Lauren Johnstone Wins the University of Salford Student BAFTAR Award for Best Editing

The School of Arts and Media at the University of Salford has been celebrating student success for many years with the BAFTARS (BA Film and Television Awards). This year Avid is very pleased to support the award for best editing. Lauren Johnstone, a student from the course BA Television and Radio, is the proud award winner and tells us how she used Media Composer to edit her project.

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Ryan Jenkins, Student at the University of Portsmouth, Wins the Award for Best Post-Production Project

The School of Creative Technologies at the University of Portsmouth has been celebrating student success for many years with the CT Graduate Awards. This year Avid is very pleased to support the Award for Best Post-Production Project. Ryan Jenkins, a student from the course BSc (Hons) Television and Broadcasting, is the proud award winner, and his course leader, Charlie Watts, is delighted for his success. Charlie adds, “Ryan was adamant that he wanted to complete a final year project in post, so he carefully looked at how we operate our weekly live program output and then proposed a workflow that would support a clear way to archive VT’s for future use. I’m very pleased to say that the project has been a great success, and he also managed to do his fair share of editing great projects this year.”

Ryan Jenkins

University of Portsmouth

Ryan picks up the story — “Three years ago I was introduced to Avid Media Composer, and I knew my passions lay within editing. I started my university experience not knowing much about editing at all; I just saw it as a way in which to solve a puzzle. Fast forward to today, and I can honestly say that through the use of Avid Media Composer and the excellent guidance from lectures and support staff within the University of Portsmouth, these puzzles are easier to be solved.”

“Whilst studying Television and Broadcasting at the University of Portsmouth, I knew what I wanted to do at the end, and I found different video formats, encoding and the whole complexity of post fascinating. I’d also like to mention and thank the encouragement I received for pursuing such a specialist area from Charlie Watts and Stephen Bellinger, who gave me the confidence to really get stuck in!

“The pressure of a TV industry environment is hard to reflect within a teaching environment. However, I feel the terror and dread felt within the quick turnaround for the live shows we produce was felt by all at some stage or another. This forced me to learn how to edit faster, more accurately, and to really think about what the audience would want to see and hear. Avid is an amazing tool, and although it is a little unforgiving if you do not quick know what you are doing at times, that aspect of it only forces you to learn and get better.”

“I learned how to utilize networked shared storage with Avid, and slowly but surely, I gathered enough experience to be able to build an archive workflow that others could use and understand.”

“After the course had finished, I felt myself still wanting more, and I have recently revised for, and passed, the Avid Media Composer Certified User Exam. Passing this exam and having priceless experiences from my course, meeting and being taught by some truly generous people, has been a perfect way to round off a wonderful and exciting course.”

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Claremont High School Used Avid Media Composer to Emphasize Dangers of Drinking and Driving

We had less than a day to turn it around. But with an 18-student production team, Avid Media Composer and a whole lot of preparation, collaboration and heart, we pulled off an incredibly moving film documenting the consequences of drinking and driving as a part of Claremont High School’s “Every Fifteen Minutes Program.” It’s funded by the California Highway Patrol and the California Office of Traffic Safety, with additional support from the Claremont Police Department.

Ryan Bush filming Davion Smith

This is my second year as the video production teacher at CHS, and I was asked to oversee the making of the EFM video. It was described to me as something of a myth or legend. To begin with, the project was completely top secret. We were not able to find out what students are involved in the staged car accident until the day of. Claremont PD closed down Indian Hill Blvd., flipped two cars and staged a mock accident to which local authorities responded in front of the entire junior and senior class while my video production students filmmed everything. Then they worked though the night editing, and as the morning sun rose, they emerged from the depths of the editing bay (or, in my case, Room 103), chests high, eyes bloodshot and coffee in hand, with a completed film to be screened at an assembly with their peers.

Isabella Cisneros and Eileen McNair editing

All I heard was, “Lions and tigers and bears, oh my!” Or, more appropriately: police cars, fire trucks, a helicopter, multiple cameras (GoPros, Canon DSLRs, Sony PXW-X70s), multiple frame rates (60fps, 30fps, 24fps), Avid Media Composer, varying ages of iMacs and teenagers, less than 24 hours, oh my! Are you completely insane? Well, maybe just a little.

