakers and award-winning professionals, the Savannah Film Festival features important educational components that benefit both SCAD students and the general public.

Each year, Avid supports this lauded festival by bringing in video and audio professionals actively working in the industry to share industry insights, professional tips and career experiences with students and festivalgoers. SCAD is a valued member of the Avid Learning Partner (ALP) program, which enables students to receive additional training on Avid tools and earn official certification in addition to their degrees.

A unique opportunity

The festival is known as a breath of fresh air in the entertainment industry, both for its Savannah, Georgia location and its format. As Alex Newton, film and television professor at SCAD says, “this is an incredible opportunity to engage with mentors and creative artists who are working in the industry – those same artists who are making content that students engage with on a daily basis. They’re watching it and studying it in their free time and interacting with it on a professional level, so it’s very exciting for them and for us.”

Rough cuts to finals

Some 50 students were fortunate to learn from prolific editor (and sometime actor) Colby Parker Jr. His work on Friday Night Lights with director Peter Berg put the film world on notice, popularizing a documentary style of editing that increased the requirement of authenticity in film. More recently Parker teamed with Berg on the acclaimed feature Deepwater Horizon. Parker came to the campus studio armed with plenty of footage to discuss before and after scenes and the finer points of cutting a film in an editing master class.

Using Avid Media Composer, he got ‘deep into the dailies’ of both Ant-Man and Deepwater Horizon. “It’s intimidating to do huge sequences like you see in a film like Deepwater Horizon,” Colby says. “I was able to able to duplicate the story with four or five characters and show how it happens over time – how to build complete sequences for all stories.” In addition to thoroughly enjoying the process of sharing his knowledge and experience, he was surprised by the students’ level of sophistication and the enthusiasm of the school and the students. “I was really blown away by the festival,” he says. “You can see that everyone involved loves and cherishes film and nurtures the filmmaking process. I was happy to share what I know.”

Audio philes

On the audio side, mixer Jonathan Wales shared his wealth of talent and experience in a two-and-a-half hour master class that had him literally surrounded by students in a mixing theater as he demonstrated on a Pro Tools | S6 console with a Pro Tools | HDX system. Jonathan—who started out producing records in his native London before working as a film re-recording mixer and at world-class facilities including Universal Studios before finally creating his own company—loaded files from real-world projects to illustrate a range of mixing techniques. He too was amazed by the students’ savvy. “It was obvious to me that they were a very high-quality group of students with on-point, sensible and smart questions.”

Jonathan recognized the value of the hands-on experience for students. “Theory is one thing,” he says. “In practice it’s very different. The more students get exposed to real work, the better.” He also emphasized the practical nature of seeing artists at work. “It’s important to give them the opportunity to see working professionals as normal people. We tend to idolize anyone working in the job we want. This is a job—a difficult one—but you need to be careful how high you build the pedestal. Events like this make it more real and achievable.” Students took every opportunity to ask questions – everything from technical specifics to breaking into the business.

Engineered luck

In the classes and joint panel discussion, which was open to all festival attendees, both creative pros reinforced some common themes and offered practical advice to aspiring audio and video talent. “Don’t underestimate really knowing your stuff – especially the tools,” says Jonathan. In addition to working 100-hour weeks for almost nothing, Jonathan speaks to the importance of a little good fortune – something he calls ‘engineered luck.’ “You need to be at the right place at right time but you also need to have the right skill set and attitude – you need to be prepared to go for it. Once you’re in the door you need to ask questions until you’re annoying – soak it all up.”

The two also agree on how much times have changed. While the road to professional success is extraordinarily competitive, technology has made the learning curve easier. “Avid wasn’t around when I was in school,” offers Colby. “You had to study your film and compose your thoughts in a very linear way. With Avid, you can do it all within minutes – try everything and quickly compose.”

