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In this episode, we welcome Ian Seabrook. Ian is a leading Underwater Director of Photography who has worked on films including Mission: Impossible - Ghost Protocol, The Cabin in the Woods, Man of Steel, Aliens vs. Predator: Requiem, Godzilla, Batman v Superman: Dawn of Justice, Pirates of the Carribean: Dead Men Tell No Tales, Deadpool 2, Glass, It Chapter Two, Indiana Jones and the Dial of Destiny, The Rescue, and Last Breath. In our chat, he shares about his roots, education, and early days in filmmaking on through working on many of the biggest Hollywood productions today. He also speaks at length about camera technology — and offers recommendations for emerging filmmakers.“The Making Of” is presented by AJA:How Cromorama solves HDR production challenges with AJA ColorBoxCromorama is transforming HDR workflows for live production across the globe, using AJA ColorBox and its integrated ORION-CONVERT pipeline to power SDR/HDR transforms, quality control checks, and more for high-stakes productions like the UEFA EURO 2024 Championship. Find out how in this interview with Cromorama CEO and CTO Pablo Garcia hereIgelkott Studios: Redefining Driving PlatesSay goodbye to the limitations of array rig plates. Igelkott's precision-crafted single-lens driving plates deliver perfect parallax, seamless stitching, and true-to-life depth—no mismatched angles or post headaches. The choice of top filmmakers for flawless in-camera realism. Experience the future of driving plates at www.igelkottplates.comOscars Night Puts OWC Jellyfish in the Middle of the ActionOWC Jellyfish was front and center on Oscars night, supporting the behind-the-scenes editing and post workflows that brought the evening to life. From pre-show prep to real-time content delivery, discover how OWC's high-performance shared storage powered the Academy's digital team. See how professionals rely on Jellyfish when the pressure's on—and the world is watching.Read the full story »A Special Offer on Avid Media Composer:Save 20% on Avid Media Composer Ultimate 1-Year Subscription! Whether you're a seasoned video editor or just starting your career, get unmatched speed and creative freedom to tell more inspired stories. Do your best work with Media Composer's award-winning toolset, the go-to choice of professional editors. Hurry though, this offer expires on 3/31/2025 and is available at Videoguys.comLearn more hereZEISS Introduces the Otus ML:The ZEISS Otus ML lenses are crafted for photographers who live to tell stories. Inspired by the legendary ZEISS Otus family, the new lenses bring ZEISS' renowned optical excellence combined with precise mechanics to mirrorless system cameras. Thanks to the distinctive ZEISS Look of true color, outstanding sharpness and the iconic “3D-Pop” of micro-contrast, your story will come to life exactly like you envisioned. A wide f1.4 aperture provides outstanding depth of field directing attention to your focus area, providing a soft bokeh that elegantly separates subjects from the background. The aspherical design effectively minimizes distortion and chromatic aberrations. Coupled with ZEISS T* coating that reduce reflections within a lens, minimizing lens flare and enhancing image contrast, and color fidelity.Learn more herePodcast Rewind:March 2025 - Ep. 72…“The Making Of” is published by Michael Valinsky.To advertise your products or services to 145K filmmakers, video pros, TV, broadcast, live event production pros, & photographers reading this newsletter, email us at mvalinsky@me.com Get full access to The Making Of at themakingof.substack.com/subscribe
In this episode, we welcome back Andrew Hutton, Head of Product at Anton/Bauer. Recently, the company released one of its latest innovations, EDEN. In our conversation, Andrew gets us up to speed on everything cooking at Anton/Bauer batteries recently — and all about this new, groundbreaking power solution. “The Making Of” is presented by AJA:How Cromorama solves HDR production challenges with AJA ColorBoxCromorama is transforming HDR workflows for live production across the globe, using AJA ColorBox and its integrated ORION-CONVERT pipeline to power SDR/HDR transforms, quality control checks, and more for high-stakes productions like the UEFA EURO 2024 Championship. Find out how in this interview with Cromorama CEO and CTO Pablo Garcia hereIgelkott Studios: Redefining Driving PlatesSay goodbye to the limitations of array rig plates. Igelkott's precision-crafted single-lens driving plates deliver perfect parallax, seamless stitching, and true-to-life depth—no mismatched angles or post headaches. The choice of top filmmakers for flawless in-camera realism. Experience the future of driving plates at www.igelkottplates.comExplore the OWC Jellyfish Nomad:Discover how the OWC Jellyfish Nomad turned a desolate location in the Utah Salt Flats into a fully equipped, mobile production studio. This compact, powerful device allows video professionals to manage, share, and collaborate on high-resolution projects in remote environments. Click through to see how you can streamline your workflow, no matter where your next shoot takes you! Read hereA Special Offer on Avid Media Composer:Save 20% on Avid Media Composer Ultimate 1-Year Subscription! Whether you're a seasoned video editor or just starting your career, get unmatched speed and creative freedom to tell more inspired stories. Do your best work with Media Composer's award-winning toolset, the go-to choice of professional editors. Hurry though, this offer expires on 3/31/2025 and is available at Videoguys.comLearn more hereZEISS Introduces the Otus ML:The ZEISS Otus ML lenses are crafted for photographers who live to tell stories. Inspired by the legendary ZEISS Otus family, the new lenses bring ZEISS' renowned optical excellence combined with precise mechanics to mirrorless system cameras. Thanks to the distinctive ZEISS Look of true color, outstanding sharpness and the iconic “3D-Pop” of micro-contrast, your story will come to life exactly like you envisioned. A wide f1.4 aperture provides outstanding depth of field directing attention to your focus area, providing a soft bokeh that elegantly separates subjects from the background. The aspherical design effectively minimizes distortion and chromatic aberrations. Coupled with ZEISS T* coating that reduce reflections within a lens, minimizing lens flare and enhancing image contrast, and color fidelity.Learn more herePodcast Rewind:March 2025 - Ep. 71…“The Making Of” is published by Michael Valinsky.To advertise your products or services to 130K filmmakers, video pros, TV, broadcast, live event production pros, & photographers reading this newsletter, email us at mvalinsky@me.com Get full access to The Making Of at themakingof.substack.com/subscribe
Welcome to the Alan Smithee Podcast in which hosts Scott Simmons, Katie Hinsen & Michael Kammes talk about the latest news in production, post production, entertainment, tech and beyond. In this episode, the gang chat about the challenges facing the Visual Effects industry, the power of the Youtube streaming platform, how it helps a new generation of content creators and, how AI might help or hinder us production folk in the years to come. And of course, there's a bunch of really cool things to get excited about. Show notes:Adobe Introduces AI-Powered Features in Premiere ProThe VergeBrief Summary: Adobe launched new AI-driven functionalities in Premiere Pro, including a visual recognition search that allows users to find video clips by describing their content, enhancing editing efficiency.The VergeDirect Link (Article): https://www.theverge.com/2025/1/22/24349299/adobe-premiere-pro-after-effects-mediaintelligence-search (validated within date range)Publication Date: January 22, 2025Adobe Launches AI Video Tool to Compete with OpenAIBrief Summary: Adobe released Firefly Video Model, an AI video generation tool integrated with Premiere Pro, offering 1080p clips and aiming to enhance film and TV production workflows.ReutersDirect Link (Article): https://www.reuters.com/technology/artificial-intelligence/adobe-launches-ai-video-tool-compete-with-openai-2025-02-12/Publication Date: February 12, 2025https://www.provideocoalition.com/adobes-new-firefly-generative-ai-video-model-is-live/Media Composer 12.2024 finally works natively on Apple silicon…but the Nexis client does not, and running 12.2024 means you have to run a newer OS that the black trash cans can't run.https://www.provideocoalition.com/avid-media-composer-is-now-apple-silicon-native/No more MiniDVs (and recordable blurays):https://www.engadget.com/home/home-theater/sony-is-halting-production-of-recordable-blu-ray-minidiscs-and-minidv-cassettes-140030225.htmlMore people are watching YouTube on connected TVs than mobile devices:https://www.newscaststudio.com/2025/02/11/youtube-connected-tv/HPAhttps://variety.com/2025/artisans/news/michael-cioni-hollywood-hpa-1236321816/Technicolor Closinghttps://variety.com/2025/film/news/technicolor-begins-to-shut-down-1236319436/Mill employees offered new jobs:https://deadline.com/2025/02/technicolor-the-mill-dream-machine-fx-1236300387/Life After Pi:https://youtu.be/9lcB9u-9mVE?si=isWCTyX_B3XJLyO8One Cool Thing: KH Igor Ridanovic used notebookLM to take the raw dataset from the 2024 rates survey and make a podcast (YouTube link):2024 U.S. Post Production Salary Survey Report (Unofficial)MK: Quickture shows assembly/radio edits inside Premiere Pro and Media Composer. Analytical AI vs GenAI. Audio only, computer vision coming soon.https://www.quickture.com/SS: The mock trailer that helped sell Cobra Kai (Twitter/X link):https://x.com/jonhurwitz/status/1895163930118393978
Editor - Louise Ford, ACE NOSFERATU editor Louise Ford, ACE and writer/director Robert Eggers have reunited once again to take on the not-so-simple task of remaking FW Murnau's horror classic. Considering "Lou's" disdain for cover songs, it was important that this film could stand on its own merits and add something new to the world of cinema. And although she has a few supernatural/horror films to her credit, "Lou" insists she doesn't seek them out. She's just looking for great stories to tell. With NOSFERATU, she told one. NOSFERATU - In the 1830s, estate agent Thomas Hutter travels to Transylvania for a fateful meeting with Count Orlok, a prospective client. In his absence, Hutter's new bride, Ellen, is left under the care of their friends, Friedrich and Anna Harding. Plagued by horrific visions and an increasing sense of dread, Ellen soon encounters an evil force that's far beyond her control. Louise Ford, ACE NOSFERATU is the fourth feature film Lou has edited for Robert Eggers since their first collaboration in 2008 on his short film, The Tell-Tale Heart . She edited Eggers' The Witch , The Lighthouse , and The Northman . Other films she has edited include Don't Breathe , Wildlife , and three films with the director Cory Finley - Thoroughbreds , Bad Education , and Landscape with Invisible Hand . Editing NOSFERATU In our discussion with NOSFERATU editor Louise Ford, ACE we talk about: Giving a gift to the Goths How most things are bad, especially cover songs Tapping into the footage during production Being a bastard in the cutting room Raiding the David Lynch Library The Credits Visit ExtremeMusic for all your production audio needs Check out what's new with Avid Media Composer Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube
UNSTOPPABLE director Billy Goldenberg and editor Brett Reed have had a working relationship for over twenty years, going back to their time together on COYOTE UGLY (2000). Since that film, they've logged a lot of hours as "editor and assistant" or "editor and additional editor", but their new film brings about a whole new dynamic, "director and editor". UNSTOPPABLE is the inspiring true story of Anthony Robles (Jharrel Jerome) who was born with one leg but whose indomitable spirit and unbreakable resolve empowered him to defy the odds and pursue his dreams. With the unwavering love and support of his devoted mother Judy (Jennifer Lopez) and the encouragement of his coaches, Anthony fights through adversity to earn a spot on the Arizona State Wrestling team. But it will demand everything he has, physically and mentally, to achieve his ultimate quest to become an NCAA Champion. WILLIAM GOLDENBERG, ACE While UNSTOPPABLE is Billy's first shot at directing, he is one of the most well-respected and sought-after film editors working today. He won an Academy Award, BAFTA Award, and the American Cinema Editors' (ACE) Eddie Award for his outstanding work on the 2013 Best Picture winner, Argo, directed by Ben Affleck. His recent editing credits include Air, 22 July, Unbroken, and Concussion. Goldenberg received dual Oscar nominations in 2013, also being nominated, along with editor Dylan Tichenor, for his work on Kathryn Bigelow's Zero Dark Thirty. In 2015, Billy was again nominated for an Oscar, a BAFTA Award, and an Eddie Award for the historical thriller The Imitation Game, starring Benedict Cumberbatch and Keira Knightley. He was previously Oscar-nominated for his editing work on Seabiscuit, and on Michael Mann's controversial film The Insider (with Paul Rubell and David Rosenbloom). Goldenberg was also part of the editing team on Mann's Heat, Ali, and Miami Vice BRETT M. REED Prior to cutting UNSTOPPABLE for Billy, Brett also collaborated with Artists Equity on Doug Liman's film THE INSTIGATORS, starring Matt Damon, Casey Affleck and Hong Chau. Additionally, he edited OLD, directed by M. Night Shyamalan for Universal Pictures, as well as several episodes of Shyamalan's television show THE SERVANT for Apple TV+. Previously Reed cut CLOUDS directed by Justin Baldoni for Disney+; Christoph Waltz' GEORGETOWN; Automatik's DREAMLAND directed by Miles Joris-Peyrafitte and starring Margot Robbie; and Nick Hamm's bio-thriller DRIVEN, starring Erin Moriarty and Lee Pace. Brett's earlier work with Billy Goldenberg included supporting him as an Additional Editor on TRANSFORMERS: RISE OF THE BEASTS, LIVE BY NIGHT, CONCUSSION, UNBROKEN and ARGO. Reed was also a First Assistant Editor on THE AMAZING SPIDER-MAN 2, ZERO DARK THIRTY, PIRATES OF THE CARIBBEAN: ON STRANGER TIDES, NATIONAL TREASURE, amongst others. Directing and editing UNSTOPPABLE In our discussion with Billy and Brett, we talk about: Editors as first-time directors Cutting for a director who's an Oscar-winning editor Seeing double on the wrestling mat Obsessing and finessing an L-cut Making the most of a montage The Credits Visit Extreme Music for all your production audio needs Listen to Billy talk about cutting AIR and NEWS OF THE WORLD Check out the latest features in Avid Media Composer Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube
Editors - Andrew Buckland ACE and Scott Morris A COMPLETE UNKNOWN editors Andrew Buckland, ACE and Scott Morris came into James Mangold's latest film being almost completely unknown to one another. Aside from mutual acquaintances, the two had never worked together or even met prior to this film. In spite of this, their combined talents tackled a big film that featured forty live performances and an aggressive post schedule. Co-written and directed by James Mangold, A COMPLETE UNKNOWN takes place in the early 1960s, when 19-year-old Bob Dylan arrives in New York with his guitar and revolutionary talent, destined to change the course of American music. Forming his most intimate relationships during his rise to fame, he grows restless with the folk movement, making a controversial choice that reverberates worldwide. ANDREW BUCKLAND, ACE Andrew Buckland ACE is an Academy Award winning film editor who won the Oscar for his work on FORD v FERRARI alongside Michael McCusker ACE. He received his B.F.A. in Film from Purchase College before transitioning into editing. Landing his first job on Alan Pakula's THE DEVIL'S OWN, Andrew has been a part of the editorial teams on many high-profile films including Mike Nichol's CLOSER and CHARLIE WILSON'S WAR. Andrew subsequently directed two documentary films THE LONG WALL HOME and SOMOS WICHI, which won the 2012 Documentary Expose Award at The Peace On Earth Film Festival, Chicago USA. Andrew began his collaboration with James Mangold on KNIGHT AND DAY and THE WOLVERINE, and later edited FORD v FERRARI, and INDIANA JONES AND THE DIAL OF DESTINY. Other credits include Co-Editing Tate Taylor's THE GIRL ON THE TRAIN and Additional Editing GET ON UP. SCOTT MORRIS Scott Morris is a film editor with over 10 years' experience. He has collaborated with directors James Mangold, James Gray, Adam McKay and Gareth Edwards. In 2022 he was named one of Variety's top 10 Artisans To Watch. His last film, THE CREATOR was nominated for two Oscars. His previous collaborations with James Gray on ARMAGEDDON TIME and AD ASTRA were selected for competition in the Cannes and Venice film festivals respectively. Ad Astra went on to be nominated for an Oscar. He worked as an additional editor on Adam McKay's film, DON'T LOOK UP. It was nominated for 4 Oscars, including Best Film Editing for Hank Corwin. Scott is a graduate of Emerson College and represented by CAA. Editing A COMPLETE UNKNOWN In our discussion with A COMPLETE UNKNOWN editors Andrew Buckland, ACE and Scott Morris, we talk about: The sounds of the city, the sounds of the sixties Nuance, nuance and more nuance Finding humanity in the cutting room Making the film "sing" Editors as voice extras The Credits Visit Extreme Music for all your production audio needs Listen to Andrew talk about his Oscar-winning work on FORD v FERRARI with Mike McCusker Check out Scott Morris' podcast for THE CREATOR Hear Andrew talk about what it was like cutting INDIANA JONES AND THE DIAL OF DESTINY Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube
Editors - Claire Simpson and Sam Restivo GLADIATOR 2 editors Claire Simpson and Sam Restivo first teamed up when Sam worked as her assistant editor on the tv series RAISED BY WOLVES (2020). From there, Claire brought Sam as her assistant to his first Ridley Scott feature, THE LAST DUEL (2021). He would assist Claire one more time for Scott's HOUSE OF GUCCI (2021) before getting the promotion to co-editor for NAPOLEON (NAPOLEON). Released twenty-four years after the original GLADIATOR (2000) film, GLADITAOR 2 takes place sixteen years after young Lucius witnesses the death of Maximus at the hands of his uncle. In the long-awaited sequel, Lucius must enter the Colosseum after the powerful emperors of Rome conquer his home. With rage in his heart and the future of the empire at stake, he looks to the past to find the strength and honor needed to return the glory of Rome to its people. CLAIRE SIMPSON Claire first worked for Ridley Scott on his 1987 film SOMEONE TO WATCH OVER ME. Even though that was only her fifth film credit, she was already an Oscar-winning editor having won the big prize for cutting PLATOON (1986) the year prior. She also cut director Oliver Stone's film SALVADOR (1986) during that time. Claire would go on to do other films with both Oliver Stone and obviously Ridley Scott, and she would also receive an Oscar nomination for her work on the 2006 film, THE CONSTANT GARDENER. SAM RESTIVO Aside from his work with Claire Simpson and Ridley Scott, Sam has worked as an assistant editor on TV series like THE WALKING DEAD (2014) and BETTER CALL SAUL (2015) as well as being an additional editor for features such as THE GREATEST SHOWMAN (2017) and ROBIN HOOD (2018). Editing GLADIATOR 2 In our discussion with GLADIATOR 2 editors Claire Simpson and Sam Restivo, we talk about: Alternating big and small projects with Ridley Scott Working with baboons in suits How Ridley edits with a brick The built-in logic of action editing If all else fails, get a reaction from the royal box The Credits Visit ExtremeMusic for all your production audio needs Learn all about what's new with Avid Media Composer Hear Sam talk about cutting NAPOLEON Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube
Editors Nathan Orloff and Shane Reid SATURDAY NIGHT editors Nathan Orloff and Shane Reid team up for the second time in 2024 with their latest Jason Reitman / Gil Keenan project about NBC's long-running sketch comedy show. Having previously cut GHOSTBUSTERS: FROZEN EMPIRE together, the pair developed a strong working relationship that certainly came in handy when Shane had to do double duty between this project and DEADPOOL & WOLVERINE (2024). SATURDAY NIGHT is a frenetic dramatization of what happened behind the scenes during the ninety minutes leading up to the first broadcast of NBC's Saturday Night on October 11th, 1975, when a dynamic young producer named Lorne Michaels lead a ferocious troupe of young comedians and writers in changing television forever. NATHAN ORLOFF Nathan Orloff is known for his editing on TULLY (2018), PLAN B (2021), GHOSTBUSTERS: AFTERLIFE (2021), JOHN WICK: CHAPTER 4 (2023) and GHOSTBUSTERS: FROZEN EMPIRE (2024). SHANE REID As a partner of the award-winning post house Exile Edit, Shane has been nominated for, and won, multiple awards for his work in the commercial space with top brands including Apple, Adidas, BMW, Hennessy, Audi and the Olympics. He quickly became one of the most trusted short form editors, working with such directors as Damien Chazelle, Terrence Malick, Andrew Dominik, Jason Reitman, Craig Gillespie, Blake Lively, John Hillcoat & Chloe Zhao. He has also cut multiple music videos for Taylor Swift, Paul McCartney, Florence + The Machine and Kamasi Washington. In 2018, Reid edited on the film A Hidden Life for director Terrence Malick. He recently cut the short film I'm on Fire for director Michael Spiccia which premiered at the 2022 Toronto and Clermont-Ferrand International Festivals. Shane recently co-edited DEADPOOL & WOLVERINE alongside editor Dean Zimmerman, ACE. Editing Saturday Night In our discussion with SATURDAY NIGHT editors, Nathan Orloff and Shane Reid, we talk about: Kicking things off with a quote Adding oner + oner + oner + oner On-set scoring with Jon Batiste Making something of Nothing From Nothing SNL trivia The Credits Visit ExtremeMusic for all your production audio needs See what's new with Avid Media Composer Check out Nathan and Shane's interview for Ghostbusters: Frozen Empire Watch Nathan Orloff's guided tour of his John Wick: Chapter 4 Media Composer timelines Hear Nathan Orloff discuss cutting Ghostbusters: Afterlife and John Wick: Chapter 4 Listen to Shane Reid talk about editing Deadpool & Wolverine with Dean Zimmerman, ACE Subscribe to The Rough Cut for more great interviews with the heroes of the editing room Explore The Rough Cut on YouTube
S5E01: Avid at IBC 2024 Preview The IBC Trade Show in Amsterdam is a showcase for the latest innovation in the media world, and this year, Avid will be at the forefront once more with new advances in AI, news workflows, remote video collaboration, video and audio interop, and much more. In this episode of the Making the Media Podcast, we get a sneak preview of some of the latest developments which Avid will be demonstrating at the booth and reflect on some of the key customer workflow challenges which these solutions address. Our Guests This Episode Matt Feury Matt is the senior director of market solutions in charge of Media Composer and video post-production. Derk Hagedorn Derk is the director of market solutions for audio, looking after all of our audio solutions. Daliah Naor Daliah is the director of market solutions at Avid, looking after newsroom and video servers. Ray Thompson Ray is the senior director of alliances and partnerships, working with our wide range of partners in the industry. Danny Hollingsworth Danny Hollingsworth is business development manager for cloud and SaaS. Luke Strent Luke Strent is the lead product owner for Avid NEXIS shared storage. More Resources For more on this topic, check out Avid Ada Solutions – Discover what AI solutions Avid is offering today Avid White Paper on Responsible AI for Creative Professionals – How can AI be applied to assist creative teams? Contact Us Questions? Comments? Cool ideas? Get in touch: makingthemedia@avid.com or @craigaw1969. Follow Avid at @avid. Credits Host: Craig Wilson Producer: Matt Diggs Social: Wim Van den Broeck Theme Music: Greg “Stryke” Chin
In this episode, we welcome Vimeo curators Meghan Oretsky and Ina Pira. This pivotal team at Vimeo leads the curation of the platform's celebrated Staff Picks and engages with the filmmaking community on a constant basis. In our chat, we hear their back stories, how they got involved with Vimeo, and their unique roles with curation. In addition, they share insights on the state of independent film today — and what's coming for Staff Picks events throughout 2024.The Making Of is presented by AJA Video Systems.As productions grow in complexity, access to on-set displays for monitoring is crucial. With ample routing inputs and outputs, it's easy to achieve greater monitoring flexibility and redundancy on-set. Check out this Q&A with DIT Kevin Shiramizu to learn how he's leveraging AJA KUMO SDI routers to do just this across projects.Vimeo Staff Picks Screening:Tuesday, April 23rd | San FranciscoA night of inspiring Vimeo Staff Picks + live filmmaker commentary! Join Vimeo curator Meghan Oretsky as she screens a handful of exceptional Staff Picked films with live, unscripted commentary from some of the best creators on Vimeo. After the screening, grab some swag and mingle with other filmmakers over apps and drinks. This event is free to attend.RSVP hereFrom our Friends at Videoguys…Media Composer is the most acclaimed and trusted collaborative video editing software solution across the media and entertainment industry. With options for all types of content creators—from students and independent video editors to creative teams, high-level post-production teams and broadcasters, Media Composer provides the most powerful storytelling tools in the industry. From AI-powered timesaving features, flexible workflow options, to customizable UI and remote collaboration tools, Media Composer makes it easy to create and deliver content from anywhere and turn around more projects faster. In the highest quality. On time and on budget.Learn more hereZEISS Wins Multiple Awards at NAB 2024Congratulations to ZEISS for taking home three awards at NAB 2024 for Nano Primes and CinCraft Scenario camera tracking solutions. Check out these award-winning products and more hereFeatured Book: Stanley Kubrick and Me: Thirty Years at His SideThis intimate portrait by his former personal assistant and confidante reveals the man behind the legendary filmmaker—for the first time.Stanley Kubrick, the director of a string of timeless movies from Lolita and Dr. Strangelove to A Clockwork Orange, 2001: A Space Odyssey, Full Metal Jacket, and others, has always been depicted by the media as the Howard Hughes of filmmakers, a weird artist obsessed with his work and privacy to the point of madness. But who was he really? Emilio D'Alessandro lets us see. A former Formula Ford driver who was a minicab chauffeur in London during the Swinging Sixties, he took a job driving a giant phallus through the city that became his introduction to the director. Honest, reliable, and ready to take on any task, Emilio found his way into Kubrick's neurotic, obsessive heart. He became his personal assistant, his right-hand man and confidant, working for him from A Clockwork Orange until Kubrick's death in 1999.View herePodcast Rewind:April 2024 - Ep. 29…The Making Of is published by Michael Valinsky.If you'd like to promote your products to 12,600 leading film, TV and video industry pros reading this newsletter, please email us: mvalinsky@me.com Get full access to The Making Of at themakingof.substack.com/subscribe
In this episode, we welcome filmmaker Chris Kentis. Chris is a writer, director, producer and editor, who achieved great success with his independent film, Open Water, in 2003. In our chat, we hear his backstory, path into filmmaking, and process making this movie. Chris also shares about his cinematic inspirations, other projects he's worked on, and what's next for him. The Making Of is presented by AJA Video Systems.As productions grow in complexity, access to on-set displays for monitoring is crucial. With ample routing inputs and outputs, it's easy to achieve greater monitoring flexibility and redundancy on-set. Check out this Q&A with DIT Kevin Shiramizu to learn how he's leveraging AJA KUMO SDI routers to do just this across projects.From our Friends at Videoguys…Media Composer is the most acclaimed and trusted collaborative video editing software solution across the media and entertainment industry. With options for all types of content creators—from students and independent video editors to creative teams, high-level post-production teams and broadcasters, Media Composer provides the most powerful storytelling tools in the industry. From AI-powered timesaving features, flexible workflow options, to customizable UI and remote collaboration tools, Media Composer makes it easy to create and deliver content from anywhere and turn around more projects faster. In the highest quality. On time and on budget.Learn more hereVisit ZEISS at the NAB Show:NAB is around the corner, and you don't want to miss what's new at the ZEISS Booth #7312 in Hall C! Come discover the cinematic look of the Nano Prime lenses and check out live demonstrations of the ZEISS CinCraft Scenario camera tracking solution. ZEISS' knowledgeable Product Specialists are excited to discuss your upcoming camera tracking needs and offer their expertise. Whether you're working in indoor or outdoor settings, on film sets with green and blue screens, or in LED volumes, they have the solution for you. If you're looking to save time on lens calibration, come and see how Scenario can accelerate your workflow. Plus, you can explore the complete lineup of ZEISS cinema lenses — including Supreme Prime, Supreme Prime Radiance, CZ.2 Cinema Zoom lenses, CP.3 Primes, and more! Use ZEISS' guest pass code NS7892 to register for free admission and click the link below to add ZEISS to your planner. To add ZEISS to your Show Planner, click hereVimeo Staff Picks Screening:April 23, 2024 | San FranciscoJoin us for this free screening of recent Vimeo Staff Pick favorites, handpicked and hosted by our curators. Short films will be accompanied by live commentary from featured local filmmakers. After the screening, there'll be a Networking Party with drinks, snacks, music and swag! RSVP for free herePodcast Rewind:March 2024 - Ep. 28…The Making Of is published by Michael Valinsky.If you'd like to promote your products to over 12,500 leading film, TV and video industry pros reading this newsletter, please email us: mvalinsky@me.com Get full access to The Making Of at themakingof.substack.com/subscribe
Editors Nathan Orloff and Shane Reid GHOSTBUSTERS: FROZEN EMPIRE editors, Nathan Orloff and Shane Reid both came into the latest installment of the supernatural, super funny franchise having past experience with writer/director Jason Reitman. But whereas Nathan's work with Jason came from collaborating on feature films like GHOSTBUSTERS: AFTERLIFE (2021), Shane's work with Jason was amidst his impressive body of work in the commercial world. FROZEN EMPIRE sees the Spengler family returning to the iconic New York City firehouse where the original Ghostbusters have taken ghost-busting to the next level. When the discovery of an ancient artifact unleashes an evil force, Ghostbusters new and old must unite to protect their home and save the world from a second ice age. NATHAN ORLOFF Nathan Orloff is known for his editing on TULLY (2018), PLAN B (2021), GHOSTBUSTERS: AFTERLIFE (2021) and JOHN WICK: CHAPTER 4 (2023). SHANE REID As a partner of the award-winning post house Exile Edit, Shane has been nominated for, and won, multiple awards for his work in the commercial space with top brands including Apple, Adidas, BMW, Hennessy, Audi and the Olympics. He quickly became one of the most trusted short form editors, working with such directors as Damien Chazelle, Terrence Malick, Andrew Dominik, Jason Reitman, Craig Gillespie, Blake Lively, John Hillcoat & Chloe Zhao. He has also cut multiple music videos for Taylor Swift, Paul McCartney, Florence + The Machine and Kamasi Washington. In 2018, Reid edited on the film A Hidden Life for director Terrence Malick. He recently cut the short film I'm on Fire for director Michael Spiccia which premiered at the 2022 Toronto and Clermont-Ferrand International Festivals. Shane is currently co-editing Deadpool & Wolverine alongside editor Dean Zimmerman, ACE. Editing Ghostbusters: Frozen Empire In our discussion with GHOSTBUSTERS: FROZEN EMPIRE editors, Nathan Orloff and Shane Reid, we talk about: How paying tribute to Ivan lead to a job that pays tribute to Ivan Being expeditious with the exposition Raising the stakes while staying funny Conquering the edit without clearly dividing it Less Mayor, more marshmallow The Credits Visit ExtremeMusic for all your production audio needs Check out Frame.io for the "Rough Cut Blog Spectacular" See what's new with Avid Media Composer Watch Nathan Orloff's guided tour of his John Wick: Chapter 4 Media Composer timelines Hear Nathan Orloff discuss cutting Ghostbusters: Afterlife and John Wick: Chapter 4 Subscribe to The Rough Cut for more great interviews with the heroes of the editing room Explore The Rough Cut on YouTube
The NAB Trade Show in Las Vegas is a showcase for the latest innovation in the media world, and this year Avid will be at the forefront once more with new advances in AI, news workflows, video and audio interop, immersive mixing and more. In this episode of the Making the Media Podcast, we get a sneak preview of some of the latest developments which Avid will be demonstrating on the booth and reflect on some of the key customer workflow challenges which these solutions address. Our Guests This Episode Daliah Naor Daliah is the Director of Market Solutions at Avid looking after newsroom and video servers. Matt Feury Matt is the Senior Director of Market Solutions in charge of Media Composer and video post production Derk Hagedorn Derk is the Product Marketing Director for audio, looking after all of our audio solutions Ray Thompson Ray is the Senior Director of Alliances and Partnerships, working with our wide range of partners in the industry. More Resources For more on this topic, check out Avid at NAB 2024 – Check out the Avid website for the latest updates on our plans for NAB Ingest and Playout White Paper – Where is the industry headed in the transition to IP for ingest and playout and what are the challenges involved? Download the White paper. Contact Us Questions? Comments? Cool ideas? Get in touch: makingthemedia@avid.com or @craigaw1969. Follow Avid at @avid. Credits Host: Craig Wilson Producer: Matt Diggs Social: Wim van den Broeck Theme Music: Greg “Stryke” Chin
Director - Alexander Payne and Editor - Kevin Tent ACE Longtime friends and collaborators, Alexander Payne and Kevin Tent, reunite once more for their eighth feature film, THE HOLDOVERS! THE HOLDOVERS tells the tale of Paul Hunham (Paul Giamatti), a curmudgeonly instructor at a New England prep school who remains on campus during Christmas break to babysit a handful of students with nowhere to go. He soon forms an unlikely bond with a brainy but damaged troublemaker, and also with the school's head cook, a woman who just lost a son in the Vietnam War. Alexander Payne Director, producer and screenwriter Alexander Payne attended Stanford University, where he majored in Spanish and History. He then went on to study film at UCLA Film School. His university thesis film was screened at the Sundance film festival, which led to him being backed by Miramax to write and direct CITIZEN RUTH (1996). Kevin Tent ACE Editor Kevin Tent has the distinction of having edited all of Payne's feature films (as well as a TV pilot); including films such as CITIZEN RUTH (1996), ELECTION (1999), SIDEWAYS (2004) and THE DESCENDANTS (2011) for which Tent received an Oscar nomination. Kevin is currently serving as president of the American Cinema Editors. Making The Holdovers In our discussion with Alexander Payne and Kevin Tent ACE from THE HOLDOVERS, we talk about: The benefits of being an amiable, affordable, and available editor Demonstrating your abilities to not edit Coming out of the Criterion closet Giving a hall pass to laugh early in the film How it takes an audience to complete a film The Credits Visit Extreme Music for all your production audio needs Go get an Avid Media Composer of your very own Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube
It started with just a select few, then it grew in popularity to become a trend, and these days, guys like our very own George "the Tech" Whittam are installing home studios at a rate of knots while others create their own acoustically treated paradise in the basement. So what's next? What does the future hold, and can we ever recoup the costs by charging our clients to use them?? A big shout out to our sponsors, Austrian Audio and Tri Booth. Both these companies are providers of QUALITY Audio Gear (we wouldn't partner with them unless they were), so please, if you're in the market for some new kit, do us a solid and check out their products, and be sure to tell em "Robbo, George, Robert, and AP sent you"... As a part of their generous support of our show, Tri Booth is offering $200 off a brand-new booth when you use the code TRIPAP200. So get onto their website now and secure your new booth... https://tribooth.com/ And if you're in the market for a new Mic or killer pair of headphones, check out Austrian Audio. They've got a great range of top-shelf gear.. https://austrian.audio/ We have launched a Patreon page in the hopes of being able to pay someone to help us get the show to more people and in turn help them with the same info we're sharing with you. If you aren't familiar with Patreon, it's an easy way for those interested in our show to get exclusive content and updates before anyone else, along with a whole bunch of other "perks" just by contributing as little as $1 per month. Find out more here.. https://www.patreon.com/proaudiosuite If you haven't filled out our survey on what you'd like to hear on the show, you can do it here: https://www.surveymonkey.com/r/ZWT5BTD Join our Facebook page here: https://www.facebook.com/proaudiopodcast And the FB Group here: https://www.facebook.com/groups/357898255543203 For everything else (including joining our mailing list for exclusive previews and other goodies), check out our website https://www.theproaudiosuite.com/ “When the going gets weird, the weird turn professional.” Hunter S Thompson In this episode of the Pro Audio Suite, the team delves into the upcoming Nexus from Source Elements, a plugin that effectively routes audio, virtual audio interfaces in and out of Pro Tools. The team also discusses novel features such as the Dim operation and incorporates talkback functionalities. The emerging future of voice-over artists working directly from one room, rather than traditional booths was examined, suggesting industry shifts. There is discussion on the need for talent to show their value in order to increase pricing, given the significant investments made in equipment and learning audio engineering. Other elements discussed included the limitations of the iPad in a pro audio production workflow, the strategic placement of preamps, and the anticipation of the passport and Nexus release. The episode rounds off with a nod towards their future plans to incorporate higher levels of control. #ProAudioSuite #SourceElementsNexus #VoiceoverTech Timestamps [00:00:00] Intro - Meet the Pro Audio Suite Hosts [00:00:52] Discussing Nexus: The Innovation in Audio Routing [00:08:38] Efficiency of Nexus on Channels [00:09:13] The Future of Voice Over Workstations [00:12:05] Charging Reality in Voiceover Industry [00:15:19] Value of Remote Studios and its Impact on Pricing [00:22:18] Investment Expectations in Preamps, compressors and Microphones [00:28:04] Nexus Router's Flexibility in Sound Production [00:32:40] The Role of iPads in Pro Audio Production [00:37:16] The Controversy of the Preamp's Location [00:42:02] A Light-hearted Detour from Nexus Talks [00:42:20] Anticipating the Launch of Passport & Nexus [00:44:40] Pro Audio Suite's Collaboration with Tribut & Austrian audio, and a Mention of George Wittam's Tech Support Services. Transcript Speaker A: Y'all ready? Be history. Speaker B: Get started. Speaker C: Welcome. Speaker B: Hi. Hi. Hello, everyone, to the Pro Audio Suite. These guys are professional. Speaker C: They're motivated with tech. To the Vo stars George Wittam, founder of Source Elements Robert Marshall, international audio engineer Darren Robbo Robertson and global voice Andrew Peters. Thanks to Triboo, Austrian audio making passion heard. Source elements. George the tech. Wittam and robbo and AP's. International demo. To find out more about us, check thepro audiosuite.com line up. Speaker B: Learner. Here we go. Speaker C: Welcome to another Pro audio suite. Don't forget, if you do want to buy a Tribooth, the code is tripap 200 to get $200 off your purchase. If you'd like to leave a comment, by the way, on your favorite platform, please do so. It's good for our analytics, and we might drive a bit more traffic, which is always handy. Now, something that may be out as we speak or maybe about to be released, is the new Nexus from Source Elements. You've definitely had a look at it, George. I think you've had a look at it, Robert. And Robert knows all about it because it's his baby. Speaker A: How much do you know, Robert? : Let's be honest, I'm clueless. Yeah. Speaker C: No, that's me. That's my Robert. : I know it all, but really, don't I'm just like yeah. Speaker A: Can I just say, before you dive into it, it's a very sexy beast. Seriously, it's very clever. Speaker C: You've had a look around the whole thing, haven't you? Speaker A: I have. I've sort of had a play with it. But, I mean, Robert's going to explain it the best, so we should leave it to him to run through the list of features. : I like hearing what kind of mess other people make out of it. Speaker A: Well, you know, what inspires me the most, and I think is going to be the most useful for our listeners, I think, is simple things like the Dim operation, the fact that it actually just drops your mic level. : Drops the levels. Yep. Speaker A: And all that sort of stuff. : A lot simpler than a Dugan mixer. Speaker A: The gateway from a studio point of view, from me looking at that gateway, everything's all in the box. I've got video, I've got everything there. But, I mean, you should explain it all. : Yeah. So basically, Nexus started out, oh, God, how many years ago? 2007? I don't know. But I was like, wouldn't it be nice if you could route audio, virtual audio interfaces in and out of Pro Tools? And it was like, we made that, and it was kind of a hit. And what it was primarily used for was to interface the client side of a remote voiceover session, or just a remote client side. So think of it as Source Connect was the remote connection for voice talent into an engineer setup, who then also has remote clients. And Nexus was used to empower things like zoom and hangouts. But we all know that all of those have their various issues for instance, one of them is if you're broadcasting and you've got talkback going over zoom, there's very different goals of the talkback versus the broadcast that you want to have your clients listen to, so the talkback can have echo cancellation on it. And actually that helps because many times your clients don't have headphones, but your broadcast, you don't want it to be impeded by the echo cancellation and things like this. So what Nexus is, is it still represents to me that sort of client side connection. But now we're completing more of it. Instead of saying, oh, just like throw Nexus at Zoom, or throw Nexus at whatever it is that your clients are using Microsoft teams, here's a gateway for it that does what you need as a professional audio and video person for collaborating with your clients. Instead of trying to pound Zoom into a hole. Speaker B: Here's how it was described ten years ago, you sent an email out sourcenexis is an audio application router. Record remote voiceover from Source Connect directly into Final Cut or Media Composer playback itunes to Pro Tools, even patch Pro Tools to and from Nuendo all at the same time. Route any audio application in and out of Pro Tools, even if that application does not have any plugin support. Speaker A: There you go. Speaker B: That was December 2013. : So that's like a very broad, broad strike explanation. Sort of like it's round and so it rolls, but this is a wheel for a car. So yeah, the rolling part of it is well, it pretty much is a router that was put in the Daw so that you could route external interfaces in and out and do things like that. And the primary thing that it got used a lot for was those client side connections. Speaker C: So how would it work for someone like me? What benefit would I get out of Nexus? Speaker B: So the talent side, what do they say? : I think the same thing. So just like you've got Source Connect and you're running with studios and engineers and it has that rock solid queued up connection that's going to pick up every bit. Even if the internet does its thing, as you know, voice talent are being forced to take up much more and more of the burden and you have the situation where, hey, can I get playback? So one of the things that Nexus has is it's now a suite, by the way. It's not just the plugin. So there's the original Nexus IO, which is sort of like just the raw plugin. You have to know what you want to do with it. You have to build your own template for it. Nexus Review is a Nexus plugin that now has several ins and outs going into it and out of it. So it brings your talk back over to the gateway, which is our web meeting room. It gets the gateway back into your connection so that you hear it in your headphones and it plays your playback to the connection and everybody. And it does all that without you having to even think about what the word Mix Minus is or if it even exists. Because it's done all in one plugin. So what used to need two, three Nexus plugins and a talkback plugin is now Nexus Review. Okay, straight, just drop that plugin on your master fader, your setup is complete. Speaker C: So when you do playback, it actually mutes everything else. So you don't get obviously well, it. : Doesn'T in this iteration, but there's going to be all kinds of stuff that starts to happen within the suite, within its sort of capabilities. And I think that right now, the first thing you would say is it just makes playback easy. Your question specifically, Andrew, which is like, why would a voice talent want this? It makes playback easy because really, in that sense, you're just like the engineer at that point. You're recording stuff and you're playing it back. That's kind of like what? So this just makes that setup way less daunting because all you really have to do is and also we're going to probably come out with that as a standalone app as well. So if you're using something like Twisted Wave, you can just route Twisted Wave into the Nexus review app and same thing, you don't have to be on a daw. It doesn't have to be a plugin, but it does your Mix Minus and your talkback Twisted Wave. Actually, here's a question about twisted wave. Do you have the option to monitor live through it? Speaker B: It does have a monitor mode that you can turn on, of course with a little bit of latency, but it does have that capability, right? : So you might want to do that. And funny enough, if it does create a latency with yourself, there's a handy mute button so you can mute it and you don't have to listen to it, but at least your clients can hear you monitoring through Twisted Wave. So there's little individual situations that might come. Speaker B: What would be the benefit though? Like if you don't have to monitor yourself in Twisted Wave, what would be the benefit of turning that on? : Well, the reason why is that you're either going to direct your microphone live into Nexus Review, but then if you want playback, you're going to route your Daw into Nexus Review. And if you call Twisted Wave a Daw, then you want to route Twisted Wave into it. Speaker B: Okay, so you set the output in your Twisted Wave output setting to the Nexus review plugin input. : Yes. Not the input of well, in this case it would be the input of the application, not the gotcha gotcha, because in the Daw sense, the input is taken care of. It's like whatever channel you throw it on, the input is implicit. Speaker B: Right. : And then that same ability for all you video editors out there and things like that, the review set up and integrating my talkback with a talkback button if I want all of that is just like done, whatever, I have to set up a template in Pro Tools or I have to have a mixer. All the different things that people do. Speaker B: To be able to passport vo. Speaker C: Yes. Nicely sliding there. Speaker B: Right. So just to get a little bit deeper. So I'm in Twisted Wave. I'm the actor. I've recorded myself. I hit stop, I hit play to hear playback. I want to hear the playback and I want it to also send to Nexus. If I set the output of Twisted Wave to Nexus, will I myself on the local side hear the playback also or will it be shunting the audio. : To you would hear the playback and so there is a fader for you. Speaker B: Oh, Nexus handles that for you. : Nexus has a fader with the mute on it that you could mute that if you want. Speaker B: Nice. So that solves that problem. Beautiful. Right. Speaker C: The question I've got though is it seems that we as voice over people are going to end up sitting in one room with microphones and screens and computers in there with us. So the booth is pretty well fast becoming redundant. : Well, it might be that radio style booth. Speaker A: Yeah. Do you just have it in your booth? That's right, that would be my yes. Speaker C: What I mean but it's become like a radio. Speaker A: I think that's going to happen anyway. I kind of think that for me, this thing's sort of ahead of the game because I can see that coming, I really can. The more and more I even had two sessions in the last couple of weeks canceled because the creative guys just jumped online with the voice and did it themselves. They didn't need an engineer. : We do see a lot of that. It's like the phone patch may have gone away, but the direct to client session and where it comes up and it's really funny because clients don't really save time when they do this. They think they do, but they don't. So they say, hey, let's not book a studio to record the talent. Let's pay the talent the same amount of money and make them record it and complain at them if it didn't work out the way we wanted, by the way. So now we have the talent recording everything and inevitably, no one keeps good notes. And even if someone does keep good notes, you don't know how well the talent is cutting up the files. And it's very easy if you've ever been in a session sometimes to get your take numbering off from what you're writing down and what's actually happening in a computer, especially if you as the talent, you're busy trying to do other things, like read the script and not look at the computer screen. On what file number Twisted Wave is on. And so inevitably, someone has to put humpty Dumpty back together again after the talent has recorded everything. And that's going to take just as much time as just recording the session with an engineer online who can cut everything up and do it for you. And that way the talent only reads what they need to. They're not reading a bunch of speculative takes because no one knows if A is going to edit back to take 65 or whatever. You can just hear it. You got it. Great. And it fits because we timed it out. Speaker A: You just touched exactly on the problem that came from one of these sessions the other day. And this was a well known agency, a global agency, that they did one of these sessions where they just recorded it with whoever it was locally and they were on the phone, but the creative rings me and goes, yeah, kind of. I'm really happy with this. But we did some takes. I asked the talent to do this, but of course, with no labels, no notes, no nothing, I've got to go through every single take and go to him. Is it this one? No, that's not it. What about this? No, that's not it. No, it's more like this. Oh, hang on. Okay, well, is it this one? No, it's not that. It's like if I was doing the session in Pro Tools, it would be labeled. I'd have a page full of notes as well. This edits to this, blah, blah, blah, and it's done. But it took, like half an hour to find one take for this guy. Speaker B: The pennywise found it is pennywise pound foolish. : But the other problem is that what happens is that they're all working off of flat bids, right? 1 hour for the talent. They know what their residuals are. They bid these things out. And it's really hard to get these agencies to necessarily do just, hey, we want to be creative and throw paint on the wall and pay by the hour to throw paint on the wall. Instead, they do I don't know if you've seen that. It's that thing where the guy says, like, hi, we'd like to do an advert and we want to research sound effects and do all this stuff and try two different music takes and this and that. So 1 hour. And the person in the studio is like, I think it's going to take longer than that. And then the person at the agency is like, no, we know our stuff. We know exactly what we want. We're not indecisive at all. We only need 1 hour. And then you're like, okay, now you're stuck making a commercial in 1 hour that you know is going to take longer. So even though the agency basically saddles the talent with recording the takes, they never actually face the consequences of their actions because the bid happens. Then they audition, and it's like they've already at that point with the bid, taking out the voice record. We'll just give you takes. Speaker C: Yeah. You get what you pay for. And if you don't pay him, you. Speaker B: Don'T get much, and you're going to pay later. Speaker A: It's pay now, pay later. Sooner or later, you're going to pay for it. : I really think this was that moment when the voiceover industry, they all decided that they were going to try to eat each other's lunch. And at some point, it became like, my booth doesn't cost a thing. My setup and knowledge of my booth and what to do through blood and sweat and tears, paying me figured out and literal money that is free too. Speaker B: Right? : And all that stuff never should have been free. It should have been, okay, I'm whatever. $400 an hour, and, oh, you want to use my studio even if it's $50 an hour? Speaker B: Yeah, there should be a rate attached. I totally agree. As voice actors who wanted to be providing a service and I can name names, but I don't need to who are very early on in the home studio timeline. Right. Like literally FedExing Dat tapes. Right. They wanted to be a service provider. They wanted to be ahead of the curve and create a business niche for themselves. In the meantime, they were creating a problem for the fact that home studios would eventually become the norm, and nobody was getting compensated for operating a studio and engineering a session. : It's like when you have something unique, you charge more for it. So if you're a voice talent and because you're available at home, you are available, like, instantaneously, you don't need to have a limo drive you around La. That's a perk. And it might be a perk for you, but it's also a perk for your clients. But it became part of the add in, like, a long time ago. This was in the early 2000s. This was in the days of ISDN that this happened. Speaker B: It was literally when I got into the business. Yeah. I was just being told, people need this help. And I didn't know anything about the business model. I didn't know Jack squad about who got paid what, how, what you didn't get paid for. I just was there to solve problems. So I had no idea that this was going on till much later. : Yeah, but here we are. Talent put a lot of time, effort, money, emotion into building their setup and learning this basically some aspect of the craft of audio engineering, essentially. Maybe not the whole thing, but there's. Speaker B: Like I mean, tell me this. Would there be a value I know this is off topic, but would there be a value when a talent or an agent invoices that even if the bottom line is identical, that you literally add in a line