Mahmoud Maarouf Editing_Cory Smith and Andrew Brands on Screen

Now, I’ll admit I was a bit nervous for such a large undertaking, but I was not afraid because of the wonderful team assembled. First, we had the complete support of students, staff and local authorities. Second, we had an amazing student director, Ira Clark, who shepherded the vision alongside some very talented and dedicated student filmmakers. Last, but certainly not least, we had Varun Viswanath (whom I still owe dinner), my phone-an-editor. He helped me problem solve and advised how to set up the projects in Avid Media Composer as well as transcode and export in a lab setting that is not exactly ideal—but what one is? We eventually consolidated to one iMac and had a hard drive attached to every port. It’s a wonder the computer didn’t explode.

CHS Advanced Video Production Class

What I loved most about this project was the complete collaboration using the tools of the industry and the real-world experience the students gained. We hammered out the story as a class prior to EFM so that everybody was on the same page and understood his or her part in the process. We created production teams for the day of so there was no confusion. I told them that when they held the camera in their hands, well, they had superpowers. Then each team went out and filmed their part and edited together their sequence. There were healthy creative conversations taking place absent of ego. They were so much in sync that they would take turns editing. I even remember Ira taking a nap around 3 a.m., and when he woke up, Johnny, Christian and Hunter had come up with the opening sequence, to which he responded, “Cool.”  Cool indeed to see these kids put their hearts into something.

The reward was screening the film only a few hours after completion with more than 1200 students, staff, parents, and community members. I used to think the prize was experiencing the audience’s reaction to something I had created, but I’ve learned that feeling doesn’t even compare to experiencing something that your students have created. The Wolfpack ROCKS!

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The Story of Nicola Matiwone—From Student to Award-Winning Editor

Graduation day was a very exciting and special day for me. After a year of long days and nights spent in the edit suit, to finally graduate with a distinction on my MA in Post Production Editing was the most rewarding thing I’ve done in my whole academic life. To top it off, getting the Avid Award in addition was just the additional icing on the cake.

When considering to sign up for the course I was very sceptical on whether I really needed to learn anything on editing, I mean how hard could it be? So I thought. But I am grateful to have made the choice to take on the course because one of the main things that I’ve come to learn is an in depth understanding of what editing really is, and the various approaches to the craft. During my year at university I had hands on experience on the various editing approaches and I became aware of its 3 main attributes, which are the collaborative, narrative and technical nature of the craft.

Significantly the way the course was structured did address these 3 areas, we had a theory-based module where we learnt narrative constructions.   We also had another module that concentrated on technical skills, as well as weekly lessons on Media Composer. Finally, we edited films collaboratively with directors and producers.

One might argue that the software you use is not that significant to editing, however, I’ve come to realize that the more you learn your chosen software, the more efficient you become when editing, saving yourself and your director valuable time during those precious moments you are working together in the edit suite.

Nevertheless, knowing the software inside out is not enough to produce a good edit. Without a clear narrative suitable to form, it is like knowing how to drive a car but without a destination. A good plan is essential, preferably on paper to give you a sense of how your narrative will shape up before you’ve began editing. Below is an example of a scene breakdown I used for my master’s project (“Becoming Us”) before I began editing. I was able to visually see what would happen to the mood, tone and emotion of a scene if I removed certain dialogue or what would happen to the overall dynamics of the film if I moved certain scenes around.

Another thing that I learnt about the narrative is that it needs to have a clear structure, a beginning, middle and an end, but not necessarily in that order. The very first drama I edited on this course had a problematic plot. When the film got to the editing stage we realized that the edit according to the script just wasn’t working. However, after going back to the drawing board and shuffling some scenes around, in the end the solution was to get rid of the original beginning and start the film with the ending instead. I discussed this idea with the director who gave me the go ahead to give it a shot and it worked.

This film’s success was as a result of good collaboration. It’s very important that whilst you are driving the narrative forward that it fits in with the director’s vision. No matter how great your idea is, it’s always best to discuss it with your director. Likewise, a good director listens. In this example, the final film may not have been what the director originally intended, however we worked together to make the film as best as it could be.