It’s all storytelling

The common thread through all aspects of the festival? Storytelling. No matter what side of the business you’re in, or you aspire to, it’s all about telling engaging stories. And for that it helps to understand all aspects of the process. As Jonathan advises, “immerse yourself and learn as much as possible about as much as possible. You need to have a good understanding of the whole process. You need to know what makes things successful and cool – how a movie fundamentally gets made. You’re a cog in the wheel but you need to know what the machine is for.”


Tips and preparations

This is a sentiment echoed by SCAD’s Mitchell Gettleman, Department Chair, Sound Design. “Filmmaking is about collaboration,” he explains. “All of these accomplished professionals talk about collaboration and we model our teaching on what we learn from them and what our own professional experience teaches us. Mentoring students and fostering these industry relationships are extremely important to the students’ success.” Perhaps SCAD’s Alex Newton puts it into perspective best. “It’s our job to push them beyond – beyond the software and the workflows to what will prepare them for the positions they want once they’re done.” What better venue than one of the country’s most distinguished film festivals to see it all in action.

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Editors Discuss their “Game-Changing” Films at EditFest LA 2017

Excited to support the professional editing community again this year, Avid returned to The Walt Disney Studios for the American Cinema Editors’ EditFest LA event. The sold-out, day-long gathering provided editors, assistants, students and film enthusiasts with the opportunity to hear from many of the industry’s leading editors as they shared their experience, advice, and creative process.

Avid’s Principal Applications Specialist, Michael Krulik, returned to the stage to moderate a panel on Breaking Boundaries – a panel of editors who worked on films that changed the industry. Michael sat down with editors from Zoot Suit, This is Spinal Tap, Blade and Avatar as they shared their insight, anecdotes, and favorite clips from the films.

Jackie Cambas, ACE

Jackie Cambas, ACE is known for her work on Mermaids, Frankie & Johnny, and Made in America. During the panel, Jackie shared her experience on Zoot Suit where she brought to life the vision of Director Luis Valdez, acknowledged as the founder of modern Chicano theatre and film.

Robert Leighton

Robert Leighton is best know for his work with Director Rob Reiner on films such as When Harry Met Sally, A Few Good Men, Misery and The Bucket List. Robert also edited This is Spinal Tap, which was one of the first mocumentary films. Without a real script, only story beats that the actors had to incorporate into their ad-libbed dialogue, Robert discussed the challenges of cutting when no two takes were the same.

Paul Rubell, ACE

Paul Rubell, ACE has made a name for himself in the action world, working for Directors such as Michael Bay, Peter Berg, and Michael Mann on films such as Transformers 1, 2 and 4, Hancock, Collateral, and The Fate of the Furious. Paul discussed his work on Blade, noted as the first successful modern Marvel movie. The fight scenes in that film, specifically, made it the talk of the town for nearly a year…until The Matrix.

Stephen Rivkin, ACE

With a career spanning nearly four decades, Stephen Rivkin, ACE has edited films such as My Cousin Vinny, Ali, and Pirates of the Caribbean 1, 2 and 3. During the panel, Steven provided insight on his workflow from Avatar, noted for advancing the use of photo-realistic CGI, motion capture, and 3D technology in film. The movie also remains the most financially successful film of all time.

Following the lively panel, Michael Krulik awarded a few lucky members of the audience with Avid prizes and had the pleasure of showcasing Media Composer’s latest features during the lunch session.


Photos by Peter Zakhary / Tilt Photo

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Avid Supports Independent Filmmakers and Diversity at Sundance Film Festival

Record snowfall didn’t dampen the energy, enthusiasm or crowds at this year’s Sundance Film Festival. Once again, Avid was in Utah to support our many university customers whose student and alumni films were showcased at the nation’s largest and most prestigious independent film festival.

“Premier West coast film schools like USC, UCLA and Chapman are true partners of Avid,” says Don Rohrer, territory account manager at Avid. “They not only teach Avid hardware and software, but also help us further our reach with future storytellers.”