that's engineering services, so it literally shows up and they see, oh, we're paying for this. Would there be some efficacy to this? It's kind of like restaurants starting to charge a service fee or a kitchen love fee or whatever. There's been a lot of blowback to this because some people really just raise your prices and other people are like, I like the transparency. So it's kind of confusing. : I think that if you want to, you effectively want to raise your price. And the only way you're going to be able to raise your price is by showing your value. And so in that sense, you almost need to because to the point that it happens on the flip side. So not just our like there's three layers to it. It used to be that the talent went to the studio and so there's two studios and there was a lot of meat on the bone for a whole industry. Right? There was an engineer in a studio in La. There was an engineer in a studio in New York. There was a voice talent in La. Yeah, there was five creatives over in New York. It was all happening real time. And At T was like just digging into the pie, too. And now it's like the first thing that happens is voice talent or the auditions come in and they know must have ISDN or source connect, essentially, and read between the lines. And what's happening over on the bid side is there's no money for a remote studio. Only talent with home studio need apply. And George, how many times have you seen talent that have done the Voice Tracks West? Or I know a place that knows what pay out of pocket. Speaker B: I tell people do it all the time. : Voice tracks west is I'm like, if. Speaker B: You don't do these sessions that often, spending $10,000 on a soundproof booth is a massive waste of money. : Yeah. And Voice Tracks has got a tight operation. It's not like decked out in oak panels, like all the big working facility. Boom. It's like, here's a room, here's a setup. You need an engineer to set you up. We don't have staff to sit there and babysit you the whole time, but what are you going to do? That's all you need. I don't know what they charge, but I have a feeling it's pretty affordable enough. Speaker B: They do what we call talent friendly rates, right? : And it's a great idea. So you get those auditions that are basically like, bring your own studio iOS. And then the next level is like, you know what, we're not even going to hire an engineer to record it like we just talked about, right? Speaker B: It's a weird position. I've always felt weird being in the position of enabling, essentially because I'm enabling the talent buyers to charge low rates for engineering or not budget for it. And I'm enabling the talent to meet that need. At the same time, there's the plus. : That you have your talent that can go live where they want to. And there's many talent that would if charging for their studio would be a deterrent to them having the lifestyle that they want. They want all their sessions to be in house. The reason to give it away is not just because they're trying to get an edge over some other talent, but also because they're trying to direct their life the way they want it to be. And being called into a freaking city every other day for an hour session and you got to drive 2 hours is crazy. And so it makes sense. Speaker B: And let's face it, as a voice actor, you can't live the lifestyle that you would like to live and be in. Those days are mostly gone. That you can live that lifestyle and have a nice home and have all this space and blah, blah, blah and live in the city, like live in Los Angeles or Lake. Like that's unbelievably expensive. : Right. And you don't have to anymore. Speaker C: Anyways, getting back to the rate thing, though, there is a way of doing it because on my invoices I show, studio and edit and then whatever the fee is and it's usually zero zero, but you can actually put in there. Voiceover blah, blah, blah. That rate goes in studio, edit X dollars and then you can give them a discount, which actually is equivalent to the studio rate. That way the client sees that there is a fee involved in that, but you've just done them a favor and not charged them for it. Speaker B: I think that's very smart. I will invoice people for a $0 item just so they know they're getting it. The problem with like a flat rate. : Or just write the real price down and say the discount that you're getting. Speaker B: Yeah. I'll say this is $100 thing, I'm throwing it in at $0. But you need to know that it has a value attached. Speaker A: Yeah, everything we do has a value attached because it's our time. Speaker B: Right? Yeah. But it needs to be literally spelled out for them on black and black and white, I think. Speaker A: Agreed. Speaker C: But the stupid thing is I was talking to in fact, Robbo and I were talking yesterday about equipment and stuff in the studio and believe that's the stupid thing. Well, it's the stupid thing in my case because it's ridiculous. I mean, I don't need any of this stuff, really. But I was sitting here the other day, like, adding up how much the dollar value of the stuff I've got in here in preamps compressors and microphones is just completely insane. : It's ridiculous. It is, yes. Speaker C: It's fun though. : Okay. It is. People putting wings on their back of their Honda Civic. Speaker C: Yeah, thanks. : I hate to say it, but it's like we are kind of doing some. Speaker B: Of that even does that you can buy a Civic with three exhaust type tips coming on the back. Speaker C: Exactly. Yeah. Get yourself the type r boom. Look out. : Yeah, but sometimes we're just like, OOH, that thing's going to make us faster and improve my zero to 60 time that neve preamp or whatever, and I think that we get caught up. I mean, God knows I've spent a lot of money on audio gear. Speaker C: Oh, you have? You're worse than me, actually. : I need, like, the nose spray that breaks the addiction, whatever. Speaker B: But Robert's business model is a different one. His service is his studio and his skill with his know. So I feel like a service provider that's providing that type of a studio service. There's an expectation of a certain investment in that equipment and keeping it up. Speaker A: To date and keeping it serviced and. Speaker C: Keeping it's funny, though, because I did send a file off to one of the audio production guys in one of the radio networks here because he was looking at buying Austrian audio microphones for their studios, which he did. Speaker A: Salesmen. Speaker C: But he said, oh, can you send me something? You got a sample of the eight one eight? And I went, yeah, sure. So I sent him just a cold read, eight one eight through the neve. He just come back going I said, what do you think? He goes, oh, my God, I'm buying one. Speaker A: Nice. : It's so funny. The subtle stuff is really there, but it's great when either someone is completely doing the same drugs that you're doing or actually is truly hearing the same thing that you're hearing. There is this like, wow, that really is better. And at the same time, someone walks in who doesn't understand much about audio and goes like, what's the difference? Speaker B: You really get me. You really see me. Speaker C: It was really funny. It's like a guy that both Robbo and I know is also an audio guy. This is years and years and years ago. He got a voice track sent. It was a cold read from a studio in Melbourne. And he called me up and he said, do you know what microphones or what microphone they use down at this studio? And I said, no, I don't, actually. He said, man, you got to find out. It sounds unbelievable. So I went down there and I was in there doing a job, and before I got in there, I said, what mics are you using, by the way? He goes, oh, what was the session? I told him, it's like, oh, yeah, we've just bought a new U 47, the Telefunkin U 47. When they first reissued the thing, I'm like, okay, so I think they were selling for close to 20,000 Australian dollars at the time. So 15 14,000 us. I'm guessing. Sounded very nice. Speaker A: You would want to I didn't know. Speaker B: They reissued that mic. Speaker C: Yeah, the telephone U 47. Speaker B: Yeah. I never knew there was a reissue of that mic. : Yeah, that thing's been, like, homages to. Speaker B: No, I know, but I mean, it's literally in Neumann. Like, they did just the U 67. : Like, five years ago. It's telefunken, but telefunken is not the Telefunkin that Telefunken was, right? Speaker C: Correct. Yeah. : Telefunkin is like some company in Connecticut. Telefunk is really a European funky funkin. Speaker C: It was kind of weird though, because a lot of the Neumans that were re badged for America, so like Frank Sinatra's U 47 was actually badged, I think, as a Telefunken. : Right. So they were really U 47s. They were really Neumanns. Right. And then they were rebadged as Telefunken. And then the same thing happens with the AKG C Twelve because Telefunken was an importing company. They would commission things to be made or they would just say, hey, I'll buy a bunch of those. Speaker C: And there were tons of companies doing that, particularly in America, where they rebadged microphones under different brands that were made primarily by AKG or Neumann. : It's kind of like rebadging Chinese stuff in a way, happens. It's like happening again. You see the same product and it's like, oh, they just put a different name on it and called it their amplifier. Speaker C: So you're going to white label Nexus and set it off under different brands. : There's all kinds of discussions and things that pop up and then sometimes just like fizzle out. But one thing for sure, I think, is that at least on some version of the Gateway, one of the talked about features is to customize it so you can make it like Andrew's Shopahor. Speaker A: Well, one thing I wanted to touch on and something that's not in the demo though, but something you were showing me after we finished recording a couple of weeks ago is the router. Can you tell us about that? Because that's a game changer, right? : It's not going to release on the first. It might actually I don't know, but right now it's a little bit behind. It would be one of those things that certainly would take. It would be one of the things that takes longer to get out, but it's pretty much done. And it's just a desktop router. So you can set up a lot of this stuff or the rest of the stuff that you want to customize on your desktop routing, for example, if you wanted just to have something that routed. One of the things that happens with Pro Tools in particular is once you close your session, you lose all your routing. So if you're not putting all your work into one session or working on one thing and you have to open up different files while you have a group of people online and connected, when you close Pro Tools, you lose communication and possibly even different parts of those connections, depending on what platforms are on. They might lose their connections too, because some of those connections go through you. So router gives you the opportunity to be able to set up sort of like a desktop route. Similar in a way, George, to what a lot of people that you have do with the Apollo Mixer. Speaker B: Yeah, I was going. To mention that. Right, exactly. But being on a not you're now hardware agnostic, you can be on anything. Speaker A: Because the killer for that, for me, is that is exactly what you're saying, is that whole thing of, like, you're halfway through a session and the creative goes, hey, last time we did this, we did blah, blah. Can you go to the old Pro Tools session? And you got to do that whole embarrassing listen, yeah, I can do that, but you're going to lose me for a second here, guys. Okay, I'll be back in a minute. And you hear the way you go. : That whole thing changed the way I work. I have Pro Tool sessions with hundreds and possibly, I don't know, thousands of spots. Whole years of campaigns, just boom, one after the you do them all on one timeline thing of like, oh yeah, one big ass timeline. Really? Speaker B: They're not just clips in the clip viewer? : No, it's basically what ProTools lacks is any sort of like have you ever worked in Media Composer? Speaker B: A little bit. : Okay, so Media Composer, you can have sessions well, you have a bin. Yeah. Pro Tools user have been wanting folders within their bin for the last 20 years, and they still have yet to get them. Different issue, but even more so, the edit and the mixer in Pro Tools are joined at the hip. But there's many aspects of your mixer that are not part of your edit. They're just part of your studio. Speaker B: Sort of like there's a utility mixer. : This is a utility, this is your external. What used to be in a lot of early setups were like people that would have like a Mackie mixer off to the side and then they'd add Pro Tools. And what was going in and out of the Mackie mixer was like microphones and headphone feeds and connection to the tape dock probably back. Um, and so the mixer still had routing capability and some of that's daunting. And really what you need is just like a couple straight ahead patches and maybe a volume control. And that's really what Nexus router lets you do. It has an advanced mode where you can just sort of draw whatever you want from A to B and then that way you can even have different setups that you can load and save and close and open up a different setup, or you can make one massive. Speaker B: Setup forward to it. Because I'm looking forward to being more hardware agnostic and less attached to something like the Apollo in general and kind of endorsing that kind of mentality of being a little bit less attached to that system. So this will be something that'll be nice to set up for more people who do want that extra level of sophistication absolutely. : Yeah, it'll make it like if they have little special things that they need to do, even something like a talkback mic when they're outside or playback from some other device if they want to plug their phone in or have some other app. Speaker B: Let me ask you this. This is definitely going down a rabit hole in terms of features, but can you imagine that ever being on a touch screen interface like an iPad or having a controller? : I could definitely imagine. We've already got other levels of control that we're planning on, which are, I think, pretty exciting. Speaker B: You guys were talking earlier about things are moving towards the actor having to have really a full production suite in their booth, right? Speaker C: Yeah. Speaker B: It sucks, though. I mean, people don't want the day. : That someone asks an actor to not only record for them, but can you please play back picture while you record? When that happens, then it's like you're really throwing a lot at Cipriano. Speaker B: I mean, he does stuff when he. : Has to, but some people can do that. It wouldn't be that hard. Speaker B: He paid me to set up Pro Tools to do it. : Right. Speaker B: Yeah. So it would be lovely for someone who really still wants to have a feeling of I have a mic, I have a headphone, I have my script. But not having to have keyboard, monitor, mouse, that whole rig in there too and just have somewhat innocuous iPad or even if you're reading off the iPad, you can just do the four finger swipe and switch over to the mix. : The hardest thing becomes, I still think the iPad is a tough environment. There's been a lot of actors have been like, can I just do this all on the iPad? Speaker B: Yeah. No, there's a bit of a stay in your lane. The iPad has a lane to stay in. To me, it still has no place in a Pro audio production workflow except as a controller or a script reader. : Yeah, it works well as a controller. Speaker B: I've got my V controller controller and a script reader. That's what it's for. To me. It's not a pro audio. Despite the power of the thing, the hardware, the fact that it's got Thunderbolt now in the Pro model, iPad Pro, it's still just not the tool for the job. So use it what it's for, and that's what it's good for. So I would endorse having that in there just to control the Nexus monitoring and the other stuff. : Do a lot of talent. Really avoid and not want some really. Speaker B: Do avoid it as long as they can. They really despise doing that. Speaker C: I'm one. Speaker B: Yeah. It's because of the distraction. Because this is the right brain, left brain, actor, engineer, conundrum. You can't do both at the same time. I don't care who the hell you are, you can't do them both equally well. One is always suffering at the hands of the other. So the actor that really but what. : Does an actor need in the booth? Truly? They need to be able to record takes, and they need to be able to play back. Speaker B: Mean, some people like, I'll call you out, Bo Weaver, I've known you so long. He hits record, he walks into the booth. He records all of his sessions. He walks out of the booth and he sits down and he edits all the sessions. Like done. That's his workflow. Now. How often is he directed? Very rarely. Record and send. But yeah, that's what he likes. He likes to have the two separate church and state. Speaker C: Well, I'm exactly the same. I have the same workflow as Bo because a lot of my stuff is not directed. So I do exactly the same thing. I go in there, record, come back and come out of here and edit and send. : Yeah, but how many times you go back and forth? Speaker C: I save each file separately. So if I'm doing like 430 2nd spots for somebody, then I'll record a couple of takes or two or three takes. : How do you know you're in time? Are you timing yourself? Speaker C: I do a timer first. I will sit there and I'll time one with the stopwatch first read. So I know ballpark where I'm at. By the time you deep breath, you lose a couple of seconds. So if I'm doing like one, that's got to be 27 seconds and I come in at 27, then I know I've got 2 seconds up my sleeve so I can take more time with it. Once you've been doing this for that's the thing. : You guys have like atomic clocks built in. I can't tell you how many times I've had a talent and I'm like, can you take half a second off that? And they take half a second off that. Speaker B: It's like, wow, bo had an iPad one for years. He may still have it just to run the timer period. He's like, It's a great timer. It doesn't make a click. : I have an iPad one that I use for my eight faders approach. Yeah. So there's some minimal amount of control that's necessary. They at least need a door handle, probably. Do they want a mic mute? Speaker B: Yeah, I'm sure they would. Most people would like to have that, I would think. Yeah, it's pretty embarrassing when you got. Speaker C: A horrible client down the line and mic mute's. Very handy. Speaker B: Horrible client or bad cheese. Speaker C: Yeah. : How do you find the foot switches. Speaker C: For I reckon a foot switch would be great. Speaker A: You need one of those AP. You need a foot switch. Speaker