Timeline of 'Becoming Us'

Upon reflection, my year at university was field with various activities that all contributed to my learning. For me learning was not just done in the university, but also equally as important, other events outside of the university. For example, I attended a Craft in Spotlight: Editing workshop at BAFTA, the day before the BAFTAs, which was an insightful workshop paneled by BAFTA editing nominees including the winner, Tom Cross. I found everything that was said by the panel very useful and even went on to quote some of it in my essays.

Furthermore, from this event I had the opportunity to network with other industry professionals. Networking is regarded as highly important in the film industry, and at this event I happened to spark a conversation with a gentle man who ended up being director Michael Davies; winner of a BAFTA himself and director of a popular children’s series Tracy Beaker returns. This was a great opportunity as I was able to interview him later as part of my research for my studies.

Mick Audsley and Nicola Matiwone

In the same year I also won the Avid Internship prize. The criteria for winning this were based on my editing portfolio, grades and a 100-word pitch that I had to give. The Internship was jam packed with workshops; one in particular was with an Oscar winning editor Mick Audsley, and other various industry professionals. Included in the internship were tours around major post production houses in London to get an insight of how post production houses operate.

I’ve also been to the Sheffield Doc/Fest as a delegate guest; a festival that is all about documentaries. Finally, I attended BVE expo in London Excel where again there were speeches and master classes from industry professionals.

Timeline of 'Let's Run'

Finally, I had the opportunity to apply everything that I had learnt over the year on my final master’s project. This was the most challenging project I worked on during this course for a number of reasons; the dialogue and the acting weren’t very good, (also to the director’s admittance). I was working on a 22 page script which roughly equates to 22 minutes screen time, however by the time I made the final cut, the film was about 13 minutes long due to having cut out a lot of bad moments, whilst preserving the original idea intended by the director. Because the film was shot with single camera setups, it made editing a lot more difficult as I had to avoid jump cuts without the availability of multiple angles to work with on most takes.

To then go on and win the Avid Award was phenomenal; I was ecstatic. This award was given on the basis of having the “best editing on a Masters project”. The hard work had paid off. I do hope that this is the beginning of many more awards to come and my dream is to go on and win other awards such as the BAFTAs and OSCARs. I have since gone on to win the ‘Be Inspired’ student short film competition with a different film, and I am due to start editing a documentary about education in Comoros in the spring.

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Avid Proudly Supports the Next Generation of Creative Talent at the NFTS 2016 Graduation Show

The UK’s prestigious National Film and Television School (NFTS) attracts the best students, tutors and filmmakers from across the globe. Its graduates have won, and been nominated for, a vast number of Oscars®, BAFTAs® and Emmys®.

For the second consecutive year, Avid is proud to have been part of their Graduate Show, where students are awarded industry prizes for their outstanding work.

Ben Nemes, pro audio sales manager for EMEA North at Avid with Thomas Jenkins, winner of the Award for Excellence in Sound Design.

Presented by Ben Nemes, pro audio sales manager for EMEA North at Avid, the Award for Excellence in Sound Design, sponsored by Avid, went to Thomas Jenkins for his graduation fiction, ‘Those Who Are Lost’.

Chris Pow, acting head of sound design at NFTS, said of Thomas’ work: “Thomas has consistently proved himself an imaginative and skilled sound designer. He produced a really strong piece of sound design for his Grad fiction film ‘Those Who Are Lost’. The film has a bold and complex narrative, and required a soundtrack that was confident in its tone and precise in its storytelling.”

He continued: “Thomas has developed his skills over the entire period of the two year MA. He followed his own creative instincts and is starting to develop his own distinctive voice.”

Thomas said of his achievement: “The beauty of working on film is the creative reward of collaboration. The team behind ‘Those Who Are Lost’ worked tirelessly day and night and we’re delighted to win this award.”

Ben Nemes, pro audio sales manager for EMEA North at Avid, with Meredith Mantik, winner of the Award for Excellence in Editing.

The Award for Excellence in Editing sponsored by Avid was awarded to Meredith Mantik for her work on her graduation film, ‘Sweet Maddie Stone’.