Alumni from the University of Southern California’s Cinema School had some 40 projects at Sundance—from high-profile feature films to student and VR projects. Avid has a long tradition of supporting USC’s presence at Sundance and this year was no exception. We sponsored USC’s Filmmaker’s Brunch, a casual, intimate gathering for filmmakers at Sundance, and its cocktail party for alumni, students and faculty members with projects at the festival. We also donated Media Composer and Pro Tools software for prize drawings at the events.

“USC has had a presence at Sundance for the past 17 years,” says Justin Wilson, senior director of alumni relations at USC. “The cocktail party gets bigger every year, which is in no small part due to Avid. Avid has supported USC at Sundance for over a decade and has been a great partner.”

In addition to the USC events, we were also proud to support the University of California, Los Angeles’s School of Theater, Film and Television’s alumni reception, Chapman University’s festival event, and Scottsdale Community College’s screenings and Q&A.

Avid also supported film-centric crowd-funding platform Seed&Spark’s #100DaysOfDiversity, an initiative launched at Sundance, designed to make the entertainment industry more inclusive in 100 days. Seed&Spark is curating crowd-funded projects and streaming films that actively increase representation and diversity, and inviting industry leaders and filmmakers to join them. Attendees at the launch event filled out cards to define how they plan to act on their commitment to diversity in the next 100 days.

“The mission of #100DaysOfDiversity is to increase diversity in the entertainment industry, both in front of and behind the camera,” explains Emily Best, Founder & CEO, Seed&Spark. “We’re lucky to have partners like Avid and it’s cool for filmmakers to find out that companies that make the technology tools they use actually care about diversity and are supporting filmmakers.”

A great example of a filmmaker who’s actively contributing to diversity both behind and in front of the camera is Barri Chase. Barri’s film The Watchman’s Canoe tells the story of a fair-skinned Native American girl who struggles to fit in with her peers on the reservation and embarks on a spiritual journey with the help of a tribal Watchman. Loosely based on Barri’s experience growing up on a reservation in the 1960s, the film explores cultural and social challenges that are just as timely now as they were then.

Barri cut the film at Under The Knife Post Production in Scottsdale, Arizona using Media Composer. With multiple tracks in the timeline and the need to collaborate with different facilities, Barri says she never considered using anything else.

“I’ve talked to other directors who have tried other tools and had a lot of issues, and as an indie film, we just can’t afford that—we have to be up and running all the time,” she says. “The people doing the sound and color all needed to access the film as well, and Media Composer is the only platform that lets you collaborate. With Media Composer, everything was simple and streamlined. We never had any issues with the output. It was easy to find media and get everything lined up. And it’s very user friendly, which for the indie world means that other platform users can step right into it.”

Brian Hathaway, owner and post-production supervisor at Under The Knife Post Production and adjunct professor at Scottsdale Community College, got involved in the film after its original editor landed a job with a major studio and recommended Brain to Barri. Brian echoes Barri’s thoughts when he reveals why he used Media Composer.

“When you have multiple editors working on one project, Media Composer is far superior to any other software,” he says. “We had four people working on the project in my office simultaneously, and we were able to share media back and forth with each other, and with the assistant editor in California. Being able to work so seamlessly in two different states is a huge thing.”

Brian also highlights Media Composer’s benefits for independent films: “The trimming mode is far superior—if you’re doing something long form where you have more than an hour in the timeline and 50 tracks, it’s far easier in Media Composer to maintain sync, and that intricate frame-by-frame editing is a lot easier. For an independent, lower-budget film, it’s a much better system. It has all the functionality you need of an editing system. I teach it at school and I love it. It’s by far the best software there is out there.”

While The Watchman’s Canoe wasn’t part of the official Sundance program, the film garnered lots of buzz and momentum with its premier—in true indie fashion—at a private screening in Park City. Riding the high, Barri is now in pre-production on her next project, supernatural-psychological thriller Coyote Howls.