C: Yes, I need a foot switch. Foot switch is great. I love it. Trouble is, I probably tread on it by accident. Speaker B: Well, the Whirlwind PPD or whatever, they have a foot switch on off switch. : The ones that don't break phantom power so that they don't pop, they just sort of short out. Speaker C: And it's also like I wouldn't want I mean, the idea is fantastic. I think it's fun, but I hate too much stuff between the microphone and the preamp. Speaker B: Yeah. Speaker C: Well, there's that one more thing that can go wobbly on you. Speaker B: Not to go completely off base here again, but I was talking earlier about what I saw podcast movement, and I saw the boss answer to the RODECaster pro because Roland's had and Roland too. Boss is like their musician wing of Roland or like the guitar pedal. : I don't know about that. Speaker B: Right. : So they had boss is the guitar wing and Roland and Roland is the keyboard wing, but they've crossed areas. Like mainly Roland has made guitar synths and the other view is that Roland is the high end and then Boss is the middle. Speaker B: Right? So I'm looking at their things and going, okay, here's another RODECaster. What's on the back? A foot pedals plug. I was like, Whoa, that's cool. What can you do with that? He's like, whatever you want. For the gamers, you can do anything you want. I was like, Well, I can see that being cool because the mixer is outside on your desk and you run a foot pedal in your booth and now you have a way to cut your mic, or it could be a way to hit record and then punch a marker when you click it again. There's a lot you could do with. : That, so whatever you want. The foot pedal can send like USB. Speaker B: Messages, as far as I can tell. I don't know how flexible it is, but it's pretty flexible. There's also air tools or AirTurn I think that's called AirTurn. And now other companies are getting into it where you can get Bluetooth pedals that go in your booth to control certain functions. So there's more you can do with foot pedals, which is kind of neat, but if I'm not wearing headphones and I don't know, my mic is truly off, I would never trust anything wireless. : So what about the preamp? I mean, the preamp should be in the booth or not, because even if you wanted to be really theoretical about it, your best signal would be by running the shortest mic line and getting it up to the preamp right line. Speaker B: If you're running, then sending it 20 foot runs, that's different, it's negligible. : But having the preamp in the booth to be able to set it is a different thing, right? Isn't that necessary? Speaker B: Yes and no. I mean, some people do. I'd say most people that have a booth that don't have the equipment in the booth don't have the preamp in the booth, but it's less convenient. : And so they're just recording conservatively and going like, I'll just hit minus twelve, I got plenty of bits, I put. Speaker B: Plenty of Avalon 737s in booth. And I just told people, like, this thing's a radiator, so it's going to get nice and toasty in here. If you really need to have this in here, I get it, but be my last choice. What, to put in the booth? Speaker C: Well, that's what I'm thinking. The more gear I was going to say about that exactly that most people's home studio booths are quite small, and you start piling gear in there, it's going to be like a furnace. Speaker B: Yeah. Gets hot in there quick. So the less the better. Even modern computer monitors are pretty low power, but they still make heat. They still radiate heat. Everything makes heat. So the less in there, the better. Yeah. It's going to be interesting when the passport Vo comes out, how people choose to use it. Whether they're going to have it in booth or outside of the booth, you can go either place. And the thing you're going to miss out on it not being in booth is that mic switch. Mic mute. That's why I think the majority are going to use it in the booth. So what we'll be testing I think so, too, how far we can run it on USB to the computer. So we'll be doing some testing around that whole workflow as well. Speaker C: Yeah, I can see the value in having the Passport Vo in the booth for sure. Maybe you're doing a zoom session or whatever. You can use that second interface to run either your phone or iPad or whatever, that you can run the zoom session. Speaker B: That's where I could see it being really useful, having the iPad in the booth for phone patch, zoom, blah, blah, blah, communications. Speaker C: Absolutely. Speaker B: And having that run into it and just that would be a really easy way to facilitate those sessions. Boy. : Well, in a way, you can have it. Sorry, you can cut all that out. Speaker B: We're really off topic now. Speaker C: This was about Nexus and I don't know where the hell we've gone. Speaker A: Oh, man, we've gone all over the place, let me tell you. This is tangent. Speaker C: I'm just waiting to see the Mad. Speaker A: Hatter pop out from behind the door somewhere. Editing nightmare. That is the Pro audio suite. Speaker B: Yeah. Wrap this one up. : I'll bring it together. What comes out first, the passport or Nexus? Speaker B: Nexus. Speaker C: Nexus. Speaker A: Nexus. : Probably. Speaker A: Right? Speaker B: Well, we'll see, because these are both but we don't know. Neither of them want to divulge a release date until it's certain because people don't. We've all learned that produced product to under Promise Over Deliver is really the best policy. : You can't give a product a C section. Speaker B: Right. Speaker A: What we can promise about the passport, though, is that when it does come out, it's going to be killer. Speaker B: It's going to be killer. We're going to make sure of it, because by the time anybody receives one in the mailbox, we have already hammered on it and proven without a shadow of a doubt that it will do what we said it's going to do. When you get one, it's going to be fully tested and vetted before that. : Yeah, I'm excited because I think you see all these USB interfaces coming out constantly and no one has one that does these. Speaker B: They're all playing out of a different playbook. Like, I got into a whole conversation on Facebook about this one person's. POV is clearly the future is firmware, software, everything. And I said, I don't think it's that clear. I said, Because we're developing the exact opposite. And his response was, I think that's not a good idea. And my response was, I think it's a very good idea because look at all the products that have come and gone and what products you can still plug into your Mac or your PC that still work 15 years later. And the Micport Pro First Gen is one of those products. You just plug it in and it works. So that's the philosophy. We're just carrying that forward. Speaker A: My old trusty two rack sitting here right next to me. How old is that now? Jesus. Speaker C: 15 years. Speaker A: Have to be something like that. Still keeps going. : A two, not even an three two rack. Speaker A: Yes, exactly. Speaker B: Yeah. Wow. : I have some ones in my garage. Speaker A: No, I don't need the double o one. Speaker C: What are they doing in the garage? Speaker A: Yes, exactly. Why are you using them, Robert? Speaker B: Unlike you, he's using his ramps to hold up his Porsche 920. Speaker C: The Pro audio suite with thanks to Tribut and Austrian audio recorded using Source Connect, edited by Andrew Peters and mixed by Robo Got your own audio issues? Just askrobo.com tech support from George, the tech Wittam. Don't forget to subscribe to the show and join in the conversation on our Facebook group. To leave a comment, end, suggest a topic, or just say good day. Drop us a note at our website proaudiosuite.com
Why didn't Apple's Unix-based A/UX become the Mac OS of the future? Original text by Basal Gangster. UniSoft mentions A/UX exactly once in the darker recesses of its website. A/UX 1.0 demo on the Computer Chronicles, 1989. Demo starts at ~19 minutes. Watch the announcement of Carbon at WWDC 1998. Sean Parent describes how Carbon almost didn't happen, a classic case of sticking to your guns until Steve Jobs adopts your idea. The fight over multiuser features and authentication requirements for Mac OS X as told by Avie Tevanian and (separately) Steve Jobs. Bill Warner tells his story about founding Avid and switching from Apollo workstations to the Macintosh. Individual parts: 1, 2, 3, 4, 5 (the Mac part). Cropped 16:9 in one piece. Watch Bill Warner demonstrate the Avid/1 Media Composer on a Macintosh II in 1989 for an Avid promo tape and for WBZ TV Massachusetts.
Editor - Colby Parker Jr., ACE GRAN TURISMO editor Colby Parker Jr ACE has largely built his feature-film editing career on high-adrenaline action films, most notably for his work with director Peter Berg; including FRIDAY NIGHT LIGHTS (2004), PATRIOTS DAY (2016), DEEPWATER HORIZON (2016) and MILE 22 (2018). Colby even took a turn in the MCU, cutting ANT-MAN (2015) alongside Dan Lebental ACE. Bypassing the usual assistant editor route, Parker began his professional journey cutting music videos, which he credits with helping to build his editorial chops for the action genre. The true story of a team of unlikely underdogs -- a working-class gamer, a former race-car driver, and an idealistic motorsport executive, GRAN TURISMO is directed by Neill Blomkamp from a screenplay by Jason Hall and Zach Baylin. Produced by Columbia Pictures, PlayStation Productions, and 2.0 Entertainment, it is based on the racing simulation video game series of the same name and tells the true story of Jann Mardenborough, a teenage Gran Turismo player who became a professional race car driver. Editing Gran Turismo In our discussion with GRAN TURISMO editor Colby Parker Jr. ACE, we talk about: Going from Berg to Blomkamp Starting with score, but skipping SICARIO Gamer Vision The sight and sound duties of assistant editors Fighting back against the director The Credits Visit ExtremeMusic for all your production audio needs Learn all about Avid's Media Composer for Students program Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube
Editors - Richie Edelson and Sarah Zeitlin The ABBOTT ELEMENTARY editing team of Richie Edelson and Sarah Zeitlin walked similar but separate paths in the early stages of their careers. Each cut their editorial teeth in the world of unscripted and both took a turn at the same mockumentary sitcom format that they would employ in the show that finally united them as co-editors. Abbott Elementary is a mockumentary sitcom created by Quinta Brunson for ABC. It stars Brunson as Janine Teagues, an optimistic second-grade teacher at the poorly funded Willard R. Abbott Elementary School; a predominantly Black Philadelphia public school where a documentary crew is recording the lives of teachers working in underfunded, mismanaged schools. Although conditions at the school are harsh and most teachers don't last more than two years, Teagues is determined to help her students despite the circumstances. RICHIE EDELSON Richie's early career path found him in the cutting rooms of popular unscripted series such as PROJECT RUNWAY (2008), REAL CHANCE OF LOVE (2008-09) and ROB DYRDEK'S FANTASY FACTORY (2009). Soon after he would get to flex his comedy chops on sitcoms like PARKS AND RECREATION (2012-13), BLACK-ISH (2014-17) and SUPERSTORE (2017-21). It would be Edelson at the helm of the Avid when it came time to develop the pilot for the soon-to-be hit series, ABBOTT ELEMENTARY (2021-23). SARAH ZEITLIN Like Richie, Sarah has also logged a few miles on the road of reality television; assisting on HELL'S KITCHEN (2008), plus assisting and editing on THE MILLIONAIRE MATCHMAKER (2008-11). But it would be assisting on the mockumentary hits MODERN FAMILY (2009-10) and PARKS AND RECREATION (2012) that would be a sign of things to come for her role as editor on ABBOTT ELEMENTARY (2022-23). Sarah's work as an editor can also be seen in dramas like HOMELAND (2017-20) and MAYOR OF KINGSTOWN (2021). Editing Abbott Elementary In our discussion with the ABBOTT ELEMENTARY editing team of Richie Edelson and Sarah Zeitlin, we talk about: The hidden benefits of commercial breaks The anatomy of a mockumentary sitcom The truth of building a character through comedy The sound of silence or just a bad speaker? Lovely parting gifts The Credits Visit ExtremeMusic for all your production audio needs Learn all about the Media Composer for Students program Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube
S3E20: The value of mentoring and encouraging staff to continually learn and develop their skills cannot be underestimated, particularly with the advent of remote working in the post-production industry. In the final episode of season three of the podcast, host Craig Wilson talks with Ed Bengoa, director of post production at ITN in the UK, about the challenges and benefits posed by the advent of remote working procedures. Our Guest This Episode Ed Bengoa Director of Post Production ITN Ed is currently the Director of Post Production at the UK-based news and content producer ITN, where she has worked since 2021. Prior to this Ed was the Head of Post Production at MSV Post, part of the Tinopolis group of companies and also has experience working as the Facilities Manager with Directors Cut Films. Audio was her first love, and she spent nine years working with BBC Studioworks in a variety of audio-related roles. Prior to this, she worked as a dubbing editor at the leading post-production house, Molinare. More Resources For more on this topic, check out Avid | Edit On Demand – Discover the benefits of a fully cloud-deployed post-production environment with Media Composer and Avid NEXIS running in Microsoft Azure Avid NEXIS | EDGE – Open up new possibilities for remote post-production working, connecting to your on premises Avid NEXIS storage Making the Media Season Three – Catch up on all 20 episodes of Season Three Contact Us Questions? Comments? Cool ideas? Get in touch: makingthemedia@avid.com or @craigaw1969. Follow Avid at @avid. Credits Host: Craig Wilson Producer: Matt Diggs Social: Wim Van den Broeck Theme Music: Greg “Stryke” Chin
Editors - Mike McCusker ACE, Andrew Buckland ACE and Dirk Westervelt ACE The INDIANA JONES AND THE DIAL OF DESTINY editing team of McCusker, Buckland and Westervelt have been amping up the action in the cutting room for a while now. First joining up for James Mangold's LOGAN (2017); the team would collaborate once more on Mangold's FORD V FERRARI (2019) before finding themselves at the editorial helm of the fifth, and most likely final, installment of the Indiana Jones franchise. INDANA JONES AND THE DIAL OF DESTINY sees daredevil archaeologist Indiana Jones race against time to retrieve a legendary dial that can change the course of history. Accompanied by his goddaughter, he soon finds himself squaring off against Jürgen Voller, a former Nazi who works for NASA. MIKE McCUSKER, ACE Aside from his Oscar®-winning turn in Mangold's FORD v FERRARI (2019), Mike McCusker is known for a wide variety of films including; WALK THE LINE (2005), AUSTRALIA (2008), THE AMAZING SPIDER-MAN (2012) and THE GREATEST SHOWMAN (2017) ANDREW BUCKLAND, ACE Also an Oscar®-winner for FORD v FERRARI (2019), Andrew "Don't call me Andy" Buckland is a frequent editorial collaborator with Mike McCusker on films like; 3:10 TO YUMA (2007), THE WOLVERINE (2013) and THE GIRL ON THE TRAIN (2016). DIRK WESTERVELT, ACE When he's not cutting for James Mangold on projects such as; LOGAN (2017) and FORD v FERRARI (2019), Dirk's editing chops can be seen in DEADPOOL 2 (2018) and ZOMBIELAND: DOUBLE TAP (2019). Editing INDIANA JONES AND THE DIAL OF DESTINY In our discussion with Mike, Andrew and Dirk, we talk about: Making the most of motifs To Wilhelm or not to Wilhelm Dealing with dialogue during de-aging A touch of 70's cinema for Indy Andrew Buckland - Man of a Thousand Voices The Credits Visit Extreme Music for all your production audio needs Learn about Avid's new Media Composer for Students program See Dirk present the Avid timelines from DIAL OF DESTINY Listen to Mike and Andrew talk about their work on FORD v FERRARI Hear Dirk discuss cutting ZOMBIELAND: DOUBLE TAP Watch Dirk present a behind the scenes tour of DEADPOOL 2 Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube
Editors - Timothy A. Good, ACE and Emily Mendez THE LAST OF US editors Tim Good, ACE and Emily Mendez are the perfect example of mentoring in action. Paying forward the mentoring he received from editor Norman Buckley, ACE, Tim has always looked for ways he could elevate assistants into the first chair. Building on her work with Tim on THE UMBRELLA ACADEMY, Emily was more than ready to grab the editorial reins when the time came for THE LAST OF US. THE LAST OF US is set in 2023, twenty years into a pandemic caused by a mass fungal infection which causes its hosts to transform into zombie-like creatures and collapses society. The series follows Joel (Pedro Pascal), a smuggler tasked with escorting an immune teenager named Ellie (Bella Ramsey) across a post-apocalyptic United States. The creative force behind the video game on which the series is based is Neil Druckmann. One of the game's legion of fans was writer / director Craig Mazin (Chernobyl). The two would go on to successfully pitch HBO on the concept of adapting the game into a series. TIMOTHY GOOD ACE In addition to THE LAST OF US, Tim is known as both an editor and producer for his work on such shows as The Umbrella Academy (2019) and Fringe (2008). EMILY MENDEZ Emily Mendez is known for The Umbrella Academy (2019), The Resident (2018) and Light as a Feather (2018). Editing The Last of Us In our discussion with The Last of Us editors, Tim and Emily, we talk about: How to SUCCESSFULLY adapt a video game into a series Sound design...the assistant's advantage When 1 episode + 1 episode = 1 pilot The benefits of bottle episodes Meaningful mentoring The Credits Visit Extreme Music for all your production audio needs Learn about Avid's new Media Composer for Students program Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube
Editors - Fred Raskin ACE and Greg D'Auria GUARDIANS OF THE GALAXY: VOL. 3 editors Fred Raskin and Greg D'Auria find themselves in familiar territory; collaborating on a James Gunn project. But their twenty-year plus relationship dates back much further than their work with Gunn. The two first collaborated on Tarantino's KILL BILL: VOL. 1 (2003). In James Gunn's final installment of the "Guardians" trilogy, Peter Quill, still reeling from the loss of Gamora, must rally his team to defend the universe and protect one of their own. If the mission is not completely successful, it could possibly lead to the end of the Guardians as we know them. FRED RASKIN ACE Fred has worked with Gunn on all three Guardians of the Galaxy films, as well as the tv series PEACEMAKER and Peacemaker's origin film, THE SUICIDE SQUAD (2021). In addition to his work with Gunn, another prominent director that Fred is known to cut for is Quentin Tarantino. Fred handled the editorial duties for DJANGO UNCHAINED (2012), THE HATEFUL EIGHT (2015) and, most recently, ONCE UPON A TIME IN HOLLYWOOD (2019). GREG D'AURIA Editor Greg D'Auria has crossed paths with Fred Raskin on more than one occasion in their careers. Also a veteran of the "Quentin Tarantino Extended Universe", Greg has worked as assistant and editor on films such as KILL BILL: VOL 1 (2003) and DJANGO UNCHAINED (2012). D'Auria also lent his editorial talents to films like FAST & FURIOUS 6 (2013), F9: THE FAST SAGA (2021) and the GUARDIANS OF THE GALAXY HOLIDAY SPECIAL (2022). Editing GUARDIANS OF THE GALAXY: VOL. 3 In our discussion with Guardians of the Galaxy Vol 3 editors, Fred and Greg, we talk about: VFX being the tail that wags the...raccoon? Cutting a film without reading the script Bowling for sound effects The family business of temp tracks Final thoughts on the Guardians trilogy The Credits Visit Extreme Music for all your production audio needs Learn about Avid's new Media Composer for Students program Hear Fred and Greg talk about their work on Gunn's PEACEMAKER Listen to Fred and editor Chris Wagner discuss Gunn's THE SUICIDE SQUAD Editor Fred Raskin talks about cutting Quentin Tarantino's ONCE UPON A TIME IN HOLLYWOOD Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube
Editors - Glenn Garland ACE, Bob Ducsay ACE, Paul Swain, Shaheed Qaasim The POKER FACE editing team of Garland, Ducsay, Qaasim and Swain might sound like a formidable name for a law firm, but their real talents lie in making a great "howcatchem" show with noted director and series creator, Rian Johnson. POKER FACE is a murder mystery series stylized as a character-driven, case-of-the-week mystery, with each episode adapting the inverted detective story format popularized by COLUMBO. The series centers around Charlie Cale, a casino worker with an innate ability to detect lies, traveling across the United States on the run from a casino boss following a suspicious death. Along the way, she encounters colorful characters and solves homicides in a variety of settings. GLENN GARLAND, ACE Accomplished editor Glenn Garland, ACE has over three decades of experience plying his skills on fan favorite tv series such as; STAN AGAINST EVIL, PREACHER and THE VAMPIRE DIARIES, as well as feature films like; HALLOWEEN (2007), KING OF CALIFORNIA and the infamously unreleased THE FANTASTIC FOUR (1994). BOB DUCSAY, ACE Editor Bob Ducsay ACE has forged a tight collaborative bond with director Rian Johnson, going back to their first film, LOOPER (2012). And although POKER FACE is only their first tv series together, the quality of their feature work has already been recognized by audiences, critics and the industry at large. The pair were recently honored with the inaugural Variety Creative Collaborators Award at the 10th annual Middleburg Film Festival. PAUL SWAIN Rock drummer turned editor Paul Swain has brought his natural sense of rhythm to such projects as; THE UNICORN, THE EX-PM and THE MOODYS, for which he won an Australian Screen Editors ASE award in 2014. SHAHEED QAASIM Editor by day, swing dancer by night, Shaheed Qaasim's storytelling chops can be seen in shows like; MODERN FAMILY, THE WALKING DEAD: WORLD BEYOND and FUTURE MAN. Editing POKER FACE In our discussion with the POKER FACE editing team, we talk about: Paying homage to 70's procedurals Going from swing dancing to swings in tone Reinventing the audio and visual languages throughout Teaching your audience how to watch the show Holding off on temp score until you really need it The Credits Visit Extreme Music for all your production audio needs Learn about Avid's new Media Composer for Students program Hear Bob's interviews about his work on Rian Johnson's; KNIVES OUT, GLASS ONION and THE LAST JEDI. Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube
John Wick: Chapter 4 - Editor Nathan Orloff, Asst. and Additional Editor Nicholas Lundgren JOHN WICK: CHAPTER 4 editor, Nathan Orloff and assistant and additional editor, Nicholas Lundgren first joined forces in their early days at JJ Abrams' Bad Robot studio, with their initial collaborative effort being director Morgan Dameron's DIFFERENT FLOWERS (2017). For director Chad Stahelski's latest installment of the chronicles of the reluctant hit man, Nathan and Nicholas are together once again, this time with Nicholas earning an Additional Editor credit. With the price on his head ever increasing, JOHN WICK: CHAPTER 4 tells the tale of the legendary hit man as he takes his fight against the High Table global and seeks out the most powerful players in the underworld, from New York to Paris to Japan to Berlin. NATHAN ORLOFF Nathan Orloff is known for his editing on TULLY (2018), PLAN B (2021) and GHOSTBUSTERS: AFTERLIFE (2021). NICHOLAS LUNDGREN In addition to his work on JOHN WICK: CHAPTER 4, Nicholas has assisted on films such as; OVERLORD (2018), PET SEMATARY (2019) and WEST SIDE STORY (2021). Editing John Wick: Chapter 4 In our discussion with JOHN WICK: CHAPTER 4 editor Nathan Orloff and asst./addt'l editor Nicholas Lundgren, we talk about: Finding an editor who doesn't do action movies for your big action movie Building bridges at Bad Robot Working "wide" to create comedy amidst the chaos Buster Keaton, action hero The beauty of vertical monitor, script-view, scene bins The Credits Visit ExtremeMusic for all your production audio needs See what's new with Avid Media Composer See Nathan Orloff's guided tour of his John Wick: Chapter 4 Media Composer timelines Hear Nathan Orloff discuss cutting Ghostbusters: Afterlife Editor Evan Schiff on cutting John Wick: Chapter 3 - Parabellum Subscribe to The Rough Cut for more great interviews with the heroes of the editing room Visit The Rough Cut on YouTube
Editors - Laura Jennings and Adam Gerstel Ant-Man and The Wasp: Quantumania editors Laura Jennings and Adam Gerstel jumped in with both feet when director Peyton Reed suggested that he wanted to have a "unified" cutting room unlike any Marvel movie that had come before. The result? A director's cut driven by two editors, one Avid, a pair of dueling Bluetooth keyboards, and no regrets! In Ant-Man and The Wasp: Quantumania, which officially kicks off phase 5 of the Marvel Cinematic Universe, Super-Hero partners Scott Lang (Paul Rudd) and Hope Van Dyne (Evangeline Lilly) return to continue their adventures as Ant-Man and The Wasp. Together, with Hope's parents Hank Pym (Michael Douglas) and Janet Van Dyne (Michelle Pfeiffer), the family finds themselves exploring the Quantum Realm, interacting with strange new creatures and embarking on an adventure that will push them beyond the limits of what they thought was possible. Jonathan Majors joins the adventure as Kang. LAURA JENNINGS Although she's joining the Marvel family for the first time, Laura is no amateur when it comes to VFX heavy features, having previously edited films such as MALEFICENT: MISTRESS OF EVIL and EDGE OF TOMORROW (aka LIVE DIE REPEAT). ADAM GERSTEL Although this is also Adam's first tour of duty in the MCU, he's no stranger to the "StageCraft" virtual set technology used in this movie. Adam worked with similar models when cutting THE LION KING and THE MANDALORIAN: SEASON TWO. Editing Ant-Man and The Wasp: Quantumania In our discussion with Ant-Man and The Wasp: Quantumania editors Laura Jennings and Adam Gerstel, we talk about: Tandem cutting with Bluetooth keyboards Teaching "twelve year-olds" about KEM rolls What to do when they knock five months off your schedule When your character has a giant head, every shot is a close-up Location scouting with VR headsets The Credits Visit ExtremeMusic for all your production audio needs See which Media Composer offering is right for you Hear editor Laura Jennings discuss cutting Maleficent: Mistress of Evil Listen to editor Adam Gerstel talk about his work on The Lion King and The Mandalorian Subscribe to The Rough Cut for more great interviews with the heroes of the editing room Got an idea for the show, leave a message on The Rough Cut website Visit The Rough Cut on YouTube
Editors - Yvette M. Amirian, ACE and Matt Friedman, ACE When it comes to learning editing in film school, who better to learn from than ACE editors? When they aren't in the cutting rooms themselves, editors Yvette M. Amirian, ACE and Matt Friedman, ACE are in the classrooms of two of the most prestigious film schools in the world. Yvette has returned to the institution where she received her own filmmaking education, USC, to help inform the next generation as to what they need to know about the craft, as well as the career, of editing. At the American Film Institute, Matt asks his grad students to consider more than just how to put a story together, but to question why something works or something doesn't; never letting them forget that every frame matters. Yvette M. Amirian, ACE Yvette M. Amirian, ACE is an award-nominated film and television editor. After graduating from the University of Southern California's (USC) School of Cinema-Television, she built a successful career and has been transitioning seamlessly between editing scripted and documentary content for the better part of two decades. In 2011, she and her team received an Eddie Award nomination from the American Cinema Editors (ACE) for their work on Animal Planet's Whale Wars. In 2017, she edited and produced John Singleton's L.A. Burning: The Riots 25 Years Later for A&E, which was nominated for a Primetime Emmy (Outstanding Documentary Special). Her most recent project is an upcoming scripted feature for critically acclaimed filmmaker Robert Machoian, The Integrity of Joseph Chambers. Yvette is a proud member of the Motion Picture Editor's Guild, the Academy of TV Arts & Sciences, and ACE. She lives in Los Angeles with her husband and two sons. Matt Friedman, ACE Matt won the 2021 ACE Eddie for Best Edited Feature Film (Comedy) for Palm Springs, and was nominated in 2020 for "The Farewell". He was born in rural east Tennessee to a coal mining family living in the foothills of the Appalachians. After graduating from Oak Ridge High School with an emphasis in Extinct Ancient Languages, Matt headed for Chicago to attend Northwestern University. Due to a series of accidental registration errors, he ended up with enough credits for a degree in Economics as well as Film. None of his college film work involved blowing up model cars, however. He finished his Econ degree at the University of Queensland, in Brisbane, Australia, where he was offered AU$100 and a Sydney snow globe by a group of Australian students if he would vote for Clinton in '92 via absentee ballot. Matt then moved to a spacious two bedroom apartment in scenic North Hollywood to begin his film career in earnest. Arriving just in time for the Northridge Earthquake and the fires and mudslides of '93, he was very lucky to begin working for a series of extremely supportive and wonderful editors, including (but not limited to!) Peter Teschner, Emma Hickox, Jill Bilcock, and Sheldon Kahn. In recent years, Matt has enjoyed cutting a variety of different types of films and television pilots, including films in Spanish and Chinese, even though he doesn't speak the languages. He now lives in the Hollywood Hills with his wonderful husband Chris and their son. In our discussion with educators and editors Yvette M. Amirian, ACE and Matt Friedman, ACE about teaching editing in film school, we talk about: What today's editors/educators learned from their own film school experience Crafting editing curriculums, or is it curricula? What editors can learn about editing from their students Taking off points for messy timelines The next steps right after film school The Credits Visit Extreme Music for all your production audio needs See the latest new features in Avid Media Composer Hear Matt discuss his work on PALM SPRINGS See Matt walk you through his Media Composer timeline for PALM SPRINGS. Send me your feedback and questions here Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube
「アビッド、Media Composer 2022.12リリース。「Avid MBOX Studio」を完全サポート」 Avid MBOX Studioオーディオインターフェイスをサポート。Avid MBOX StudioをUSBで接続すると、macOSとWindows両方でマルチチャンネルの「サラウンドサウンド」再生を含む、最大8チャンネルの入出力 が可能になった。
Callum and Jamie chat with Adam Pain, master songwriter, producer, and educator!Adam is a senior lecturer at ACM. Adam's credits include Musicians Channel TV Presenter (Sky), Production and Mix Engineering for Eva Katzler, Toby Jepson, The Nat Martin Band, Guitar Techniques, Total Guitar and Computer Music (magazines), Media Composer with TV, radio and web credits, and music video production work for a variety of artists, including Myke Gray, Toseland and Skunk Anansie.- Advice to beginner songwriters- Reverse engineering your favorite songs is a great way to see huge gains in your skills- Art is art is art- Technology helps you write quickly. Loops can be your friends.- The environment you're in affects your creativity. Are you recording vocals? Dim those lights!- Always have gear at the ready to capture your ideas- You cannot and will not please everybody- Big mistakes are the way to go. Be brave and experiment. Embrace failed experiments.- You have the power. You don't need the big wigs in the music industry to make a good living anymore.- Does copyright law inhibit creativity?- Advice for young people to break through the noise- Change with the times. Go where your ideal audience is.- Be authentic- Is the music industry dead?- Be proactive with your career---------------Do you want free constructive feedback on your songs? Send us an mp3 or SoundCloud link to iwishiknewthatpod@gmail.com and we'll be sure to give your song a listen and send you our thoughts!We love hearing your suggestions for the show or send us a question about songwriting on Facebook or Instagram. Be well, write well. J & C
DescriptionFor this bonus interview episode, I chat with Canadian Media Composer, Maria Molinari. Trained as a classical guitarist, Maria Molinari began her composing career writing concert music for soloists, chamber groups, ballet and orchestras until her love of film, storytelling & collaboration drew her to film scoring. Maria recently composed the score for the bold critically acclaimed anthology film TO THE NEW GIRL. Her music can be heard in the score for the feature film END OF DAYS, INC. and the theme for the forensic series MOTIVES & MURDERS: CRACKING THE CASE. She has provided additional music for the MARVEL COMICS based sci-fi syndicated series MUTANT X and the retro musical comedy series GETTING ALONG FAMOUSLY. Enjoy!About Steven, HostSteven is a Canadian composer living in Toronto. He creates a range of works, with an emphasis on the short-form genre—his muse being to offer the listener both the darker and more satiric shades of human existence. If you're interested, please check out his website for more. Member of the Canadian League Of Composers.A Note To Music Students et al.All recordings and sheet music are available on my site. I encourage you to take a look and play through some. Give me a shout if you have any questions.Got a topic? Pop me off an email at: TCMMPodcast@Gmail.com Support the show
Source-Nexus Pro is an audio application router for AAX, VST and Audio Units hosts: Record remote voiceover from Source-Connect directly in Final Cut or Media Composer, playback iTunes to Pro Tools, patch Pro Tools to and from Nuendo, Logic, Reaper and more. All at the same time! The possibilities are endless as it opens an entirely new world for application integration with Pro audio users and their studio environment. You can now "patch-in" any software such as phone applications, metering, encoders, decoders, external processors, other audio workstations, video editors, and even a web page! A big shout out to our sponsors, Austrian Audio and Tri Booth. Both these companies are providers of QUALITY Audio Gear (we wouldn't partner with them unless they were), so please, if you're in the market for some new kit, do us a favour and check out their products, and be sure to tell em "Robbo, George, Robert and AP sent you"... As a part of their generous support of our show, Tri Booth is offering $200 off a brand new booth when you use the code PAP200. So get onto their website now and secure your new booth... https://tribooth.com/ And if you're in the market for a new Mic or killer pair of headphones, check out Austrian Audio. They've got a great range of top-shelf gear.. https://austrian.audio/ We have launched a Patreon page in the hopes of being able to pay someone to help us get the show to more people and in turn help them with the same info we're sharing with you. If you aren't familiar with Patreon, it's an easy way for those interested in our show to get exclusive content and updates before anyone else, along with a whole bunch of other "perks" just by contributing as little as $1 per month. Find out more here.. https://www.patreon.com/proaudiosuite If you haven't filled out our survey on what you'd like to hear on the show, you can do it here: https://www.surveymonkey.com/r/ZWT5BTD Join our Facebook page here: https://www.facebook.com/proaudiopodcast And the FB Group here: https://www.facebook.com/groups/357898255543203 For everything else (including joining our mailing list for exclusive previews and other goodies), check out our website https://www.theproaudiosuite.com/ “When the going gets weird, the weird turn professional.” Hunter S Thompson
Stations with an XPression gateway for their MOS workflow can now provide the same templates to their Avid NLE users on Windows-based Media Composer or NewsCutter systems, to extend the station branding as well as streamline the workflow. Newsroom users can also create graphics from in the XPression MOS plug-in and save them in folders for the editor to pick up and add to their bin and then to their timeline. Living Live! with Ross Video www.rossvideo.com/XPression-U
Adonis Aletras lives on the island of Cyprus, near Greece. We think much of his success can be attributed to his talent, tenacity, and hunger to learn as much as possible about the composers who became successful before him. That insatiable hunger led him to conduct "mini interviews" with dozens of top composers and other industry luminaries. The result? Adonis's book, So, You Want to Become a Media Composer? Check out his book on Amazon here! https://www.amazon.com/dp/B07HHB6G8B/ref=nosim?tag=t0248a-20 *As an Amazon Associate, we earn from qualifying purchases from the above link. During this week's episode of TAXI TV, I'm going to ask Adonis to tell us what common traits and salient advice he learned from the composers he interviewed. This is going to be good... REALLY good! Adonis's energy and personality are incredibly infectious. His dedication to the craft of composing is admirable. I'm excited to have you meet him during this special episode of TAXI TV!