Robin Sales, acting Head of Editing at NFTS, said: “Meredith has proved herself to be an accomplished editor during her time at the NFTS. She brings a sensitivity and creative flair to her projects. Her intelligence, hard work and imagination shows in the excellent work she has produced this year.”

Meredith said of her achievement: “Thank you so much for you honouring me with this award. It was so profoundly moving to receive it, especially after nearly of year of sitting in dark rooms trying to figure out how to make ‘Sweet Maddie Stone’ work. I can’t tell you what a pleasure it is to know that all of the hard work in our little Maddie vacuum was worth it. This award makes me feel even prouder of our little film, but also proud of myself. I came to the NFTS a shy little wannabe editor, and now, graduating with this award, I feel confident that NFTS has given me everything I need to transition into the industry.”

As part of its ongoing commitment to nurturing the next generation of creative talent, Avid has also provided both graduating classes of the ‘Sound Design for Film & TV’ and ‘Editing’ MA courses copies of Pro Tools and Media Composer, respectively, with one-year support.

For more information on how to get started with music creation and sound design, download a free copy of Pro Tools | First.

And to start off right using many of the same tools used by top filmmakers, directors, and editors—absolutely free, register for Media Composer | First.

Avid Announces Winner of ‘Be Inspired’ Student Short Film Competition

Avid is pleased to announce the winner of its student short film competition, ‘Be Inspired’. Nicola Matiwone from Bournemouth University in UK won with her film Rita: My Inspiration.

In line with its on-going commitment to media education for young filmmakers, Avid launched the student competition earlier this year, encouraging young people throughout EMEA to produce a two minute short film using Avid Media Composer. The theme encouraged the entrants to tell the story of what truly inspires them.

1. Rita: My Inspiration, Nicola Matiwone (UK)

Nicola’s winning film follows an elderly lady named Rita, who is the film-maker’s friend and a lover of Mozart. Despite Rita’s poor short-term memory and chronic pain, Nicola notes how Rita is always smiling, upbeat and positive and thus acts creatively as Nicola’s motivation through her own search for inspiration. The judges remarked that Rita had a good documentary style with an interesting topic, and the result was a very moving story.

2. A Burning Passion, Kathrin Unger (Germany)

In second place with A Burning Passion, Kathrin Unger from Germany, studying at the European Film College in Denmark, based her film inspiration on the physical heat of passion by reconstructing and recounting events of a pyromaniac. The judges noted that the film had a good concept and an interesting style.

3. Be Inspired, Ruben Fernandez Martinez (Spain)

In third place, Ruben Fernandez Martinez from Spain, enrolled at the CICE School in Madrid, produced a short film, highlighting the realms of inspiration following the perspective of a young boy’s imagination as he travels across the world in a cardboard spaceship. The judges said that the film had a good flow, and was a nice interpretation of the theme.

The entries were judged by some of Europe’s leading professional editors including Anne-Sophie Bion (The Artist and Micmacs), BAFTA-winning Mick Audsley (Everest, Harry Potter and the Goblet of Fire, Captain Corelli’s Mandolin), Toni Froschhammer (Pina) and Paddy Bird (Home for the Holidays, The Secret Millionaire).

“It was a very hard job to judge these films, but we were pleased to see the imagination and technical abilities of the students shining through their work.”

—Anne-Sophie Bion

All three winning students will enjoy a range of prizes including a mentoring day with a well-known editor in London, a year-long subscription to Inside the Edit courses, and Media Composer and Pro Tools software.

“It was fascinating to see how all the students approached the topic in such different ways, and very encouraging to see the level of professionalism in many of the entries,” said Tom Cordiner, VP International Business at Avid. “We congratulate the three winners and look forward to following their careers as they further hone their skills in the post-production sector.”

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Beyond The Beatles: How Abbey Road Institute is Training Tomorrow’s Sound Engineers

The Abbey Road Institute is founded on the 80-year heritage of the London recording studio where The Beatles, among many others, made classic albums. The Institute began opening its colleges in September 2015, first in London, then Berlin, Frankfurt, Paris and Melbourne, with two more planned for early 2016 in Sydney and Munich. Each of the five current international locations, including Abbey Road Studios itself, has installed a Pro Tools | S6. We had a chat with Silvan Jongerius, chief technology officer at the Abbey Road Institute, to find out more about the Abbey Road Institute’s ethos of ‘hands-on’ training, and why the S6 is a key piece of equipment.