“Sundance was a great opportunity to connect with our indie filmmaker user community and it was heartening to hear so many of them tell us how much they love Avid,” says Greg Lawler, Avid’s director of sales, West. “It was my first Sundance experience and we got first-class treatment. We’ll definitely be back next year.”

To find out how Avid’s creative tools can take your project to the next level, visit the Avid website.

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Avid Supports Education and Technology at SMPTE 2016

Avid underscored two of its most important commitments – its commitment to education, and its commitment to emerging technologies – through a robust sponsorship of this year’s SMPTE (Society of Motion Picture & Television Engineers) Conference & Exhibition in Hollywood, CA. In addition to sponsoring the conference’s celebrated gala, Avid provided demos, teaching events and support for the popular SMPTE-HPA Student Film Festival, as well.

SMPTE, which celebrated its 100 year anniversary this year, and boasts over 7000 global members, has the lead the way in entertainment technology since its founding, developing thousands of standards, best practices, and engineering guidelines across the media, technology and entertainment industries. SMPTE also sponsors Student Chapters at colleges and universities all over the world, focusing on institutions that offer courses in technical areas of film, video and television.

“We hold our partnership with SMPTE in the highest regard,” says Andy Cook, who leads Avid’s Global Education Strategy. “They are literally setting industry standards and we have a shared vision to educate the next generation of artists, engineers and content producers.  Together, we strive to provide a platform for fostering future innovations.” Nowhere was this commitment more apparent than in Avid’s support of SMPTE’s Student Film Festival, where this year’s entries doubled last year’s, and garnered more participation, internationally, than ever before.

Avid’s Head of Global Education Strategy Andy Cook and SMPTE-HPA Film Festival Audience Choice Award Winner Anna Dining

“We were truly impressed with the level of work that we saw,” added Cook. “These students exceeded our expectations in both their technical expertise and creative abilities.” One such student was Anna Dining, who won an Audience Choice Award for her Virtual Reality piece.

Dining is a senior at the Rochester Institute of Technology, majoring in Motion Picture Sciences. The program, which only accepts about 15 applicants a year, is a science- and engineering – based education geared towards the motion picture industry. Dining’s entry, “At the Game: An RIT Hockey Experience”, received the film festival’s Audience Choice Award.

The short, which included VR 360-degree content, married Dining’s love of art and science. “What intrigues me about virtual reality is the degree to which I can be both creative and technical. VR has technically been around for over 60 years, but it’s only really emerging now in the entertainment industry, and the technology is constantly evolving.” Dining says. “It also has the power to give people an entirely new perspective – to let an audience experience something they’ve never experienced before – with VR, I’m able to push creative boundaries through a medium that I love.”

Providing the cutting-edge tools for talent like Dining to push those boundaries is part of Avid’s commitment to the future of the industry, and one that Dining, who regularly produces and edits local sports and commercial content, hopes to benefit from. “We are taught Avid programs in our advanced editing and sound curriculum, and I know that this will only help me when I graduate next year.” Dining continues, “Avid is the standard. When I was awarded a copy of Media Composer at SMPTE, I was ecstatic. I plan to build my own desktop computer around it – if you’re trying to break into the industry, and you say you work in Avid, it just brings you a step above other film students.”

SMPTE Director of Engineering and Standards Howard Lukk with SMPTE-HPA Film Festival Finalist Jon Navarro

Jon Navarro, a film and TV production major at Long Island University Brooklyn, and member of his school’s SMPTE student chapter, agrees. “I absolutely have to learn Avid,” echoed Navarro, whose short film, Söledad, earned an official selection in SMPTE’s student film festival. “There are a lot of options out there, but Avid is still the primary player in the industry.” Navarro goes on to say, “I think every school should be teaching Avid; knowing it will only make me a more desirable candidate when I graduate.”