Editor - Justin Krohn, ACE WeCrashed editor, Justin Krohn is An Emmy-nominated American Film & TV editor based in Los Angeles. Krohn began his career working as an assistant editor in Los Angeles & New York, most notably on Martin Scorsese's Bob Dylan documentary, NO DIRECTION HOME (2005). Continuing to work in the Scorsese orbit while in New York, he contributed to the George Harrison documentary LIVING IN THE MATERIAL WORLD (2011), while also working on Michael Haennke's US remake of FUNNY GAMES (2007) & several Bruce Springsteen documentaries for director Thom Zimny. Returning to Los Angeles, Justin began to work as an editor on AMERICAN HORROR STORY (2015-2016), BLOODLINE (2017), TWIN PEAKS: THE RETURN (2017), & THE CURRENT WAR: DIRECTOR'S CUT (2017). Beginning in 2017, he began working with director Sam Esmail on the acclaimed series, MR. ROBOT (2017-2019), starring Rami Malek, & then Amazon's limited series HOMECOMING (2018), starring Julia Roberts. In 2018, he was nominated for an Emmy for his work editing TWIN PEAKS: THE RETURN for director David Lynch. WeCrashed is an American drama streaming television miniseries based on the podcast WeCrashed: The Rise and Fall of WeWork by Wondery. The series stars Jared Leto and Anne Hathaway and follows the entrepreneurial rise and fall of WeWork, one of the world's most valuable startups, and the characters whose chaotic love made it all possible. Editing WeCrashed In our discussion with WeCrashed editor, Justin Krohn, ACE we talk about: Getting film schooled by Thelma Schoonmaker The editorial benefits of cross-boarded shooting Motivated cutting techniques to accelerate the story Making the most out of montages Learning and re-learning the communications skills an editor needs The Credits Get your free 100GB of media transfer at MASV Visit ExtremeMusic for all your production audio needs See which model of Avid Media Composer is right for you Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube
William Hoy ACE, Tyler Nelson, Will Files, Douglas Murray THE BATMAN post production team of editors Bill Hoy and Tyler Nelson, along with supervising sound editors Will Files and Doug Murray, are justifiably proud of the film they've made. In breaking the mold of the superhero archetype, they achieved director Matt Reeves' vision of a noir murder mystery that's more in the vein of classis 70's cinema than the glossy blockbusters of the 21st century. Adding to this feat is the fact that they were forced to shut down one month into production only to return to action in a much more restrictive model of collaboration than they were used to. In spite of those challenges, audiences and critics alike have responded in a big way to the remarkably fresh take on DC Films' dark knight. The story of THE BATMAN begins two years into his crimefighting legacy, forgoing the usual origin story elements often found in super hero tales, and follows Batman / Bruce Wayne as he ventures into Gotham City's underworld where he must track a sadistic killer prone to leaving behind a trail of cryptic clues. As the evidence begins to lead closer to home and the scale of the perpetrator's plans becomes clearer, he must forge new relationships, unmask the culprit and bring justice to the abuse of power and corruption that has long plagued the city. WILLIAM HOY ACE William Hoy is known for his work on NO WAY OUT (1987), DANCES WITH WOLVES (1990), THE BONE COLLECTOR (1999), DAWN OF THE PLANET OF THE APES (2014) and WAR FOR THE PLANET OF THE APES (2017). TYLER NELSON Tyler Nelson is known for his assistant editing work on THE SOCIAL NETWORK (2010), THE GIRL WITH THE DRAGON TATTOO (2011) and GONE GIRL (2014); as well as his editing work on MINDHUNTER (2017-2019) and SHADOW AND BONE (2021). WILL FILES Will Files is known for his work on CLOVERFIELD (2008), DAWN OF THE PLANET OF THE APES (2014), WAR FOR THE PLANET OF THE APES (2017), STAR WARS: EPISODE VII - THE FORCE AWAKENS (2017) and VENOM (2018). DOUGLAS MURRAY Douglas Murray is known for his work on THE ENGLISH PATIENT (1996), CLOVERFIELD (2008), DAWN OF THE PLANET OF THE APES (2014), WAR FOR THE PLANET OF THE APES (2017) and ANT-MAN AND THE WASP (2018). Making The Batman In our discussion with THE BATMAN post production team, we talk about: The influence of 70's cinema on THE BATMAN Using POV driven sound to internalize character feelings Building the “voice” of the Batmobile The anatomy of a chase scene Futzing music on the fly The Credits Get your free 100GB of media transfer at MASV Visit ExtremeMusic for all your production audio needs See what's new in the latest versions of Media Composer and Pro Tools Hear editor Bill Hoy talk about editing THE CALL OF THE WILD See re-recording mixer and sound designer Will Files and the post production team from STRANGER THINGS discuss Season Three Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube
Editors - Molly Shock ACE, Matt Cluett, Ezra Hudson MASTERCHEF: LEGENDS editors Molly Shock, Matt Cluett and Ezra Hudson join The Rough Cut to talk about their ACE Eddie nominated work on Season 11 of the reality TV juggernaut. Featuring celebrity chef Gordon Ramsey, the cooking competition pits amateur and "at home" chefs against one another in an ongoing gauntlet of culinary challenges until only one contestant is left standing. The competition takes place in the MasterChef soundstage located in Los Angeles, CA; which includes a large kitchen area with several cooking stations that are overlooked by a balcony, a well-stocked pantry, a freezer/fridge area and a fine-dining restaurant/seating dining area room used for certain challenges. MOLLY SHOCK ACE Aspiring director Molly Shock discovered her love of editing through her disdain for being on set. The DGA's loss was unscripted tv's gain as Molly's storytelling skills and eye for "salty looks" has helped create some of the most popular shows in the world of reality television. Too numerous to name in their entirety, Molly has edited such reality tv standouts as; BEYOND SCARED STRAIGHT, TOP CHEF MASTERS, PROJECT RUNWAY, SURVIVOR, NAKED AND AFRAID and RUPAUL'S DRAG RACE ALL STARS. Always up for a challenge, Molly has never met an escape room she didn't like or a turkey she couldn't cook. MATT CLUETT Matt Cluett's first opportunity to try his hand at cutting unscripted tv began in Australia on the Aussie versions of many well known reality franchises, including shows such as; THE BIGGEST LOSER, THE APPRENTICE, SO YOU THINK YOU CAN DANCE, THE X FACTOR, WIFE SWAP, AUSTRALIA'S NEXT TOP MODEL, THE BACHELOR and of course, MASTERCHEF AUSTRALIA. Currently on his third season of MASTERCHEF: LEGENDS, Matt focuses much of his attention on the "super tease" element of the show. EZRA HUDSON USC film school grad, Ezra Hudson initially found himself on a track to being a "very" junior feature development studio exec and then marketeer at Legendary Pictures. At that point Ezra considered the process of post production to be boring, based on some brief experience he had visiting a film cutting room while he was in high school. Despite that previous conception of post, Ezra knew he needed to do something more visceral and vital with his talents. That desire put him back on course with editing, joining shows like LEGO MASTERS and DANCING WITH THE STARS, and ultimately leading him to lend his "God's eye view" to the finishing phase of MASTERCHEF: LEGENDS. Editing MasterChef: Legends In our discussion with MASTERCHEF: LEGENDS editors Molly Shock ACE, Matt Cluett and Ezra Hudson, we talk about: What it's like to be on a show that can have a team of up to 20 editors How they divide up the workflow with “Builders”, “Polishers”, & “Finishers” How you work remotely with such a large team Why the cold opens and "next on" segments are so important to the whole context of an episode Managing the sheer volume of media required to make a show like MasterChef The Credits Get your free 100GB of media transfer at MASV Visit ExtremeMusic for all your production audio needs Learn all about how the new Avid NEXIS | EDGE enables Media Composer and Adobe Premiere teams to collaborate remotely Hear editor Molly Shock ACE and her unscripted tv colleagues get real about working in reality TV Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube
A decision to enter the specialist field of freelance media composing helped music educator Helen Lyon transform her personal and professional life. You can find information about Helen at https://www.helentlyon.co.uk/ If you enjoy this conversation, please subscribe, check out our other great episodes, and even better leave us a review. You can also follow us on social media and sign up to our mailing list at https://polyphonyarts.com/mailing-list for updates and news about Music Works and Polyphony Arts. Music Works is generously supported by Allianz Musical Insurance, the UK's No. 1 musical instrument insurer.
Editors - Leigh Folsom Boyd ACE and Jeffrey Ford ACE Editors Leigh Folsom Boyd and Jeffrey Ford are not exactly newbies when it comes to the Marvel Cinematic Universe. And while they have many prior MCU colleagues in common, SPIDER-MAN: NO WAY HOME represents the first time they've ever worked together on a project. Jeff was the editor who introduced Tom Holland's Peter Parker to the MCU when he cut CAPTAIN AMERICA - CIVIL WAR. Leigh has the distinction of also cutting the previous film in director Jon Watts' "Spidey" trilogy, SPIDER-MAN: FAR FROM HOME alongside editor Dan Lebental ACE. NO WAY HOME picks up things up in the moment after Mysterio exposes Parker's identity as Spider-Man to the world in FAR FROM HOME. Peter then asks Dr. Strange to make it a secret again with magic, but this breaks open the "multiverse" and allows five supervillains from alternate realities to enter Parker's universe. LEIGH FOLSOM BOYD ACE Even before joining the Marvel Cinematic Universe to co-edit ANT MAN, SPIDER-MAN: FAR FROM HOME and BLACK WIDOW, editor Leigh Folsom Boyd had plenty of experience cutting blockbuster action movies. Her rich resume includes films like FAST & FURIOUS, FAST FIVE, FAST & FURIOUS 6, FURIOUS 7, PIRATES OF THE CARIBBEAN: DEAD MEN TELL NO TALES and TOTAL RECALL (2012). JEFFREY FORD ACE While Jeff Ford's career has been punctuated by the excellent work he has done in smaller projects such as ONE HOUR PHOTO (2002), BLOODWORTH (2010) and THE COMEY RULE (2020), it is his impressive and unmatched roster of ten MCU films (plus THE FALCON AND THE WINTER SOLDIER for Disney+) for which he is most well known. Editing Spider-Man: No Way Home In our discussion with the SPIDER-MAN: NOW WAY HOME editing team of Leigh Folsom Boyd and Jeffrey Ford, we talk about: Taking care to build a film that can stand on its own within both a trilogy and a franchise Integrating the Easter eggs Collaborating under COVID restrictions The experience of editing on set Jeff Ford finally coming clean about his gaffe in AVENGERS: ENDGAME The Credits Get your free 100GB of media transfer at MASV Visit ExtremeMusic for all your production audio needs Save 20% on subscriptions to Media Composer and Media Composer | Ultimate before 2021 ends Hear Leigh Folsom Boyd talk about editing Black Widow Jeffrey Ford and Robin Buday discuss Avengers: Endgame Editor Dan Lebental on cutting Spider-Man: Far From Home See Chancler's Spider-Man Music Video over on Twitter Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube and see the video version of this interview with Jeff and Leigh
S1E19: STREAM ON With more than 500 members, why has the SRT Alliance boomed and why are so many companies from across the broadcast and streaming space getting involved? In this episode, we delve into the background of SRT (Secure Reliable Transport) technology and ask those behind it: Why did they make it open source? What workflow challenges does it solve for news, sports, and other genres? And, crucially, what is coming next? Our Guest This Episode Peter Maag is Chief Marketing Officer and Executive Vice President for Strategic Partnerships at Haivision, the company that invented SRT. He brings over 26 years of proven experience in international business development, sales, marketing, and strategic partner development. Previously, Peter served as Vice President at Hyperchip, Discreet Logic/Autodesk, and Matrox, developing top-level strategic alliances and channel/OEM partnerships. Peter received his MBA from McGill University and his Bachelor of Engineering Science (Mechanical Engineering) degree from the University of Western Ontario in Canada. More Resources For more on this topic, check out: · Media Composer 2021.9 · MediaCentral | Stream Contact Us Questions? Comments? Cool ideas? Get in touch: makingthemedia@avid.com or @craigaw1969. Follow Avid at @avid. Credits Host: Craig Wilson Producer: Matt Diggs Social: Wim Van den Broeck Theme Music: Greg “Stryke” Chin
My guest on this episode is Jeff Rosica, the CEO of Avid Technology, a 1.2 billion dollar market cap company that sells software and hardware for digital media production and management. For decades, Avid's products have been considered the gold standard in the entertainment industry. In fact, its Media Composer and Pro Tools products are used to make many of the movies you see and to create the songs you listen to. Jeff Rosica was Avid's Chief Sales Office and became the CEO in 2018. Since then he has overseen the company's transition to a SaaS, or software-as-a-Service business model. After a few fits and starts, the company has started to deliver on its margin and cash flow targets as the benefits of the business model transition are flowing through the financial statement. Given the company's recent success and my desire to better understand Avid's journey, I thought it would be a great time to catch up with Jeff and discuss: - What moving from perpetual licenses to a subscription software business really looks like internally - How the company is approaching a world where people can create great content on their iPhones - Whether or not having activist shareholders involved in the company can be helpful - And how to balance the different cultures within engineering and sales teams This episode of Compounders: The Anatomy of a Multibagger is sponsored by Tegus, an innovative and disruptive company that is changing the way professional investors work. For more information, please visit: https://www.tegus.co/ Key Takeaways: - You can't fix a business without first fixing the culture. Without the right people, you have nothing - Fear the innovators more than you fear the incumbents. If you aren't willing to cannibalize your own business to innovate, you'll never win against the ankle biters. - Listening to alternative perspectives is incredibly important and often activist investors can be those voices. - With the right underpinning of a solid company, you can change a company incredibly quickly—and probably even faster than you would think. You might regret certain things you do if you move fast, but you'll always really regret the things you didn't change and improve. Time stamps: 1:20 – Introduction 2:50 – Being named interim CEO with no forewarning 4:55 – Communicating your strategy as a new CEO 6:02 - Was being CEO always part of the plan? 8:10 – What it took to fix a broken culture 9:49 – Building a media creation tool in the age of iPhones and accessible software 12:55 – Competing with innovative ankle biters as the incumbent 15:55 – Balancing the dreams of engineers with the realities of the business 18:34 – How COVID has changed consumer needs for media creation 21:07 – Moving from a perpetual license business to a modern SaaS structure 23:27 – Fixing a company first and then thinking about M&A 26:50 – Capital allocation strategy now that M&A is on the table 29:23 – How activist shareholders have helped AVID 35:13 – Maintaining bargaining power even against the largest customers 37:17 – Remaining focused in a world with geographically diverse opportunities 39:18 – Managing rising stakeholder expectations during a period of rapid growth 41:00 – Incentivizing an organization to achieve stretch goals 43:48 – COVID's long term effects on a tradeshow-focused industry 47:49 – Mistakes made and lessons learned as a brand new CEO 51:07 – Expanding an organization's focus from the short run to the long term 53:05 – Jeff's ideal legacy 54:37 – Knowing when a company is ready to take on new initiatives 56:29 – Getting better at communicating with stakeholders regarding ESG 59:05 – Lessons learned in trying to get the right people on the bus 1:01:45 – Why industry consolidation has always been 1 year away To get all the latest updates about the podcast, see who we'll have on next, as well as watch the video version of the pod, please follow us on twitter at @BenClaremon and subscribe to the SNN Network YouTube Channel at www.youtube.com/snnwire. For more information about Cove Street Capital, please visit: https://covestreetcapital.com/ iTunes: https://apple.co/3xlUvPY Spotify: https://spoti.fi/3jxkxLl Each new episode will be available every Tuesday morning on Apple, Spotify and all podcast streaming platforms. All opinions expressed by your hosts and the podcast guests are solely their own opinions and do not reflect the opinion of Cove Street Capital or any affiliates. This podcast is for informational purposes only, it is not investment advice, and should not be relied upon for any investment decisions. We are not recommending the purchase or sale of any securities. The hosts and guests may be beneficial owners of the securities discussed. You should not assume that the securities discussed are or will be profitable.