“We’ve been busy here in Berlin unpacking boxes and installing equipment in the city’s new Abbey Road Institute. It’s one of five Institutes that opened during September and October this year under the historic Abbey Road name. There are facilities in Paris, Frankfurt, Melbourne and London, with two more planned for Munich and Sydney early next year.

The UK Institute is based within the original recording studios on Abbey Road where some of the biggest names in music over the last 84 years have recorded, from Paul Robeson and Edward Elgar, through Cliff Richard and the Shadows and Elton John, to Blur and Florence and the Machine. Not forgetting The Beatles, of course. This long and illustrious musical history is closely tied to the high degree of technical innovation and excellence in sound engineering that the studios are renowned for. Early stereo recordings were made there while George Martin, Pink Floyd and Radiohead pushed the creative and technological boundaries of music recording.”

“Abbey Road has nurtured producers and engineers who went on to make some of the biggest selling and most critically acclaimed recordings of all time. The Institutes have been created to build on that heritage and offer what we see as a need for proper hands-on education in music production and audio engineering. Our focus is very much on the practical side rather than the academic. We want our students to have the best possible training by getting actual experience of recording and production, and this means providing them with the most widely used equipment. Avid Pro Tools is one of the main digital audio workstations that we use; we do offer other systems because it is a choice that is down to the creativity of the student, but Pro Tools is a key tool that students need to know to succeed in the music production business. It is well established in music production and Avid is continually adding new functionality.

This makes for fuller digital workflows, which can now be based on the Pro Tools | S6 console. Although it is quite new it does reflect the practices and systems being used in the industry today. The ICON D-Command and D-Control are still used widely and having Avid controllers is important for our students, but we wouldn’t invest in anything old right now.”

“We’re using the experience from Abbey Road Studios to offer the best possible training—to do that we’re offering the most widely used equipment.”

—Silvan Jongerius, Chief Technology Officer at the Abbey Road Institute

“What the S6 offers is both creative and technical. It adds control of software and accessibility to many features, and the ease of use allows it to work with Pro Tools and similar processes. This helps create different workflows that the students may work with in the future. In the classrooms they have their own computers based on 27” iMacs that can be connected to Pro Tools but are also interoperable with different workstations.

The students will also be going into the studio and working with the S6 for recording. Compatibility is a big thing, and in the back of our minds when we were designing the systems at our Institutes was the thought that the students would be using a variety of DAWs such as Logic, Live, as well as Pro Tools, to record and edit. Avid has opened up its systems and workflows and that enables our students to use high-end controllers like the S6 with workstations that have less processing power.”

“The mixing desk is a major part of the recording studio and the whole music production process. It still has a role to play, particularly for recording situations and where a classical, analogue approach is required. As well as bringing in all the sources for the mix it provides control of DAWs like Pro Tools. Because of that, the S6—and the other desks we offer—will play a crucial part in training the music producers and sound engineers of the future.”

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10,000 Hours of Practice—is it Enough?

Want to master your craft? It’s easy. Just put in 10,000 hours of practice and — BAM — you’ll be a master editor, mixer, or composer.

Well, maybe … let’s look into this theory a little deeper and see how it relates to mastering the art of editing, composing and mixing at a professional level.

Malcom Gladwell first introduced the 10,000 hour rule in his 2008 book “Outliers”, and the idea has caught on like wildfire. Simply put, it states that it takes approximately 10,000 hours of “deliberate practice” to achieve mastery in any field.

The mantra of 10,000 hours shows up in everything from TED talks, success seminars, and blogs and books, to a song from GRAMMY-award winning rapper (and Avid Pro Tools user) Macklemore, who sings:

“The greats weren’t great because at birth they could paint. The greats were great because they paint a lot”

It’s a seductive idea. Put in the time, hit the magic number, and success is inevitable. You can even fast-track it like Elon Musk and work 100-hour weeks instead of 40 and you’ll be a master of your craft in just 2 years!