Giving these students an edge when they enter the real world is a big part of Avid’s dedication to educating future professionals. “It’s our responsibility to bring Avid’s technology and expertise into these organizations,” says Cook. “Providing support through sponsorships like SMPTE, offering official certification and training on our products, and developing strong relationships with students early on helps us create the next wave of talent in our industry.”


Photos by Ryan Miller/Capture Imaging

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Editors Discuss “Cult Film Favorites” at EditFest LA 2016

On Saturday, August 6, Avid participated in the American Cinema Editors’ 2016 EditFest L.A. event at The Walt Disney Studios. The panel discussion, moderated by Michael Krulik, principal applications specialist at Avid, centered on Cult Film Favorites.

Avid supports the professional editing community by sponsoring events like EditFest L.A., where attendees had the chance to hear from the editors behind cult classics like The Terminator, Showgirls, Death Race 2000, Heathers and Beetlejuice. The editors discussed their editing workflows, gave fascinating insight into their creative process, and shared fascinating stories about working on the celebrated films.

Mark Goldblatt, ACE, Norm Hollyn, Tina Hirsch, ACE, Mark Helfrich, ACE, Jane Kurson, ACE and Avid's Michael Krulik

Editor Mark Goldblatt’s, ACE, credits include acclaimed films like Terminator 2: Judgment Day, True Lies, Rise of the Planet of the Apes, X-Men: The Last Stand and many more. During the panel discussion, Mark talked about his work on The Terminator, the 1984 sci-fi film about a cyborg assassin who travels from 2029 to 1984 to kill Sarah Connor.

Mark Helfrich, ACE, has edited more than 30 films throughout his career, including Predator, Rush Hour, After the Sunset, and many more. During the panel, Mark discussed his work on Showgirls, the 1995 film about a “street-smart” drifter who climbs the seedy hierarchy to become the top of the Vegas showgirls.

With a career spanning more than five decades, Tina Hirsch, ACE, is known for her work on Gremlins, Dante’s Peak, and Twilight Zone: The Movie. Tina provided insight about her workflow on Death Race 2000, the 1975 cult political satire action film.

Editor Norm Hollyn is known for his work on Heathers, It’s Pat, and Wild Palms. During the panel, Norm talked about his work on Heathers, the 1988 dark comedy film about four teenagers in a fictional Ohio high school.

Editor Jane Kurson’s, ACE, credits include Monster, The Karate Kid, Part II, Hot Shots!, and more. During the panel, Jane discussed her work on Beetlejuice, Tim Burton’s classic 1988 film about  “a freelance “bio-exorcist”.

Michael Krulik, principal applications specialist at Avid, shows off the new and upcoming features in Media Composer at EditFest LA 2016

Photos: Peter Zakhary / Tilt Photo  |  TiltPhoto.com  |  Facebook.com/TiltPhoto

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Poetry in Motion: Avid-Powered Post at Warrior Poets

To succeed in today’s world of film production, you need to be dynamic, versatile, and willing to take some major risks. No one understands this concept better than the team at Warrior Poets—a New York-based production company founded by Jeremy Chilnick and documentary filmmaker Morgan Spurlock.

One of the true pioneers working in media today, Spurlock made a name for himself through hard work, innovative thinking, and taking risks. Early in his career, Spurlock had to make a choice: use the $50k he had saved up to pay off his mounting debts—or make a movie. Thankfully he chose the latter, and Super Size Me was a huge commercial and critical success.

“I tell people all the time that when it comes to risk, you need to take as much risk as possible. If you’re going to take risk, you need to have persistence of vision. If you are brave enough to stay the course, you can change anything.”

—Morgan Spurlock

Warrior Poets operates with the same mentality—and their full steam ahead approach to filmmaking can be both inspiring and logistically terrifying. For example, the amount of projects and content Warrior Poets produces is staggering. At any given time, they’re working on documentaries, TV series, web videos, and more—all in house, all at the same time. To keep up with demand, the company has dozens of editors working from 26 edit bays on tons of different projects simultaneously. That’s enough to make anyone’s head spin!