There’s just one catch — it’s not entirely true.

Gladwell himself agreed in a Reddit “Ask Me Anything” that the rule has been oversimplified and over-applied.  The formula for success is more complex than a simple time calculation.  Among other things, it ignores two big factors:  talent and training.

To be a world-class editor, mixer or composer requires talent. Those 10,000 hours of practice simply reveal, shape, and refine your talent. But to really excel, you also need training from experienced instructors. And that’s where we come in.

Avid offers a full lineup of training courses for Media Composer, Pro Tools and Sibelius. They will teach you everything from basic skills when you’re getting started, up through highly advanced skills to learn long after you’ve cleared the 10,000 hour mark.  Most courses are offered exclusively through Avid Learning Partners worldwide, with the exception of the three introductory courses: MC101, PT101, and SB101. These three e-books are also available to the public on the Avid web store.

As an Avid Master Instructor, I’ve had the privilege of teaching many talented editors and instructors, many of whom learned Media Composer without formal training.  I remember this one editor and university professor in particular who had close to 50 films in his filmography from over 30 years of editing feature films. During his instructor certification class, we were going through the MC101 lessons, and when I taught how to correctly mark off an exact duration, he exclaimed (laughing), “No wonder my assistants complained I was always a frame off!”

By the time the week ended, he couldn’t believe how much he’d learned. Did he have more than 10,000 hours of editing under his belt? No doubt. Was he a master editor and storyteller? Absolutely! Did Avid’s training still help him fill some gaps in his Media Composer skills? Definitely!

The kicker is, he’s not alone. I could tell you dozens of stories like his. So here’s the big pitch — if even a master editor could benefit from the information we pack in a 101 course, how much better is it when you’re still early in your career?  Foundational courses like the MC101, PT101, and SB101 are designed to methodically build your skills from the ground up. These are the same course books used in top universities and training centers around the world, and come complete with media and exercises.  If you’re already ticking off your 10,000 hours, you owe it to yourself to invest a little extra money and give yourself the best chance at success.

As a bonus, right now Avid is running a special promotion, offering the MC101, PT101, and SB101 ebooks for 25% off until December 31. Grab them at a discount while you can.

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Take a comprehensive approach to learning the fundamentals of Pro Tools, Media Composer and Sibelius. We’re offering the MC101, PT101, and SB101 eBooks for 25% off until December 31, 2015.


Student Filmmaker Dominic Kubisch Explains How ‘Project: Baby’ Grew Up

It was around New Year’s Eve. I just finished editing two fictional short films, both student projects, when I got a phone call from my colleague Stephan. We are both studying at the Vienna Film Academy in Austria and know each other from lectures, talks in the hallway and during events.  He had a new, interesting project and asked if I wanted to be the editor. One month later, in February, I had a coffee with the director Torsten Buesing and we talked about Project: Baby. I immediately agreed to join the team, even before the preproduction process was finished.

The main concept of the film consisted in parts of the story being improvised during the shoot, so it was a good idea to involve an editor’s point of view during the preproduction process. We edited a rough cut of the rehearsal material in order to discuss framing and possible camera angles with DOP Manuel Prett.

Project: Baby tells the story of Miriam and Alexander who are in their mid-twenties. She is happy with her career while he lacks routine as an artist. Their relationship is experiencing a rough time and right when they’re about to separate, Miriam finds out she’s pregnant. Alexander wants to be a father but Miriam has doubts whether they would be good parents. Against Alexander’s will she decides to have an abortion.

Miriam played by Michaela Saba and Alexander played by Lennart Lemster

During the shoot of Project: Baby, I downloaded the dailies which were uploaded every day by my assistant editor. On my last project we also shot with the Sony F55 and Arri Alexa, so my assistant editors and I already worked out a bullet-proof and efficient workflow. For editing in Avid Media Composer, we used the proxies that were created automatically by the F55 during recording. Media Composer works great with these proxies and the online process is flawless. These Sony ‘subs’ were imported via Avid’s “fast Import” and then merged via the “Auto Sync Tool”. Finally, camera and sound were synced via timecodes.

After I got the hard drives I started to make myself familiar with the material and worked on a first rough cut. I always prefer to make this first cut alone in order to get comfortable with the footage. Getting to know the material has always helped me tremendously. In order to do so, it is important that your project and its bins are prepared and well organized. When it comes to organizing and labeling footage I especially like the marker function of Media Composer. It’s a small but powerful tool I use on every project. I even came up with my own color system for markers, so I can find notes easier whenever I need them.

Director Torsten joined me in the editing room soon after I had finished the first cut. We were working in one of our editing suites at the Vienna Film Academy. I always think it is helpful to meet at a neutral place. It’s like going to the office: you leave your work there and have a clear mind when you get back home.

Every student at our school learns the basics of cinematography, directing, editing, production and screenwriting. This educational approach is a huge advantage. Actually, Torsten edited his first films on Avid himself. After we watched my first rough cut, we started moving scenes, and tried several variations to tell the story. When moving scenes or entire sequences I heavily relied on Media Composer’s “Sync-Lock” function, which can easily be activated and deactivated for each track. With this function you make sure your whole timeline follows your steps and nothing slips out of sync.

The timeline of ‘Project: Baby’, halfway through the edit.

Picture lock of ‘Project: Baby’

Before we locked the picture, we decided to organize a preview screening of the final cut. Being inside a movie theater while the audience watches your edit was bit frightening, but looking back, this was by far one of the best moments in my short career as an editor. Talking with the audience afterward was a fantastic opportunity. They pointed out the exact same storyline problems we were struggling with during the last couple of months. So back in the cutting room, we primarily focused on resolving those issues and tweaking the edit.

Testing on a big screen, before the audience joined the theater.

As an editor I had used Avid Media Composer a lot on previous projects. It offers a lot of useful tools that help you to tell your story. Many young people shy away from it at first, but after you finish your first projects on it, you will get to appreciate its advantages.

Stanley Kubrick once said: “Everything else comes from something else. Writing, of course, is writing, acting comes from the theater, and cinematography comes from photography. Editing is unique to film. You can see something from different points of view almost simultaneously, and it creates a new experience.”

Enjoy your work.

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Avid Paves the Way for Aspiring Artists at the Savannah Film Festival

The prestigious Savannah Film Festival, organized by the Savannah College of Arts & Design (SCAD), is in full swing and Avid has already made its mark! Avid is once again sponsoring the festival as part of our commitment to aspiring artists in this exciting industry.

The festival kicked off Saturday, October 24 with the Writers Guild Foundation’s Scribble to Screen series where attendees were invited to sift through loads of development materials, from Disney’s Beauty and the Beast to the hit TV series Mad Men.

Fast forward to Sunday, which was filled with numerous screenings. From The Hunting Ground, a startling exposé of sexual assault on U.S. college campuses, to the contemporary Mississippi love story, Dixieland, the weekend sure went out with a bang.

On Monday, Avid hosted a panel and master class featuring two of the industry’s most talented and successful creative professionals – film and TV editor Dan Lebental and supervising sound editor Steven Ticknor – who shared the secrets of their success and took us behind the scenes on their latest projects

Lebental, known for his work on Marvel classics Ant-Man, Thor: The Dark World, Iron Man and Iron Man 2, has been a long-time supporter and mentor of students and aspiring professionals.

Dan Lebental

“I had a great time speaking at the Savannah Film Festival and sharing my knowledge as a film editor who has spent the last 25 years glued to my Avid system while fashioning great stories.”

—Dan Lebental

Ticknor, who has worked on over 100 feature films and TV shows like Total Recall, The Lincoln Lawyer, Terminator 3: Rise of the Machines and Spider-Man, also takes pride in fostering a relationship with students in this ever-changing industry.

“When I entered the business, no one used a computer,” said Ticknor. “Today, I can confidently say that there’s one industry standard, and that’s Avid. I was fortunate to learn from some of the best people in the industry, and what makes the industry so strong is that willingness to share. I always look forward to inspiring young minds and passing along a few stories.”

Don’t miss out! See what’s in store for the rest of the festival here.

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