“We never just have one project going. The minute we are going into post on one project, we’re usually in pre production on the next film. We’re constantly layering projects that way.”

—Morgan Spurlock

In order to keep production running smoothly, Warrior Poets relies on advanced media production tools that are intuitive, easy-to-use, and flexible enough to quickly adapt to changes on the fly. They also need media management solutions that simplify and streamline their workflow, and facilitate seamless collaboration.

In our exclusive new video, you’ll discover how Avid shared storage and the Avid Artist | DNxIO video interface provide Warrior Poets with the cutting-edge workflows they need to produce the high-quality and engaging content that audiences demand. Production teams can access and share media instantly, work with media in any resolution, and turn around demanding projects fast. And thanks to the openness of Avid Everywhere, the solutions work seamlessly with the company’s existing workflows.

“The best thing about the Avid workflow and DNxIO is that we work on a ton of different things simultaneously,” says Jeremy Chilnick, COD and Head of Production at Warrior Poets. “We have films, TV projects, and four different digital series with 90 episodes between them. And they’re all moving back and forth between different edit stations with different editors working on them. Having a reliable software hardware combination that works every time is everything to us.”

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Inspirational Avid Editors Share Wealth of Experience at EditFest London 2016

At this year’s annual ACE EditFest London, Avid is once again sponsoring another sold-out event, where attendees will be treated to a day of sessions and talks from an incredible line-up of editing talent.

At the prestigious BFI Southbank in London, there will be a series of must-see panel discussions with some of the most talented editors in the industry. Attendees will hear award-winning moviemakers discuss their craft, including workflows, creative processes, upcoming projects and more—in an intimate theatre setting.

The day will kick off with ‘Small Screen, Big Picture’- a session looking at editing for television, moderated by Antony Boys, ACE. He’ll be joined by Gary Dollner, ACE, Mark Eckersley, Úna Ní Dhonghaile, and Tim Porter, ACE to discuss the decision-making processes behind some of the most popular shows on television, including Game of Thrones, The Missing and Dr. Who.

Next up, ‘Editing Animation’, a session moderated by industry journalist, Carolyn Giardina, will see legendary editors from the Pixar team, Axel Geddes and Sarah Reimers, provide an exclusive inside look at the iconic studio’s animation process and a sneak-peek at their latest offerings, Finding Dory, and its accompanying short film Piper. Over the course of their careers, Geddes and Reimers have edited huge animation hits like WALL·E, Finding Nemo and Monsters, Inc., and are an integral part of the celebrated Pixar team led by John Lasseter.

‘Dailies to Delivery – Editing Features’ will give an in-depth look at the entire spectrum of film editing. Moderated by Academy Award-winning film editor Alan Heim, ACE, panellists Pia Di Ciaula, Sim Evan Jones, ACE, Paul Machliss, ACE, Nathan Nugent and John Wilson, ACE will share their editing stories, tips and tricks for using Avid Media Composer to craft cutting-edge cinematic masterpieces like A Quiet Passion, Scott Pilgrim vs the World, Room and Billy Elliot.

Finally, there will be a ‘One on One Panel’ with renowned Star Wars and Mission: Impossible editor Paul Hirsch, ACE, sharing his editing knowledge and expertise from working on much-loved blockbuster movies, including Footloose, Carrie and Ferris Bueller’s Day Off. When discussing why he uses the industry-leading choice for editors, Avid Media Composer, Hirsch explains, “It’s phenomenal that you can now sit in front of a laptop with Media Composer and have more expressive creative power than you could ever dream of whilst sitting in a tape suite 20 years ago.”

At this year’s event, we’ll be giving away 2 free copies of Media Composer ($1,299 value), so if you’re heading down, remember to stop by the Avid booth to learn more!

Peter Zakhary / Tilt Photo (www.tiltphoto.com)

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