Editors - Fred Raskin ACE and Christian Wagner The Suicide Squad editors, Fred Raskin ACE and Christian Wagner join forces once again to assist director James Gunn with his latest movie; a standalone sequel to Suicide Squad (2016) and the tenth film in the DC Extended Universe. The film features Gunn's patented take on action and comedy, plus a little blood, guts and gore for good measure. FRED RASKIN ACE To help him with the latest installment in the DCEU, James called on an old friend from his Marvel days, editor Fred Raskin. Fred worked with Gunn on both Guardians of the Galaxy films, so James knew quite well that Fred was up for the challenge of The Suicide Squad. In addition to his work with Gunn, another prominent director that Fred is known to cut for is Quantin Tarantino. Fred handled the editorial duties for Django Unchained, The Hateful Eight and, most recently, Once Upon a Time in Hollywood. CHRISTIAN WAGNER While Quentin Tarantino has written AND directed most of his films, True Romance is one of the few that he wrote but did not direct. It was directed by Tony Scott and edited by a man Mr. Scott worked with quite often throughout both of their careers, editor Christian Wagner. In addition to True Romance, Chris also cut Man on Fire, The Last Boy Scout, Days of Thunder and several more films for Scott. When he wasn't cutting for Tony Scott, Chris spent a little time on some of the "Fast and Furious" films. Two of which, Fast and Furious and Fast Five, Chris co-edited with Fred Raskin. The Suicide Squad sees the two editors reuniting for the third time. Editing The Suicide Squad In our discussion with The Suicide Squad editing team of Fred Raskin ACE and Christian Wagner, we talk about: Collaborating with a co-editor for the first time Scaling back the Harley Quinn sub-plot The sacrifices editors make in working remotely Directors who don't understand pre-viz Mentoring the next generation of super hero editors The Credits Get your free 100GB of media transfer at MASV Visit ExtremeMusic for all your production audio needs Check out the free trial of Media Composer | Ultimate Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube
Editors - Paul Crowder ACE and Ede Bell Crowder The UFO post production team of editor Paul Crowder ACE and lead assistant editor Ede Bell Crowder didn't just share the workload on JJ Abrams' new docuseries for Showtime, they also share the same last name. Ede had to look no further than her own father, veteran documentary editor Paul Crowder ACE, to know that she wanted to be an editor. While she's hoping for a career in scripted editing, the chance to work with her dad on such a high-profile project was too good to pass up. Together, with the rest of the post team, Paul and Ede created a riveting series that raises new questions about the phenomenon of unidentifiable flying objects; including what the U.S. government might have known (and covered up) all along. PAUL CROWDER ACE A British-born musician turned filmmaker now living in the USA, award-winning editor Paul Crowder ACE is best known for documentaries such as; Dogtown and Z-Boys, Riding Giants, Sound City and The Beatles: Eight Days a Week - The Touring Years. Paul is also known for directing the films Amazing Journey: The Story of The Who and 1. He can also be seen around Los Angeles playing with the classic power pop band, The Automatics. EDE BELL CROWDER Daughter of editor/director Paul Crowder ACE, Ede is a recent graduate of the University of North Carolina film program. Prior to her work on UFO, Ede had been sharpening her editorial skills on numerous short films. Editing UFO In our discussion with UFO editor Paul Crowder ACE and assistant editor Ede Bell Crowder, we talk about: The critical decisions that go into the opening of a series Using reaction shots to comment on...comments Whether or not to use image manipulation tools on UFO footage How to manage large amounts of media for remote workflows A second-hand account of an actual UFO sighting The Credits Get your free 100GB of media transfer at MASV Visit ExtremeMusic for all your production audio needs Check out the free trial of Media Composer | Ultimate Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube
Editors - Geoff O'Brien and Pierre Takal Framing Britney Spears editors Geoff O'Brien and Pierre Takal joined forces to take on the monumental editorial challenge of compressing twenty years into just over an hour of screen time to tell a story that is both informative and provocative. Released on February 5, 2021 as an edition of The New York Times Presents on FX and FX on Hulu, the documentary explores Spears's rise to fame as a pop star, her treatment by the paparazzi, her highly publicized breakdown in 2007, and her court-mandated conservatorship overseen by her father. The documentary received critical acclaim and garnered two nominations at the 73rd Primetime Emmy® Awards; including a nomination for Geoff and Pierre's work in the cutting room. GEOFF O'BRIEN Aside from his work on Framing Britney Spears, Geoff has been a major creative contributor and editor for series including The Weekly from The New York Times, Fiasco on Epix and PBS's Frontline. He also worked on three award-winning feature documentaries, Note By Note: The Making of Steinway L1037; Brick By Brick (a documentary that chronicles segregation in the Yonkers public school system) and It Started As A Joke (chronicling Eugene Mirman and his comedy festival). PIERRE TAKAL In addition to his work on the New York Times Presents series, Pierre has cut for the PBS investigative series, Frontline and on documentaries such as Eagle Huntress, Rats, I am Human and One Direction: This Is Us. But that's not all. Not only does Pierre Takal do Emmy®-worthy work in the editing room, he's also an accomplished composer, at times taking on both composing and editing duties on the same project. Editing Framing Britney Spears In our discussion with Framing Britney Spears editors Geoff O'Brien and Pierre Takal, we talk about: Utilizing the resources of The New York Times Collaborating remotely during the pandemic Quickly setting the context for the conservatorship controversy Knowing where to stop on a story that is still unfolding How this project evolved their opinions of their own industry The Credits Get your free 100GB of media transfer at MASV Visit ExtremeMusic for all your production audio needs Check out the free trial of Media Composer | Ultimate Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube
Editors - Greg Finton ACE and Lindsay Utz ACE Editors Greg Finton ACE and Lindsay Utz ACE hadn't worked together prior to Billie Eilish: The World's a Little Blurry, but they each had plenty of experience in the world of unscripted storytelling to bring to the table for director R.J. Cutler's film. The story centers around singer-songwriter Billie Eilish and reveals the behind the scenes creation process of her debut studio album When We All Fall Asleep, Where Do We Go? Released in select theaters via Neon and on Apple TV+ on February 26, 2021, the film has garnered four Primetime Emmy® nominations, including Outstanding Picture Editing for Variety Programming for Greg and Lindsay. GREG FINTON ACE Although Greg had previously worked with "Billie Eilish" director R.J. Cutler on the series American High, Greg's storied career in documentary editing actually began in the film cutting rooms of some legendary scripted editors. Working as an assistant to editors such as Lynzee Klingman ACE (A River Runs Through It) and Sandra Adair ACE (Dazed and Confused), Greg learned first hand how just changing the rhythm and pace of the dialogue can have a big impact on the way a scene felt. Greg took this knowledge into his work on highly acclaimed documentaries such as It Might Get Loud, He Named Me Malala and Robin Williams: Come Inside My Mind. LINDSAY UTZ ACE Prior to teaming up with Greg and R.J. Cutler for the "Billie Eilish doc", Lindsay had made quite a name for herself in the documentary world, having been nominated for both an Emmy® and an ACE Eddie award for her work on the Oscar®-winning documentary, American Factory. A recipient of the 2012 Karen Schmeer Fellowship, Lindsay's talent as a storyteller can also be seen in the documentary projects; Bully, Quest, Miss Americana, as well as the experimental narrative feature, Buoy. Editing Billie Eilish: The World's a Little Blurry In our discussion with the editing team of Greg Finton ACE and Lindsay Utz ACE, we talk about: Enjoying the challenge presented by documentary editing The deep reservoir of footage afforded by the cell phone era Lower thirds being a crucial decision in doc filmmaking How award nominations can impact a documentary editor's career The advantages of starting out as an assistant in film cutting rooms The Credits Get your free 100GB of media transfer at MASV Visit ExtremeMusic for all your production audio needs Check out the free trial of Media Composer | Ultimate Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube
We're privileged to have the incredible artist, producer and composer Matthew Herbert on the show this time. Matthew's talents have seen him work as a DJ, film composer, electronic musician, creative director of the world-famous BBC Radiophonic Workshop and get knee-deep in some amazing studio gear along the way.In this episode, find out why he doesn't do hybrid mixing, how he ends up enlisting hundreds of collaborators for some of his records, and what it is about his favourite vintage sampler that's never been bettered.The new Herbert album Musca is due for release 22nd October. The new single Fantasy is out now. STUFF WE TALK ABOUT (SPOILERS AHEAD)https://en.wikipedia.org/wiki/Jeff_Millshttps://burlaudio.com/products/b80-mothershipBrother PDC100 http://www.muzines.co.uk/articles/brother-pdc100-pro-disk-composer/937Alesis MMT-8 http://www.vintagesynth.com/misc/mmt8.phphttps://de.wikipedia.org/wiki/Patrick_Pulsingerhttps://www.npr.org/artists/15289724/pierre-boulezhttps://en.wikipedia.org/wiki/Mike_Oldfieldhttps://www.musictech.net/reviews/chandler-redd-microphone-review/https://reverb.com/item/14197856-1964-lomo-19a13-tube-condenser-microphone-vintage-sethttp://dwfearn.com/wp/https://www.rupertneve.com/products/high-voltage-discrete-mixer/http://www.vintagesynth.com/akai/s612.phphttps://www.akaipro.com/mpk261https://en.wikipedia.org/wiki/Micachuhttps://vintageking.com/chandler-mini-rack-mixerhttps://en.wikipedia.org/wiki/A_Fantastic_WomanThe Beast Must Die: https://www.imdb.com/title/tt9062784/https://en.wikipedia.org/wiki/Temple_(TV_series)
Editors - Paul Zucker ACE, Emma McCleave, Calum Ross PAUL ZUCKER ACE (Classic Loki) Prior to making his mark on the MCU, Paul had worked with some of today's most innovative filmmakers; from Harmony Korine (Mister Lonely) and Michel Gondry (Eternal Sunshine of the Spotless Mind, to Lena Dunham (Girls, Camping). Paul cut his first feature at age 24 for Gus Van Sant (Gerry). Moving easily between independent and studio projects, he has worked with such noted directors as Tom Dicillo, Joel Schumacher, and Mike Judge (the pilot episode of Silicon Valley). He has also edited two films for Judd Apatow (This is 40 and Trainwreck, for which he received an ACE award nomination). Paul is also an accomplished commercial editor and a member of American Cinema Editors. EMMA McCLEAVE ("Florida" Alligator Loki) Emma McCleave studied at Flinders University Film School in Adelaide, Australia, and within the York University Film program in Canada. On graduation, Emma moved to Sydney where she started her career as a Commercials Assistant Editor, before moving to films in 2008. Through her career Emma trained under some of the most prolific editors in the film industry, including Dody Dorn ACE (Australia, London Boulevard, Fury, Come Away), Michael McCusker ACE (Australia, Captain America: The First Avenger), Chris Dickens ACE (Rocketman), Conrad Buff ACE (Thor: The Dark World, Infinite) and Paul Hirsch ACE (The Mummy). CALUM ROSS (The One True Loki) Calum Ross has been in TV cutting rooms for fourteen years. Over that time he has routinely taken on one of the most feared genres in editing, comedy. Calum has been in the cutting rooms of shows such as Pixelface, Murder in Successville, Lovesick, Action Team and his latest work featuring the comedy duo of Sue Perkins and Mel Giedroyc, Hitmen. But it was his work on the Netflix original series, Sex Education that first introduced him to director Kate Herron, a job that would ultimate land him on Marvel's Loki, once again working with Kate. Editing Loki In our discussion with the Loki editing team of Paul Zucker ACE, Emma McCleave and Calum Ross, we talk about: Editorial Easter Eggs The demands of a Marvel series compared to a Marvel feature Integrating footage from Avengers: End Game to set up the pilot Having to let go of The Frog of Thunder Who is the True Loki The Credits Get your free 100GB of media transfer at MASV Visit ExtremeMusic for all your production audio needs Hear the podcast with The Falcon and The Winter Soldier team Meet the Emmy®-nominated editors of WandaVision Check out the free trial of Media Composer | Ultimate Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube
Jeff Rosica explains some of the challenges faced by the industry in 2020 and how Avid was able to adapt in order to meet them.
*SPONSOR* We are SO excited to announce that we have Official Sponsorship from a truly incredible company in Odin's Vault, a dedicated company who only provide the very best officially licensed Pop Culture Merchandise, from Funko Pops to T Shirts, DC Comics to Marvel, you want it? Then over RIGHT NOW to Odin's Vault - Website Below: https://odinsvault.co.uk/Welcome to Episode 76 of The Hip Hop Orchestra PresentsIn this Episode, we are introduced to Film and Media Composer, Multi-Instrumentalist and Singer-Songwriter Adina NeluAdina shares with us her journey of how she got into Music, how she approaches each project and some of the deepest projects that she has worked on, her journey from Romania to the U.K and so much more :)We hope you enjoy :)Available For Download On All Major Platforms https://www.buzzsprout.com/826003/episodesFull Length Trackhttps://soundcloud.com/gsavvides/violin-hip-hopThe Hip Hop Orchestra Patreon Page:https://www.patreon.com/TheHipHopOrchesta?fan_landing=trueAdina NeluWebsite - https://www.adinanelu.co.uk/homeInstagram - @adina.neluThe Hip Hop Orchestra:Website - https://thehiphoporchestra.co.uk/Instagram - @TheHipHopOrchestraFacebook - The Hip Hop OrchestraTwitter - @TheHipHopOrchGeorgio Savvides:Instagram - @georgiosavvidesFacebook - Georgio SavvidesTwitter - @GioSavvidesLinkedin - Georgio SavvidesSupport the show (https://www.patreon.com/TheHipHopOrchesta?fan_landing=true)
Steve Jobs returned to Apple in 1996. At the time, most people had a digital camera, like the Canon Elph that was released that year and maybe a digital video camera and probably a computer and about 16% of Americans had a cell phone at the time. Some had a voice recorder, a Diskman, some in the audio world had a four track machine. Many had CD players and maybe even a laser disk player. But all of this was changing. Small, cheap microprocessors were leading to more and more digital products. The MP3 was starting to trickle around after being patented in the US that year. Netflix would be founded the next year, as DVDs started to spring up around the world. Ricoh, Polaroid, Sony, and most other electronics makers released digital video cameras. There were early e-readers, personal digital assistants, and even research into digital video recorders that could record your favorite shows so you could watch them when you wanted. In other words we were just waking up to a new, digital lifestyle. But the industries were fragmented. Jobs and the team continued the work begun under Gil Amelio to reduce the number of products down from 350 to about a dozen. They made products that were pretty and functional and revitalized Apple. But there was a strategy that had been coming together in their minds and it centered around digital media and the digital lifestyle. We take this for granted today, but mostly because Apple made it ubiquitous. Apple saw the iMac as the centerpiece for a whole new strategy. But all this new type of media and the massive files needed a fast bus to carry all those bits. That had been created back in 1986 and slowly improved on one the next few years in the form of IEEE 1394, or Firewire. Apple started it - Toshiba, Sony, Panasonic, Hitachi, and others helped bring it to device they made. Firewire could connect 63 peripherals at 100 megabits, later increased to 200 and then 400 before increasing to 3200. Plenty fast enough to transfer those videos, songs, and whatever else we wanted. iMovie was the first of the applications that fit into the digital hub strategy. It was originally released in 1999 for the iMac DV, the first iMac to come with built-in firewire. I'd worked on Avid and SGI machines dedicated to video editing at the time but this was the first time I felt like I was actually able to edit video. It was simple, could import video straight from the camera, allow me to drag clips into a timeline and then add some rudimentary effects. Simple, clean, and with a product that looked cool. And here's the thing, within a year Apple made it free. One catch. You needed a Mac. This whole Digital Hub Strategy idea was coming together. Now as Steve Jobs would point out in a presentation about the Digital Hub Strategy at Macworld 2001, up to that point, personal computers had mainly been about productivity. Automating first the tasks of scientists, then with the advent of the spreadsheet and databases, moving into automating business and personal functions. A common theme in this podcast is that what drives computing is productivity, telemetry, and quality of life. The telemetry gains came with connecting humanity through the rise of the internet in the later 1990s. But these new digital devices were what was going to improve our quality of life. And for anyone that could get their hands on an iMac they were now doing so. But it still felt like a little bit of a closed ecosystem. Apple released a tool for making DVDs in 2001 for the Mac G4, which came with a SuperDrive, or Apple's version of an optical drive that could read and write CDs and DVDs. iDVD gave us the ability to add menus, slideshows (later easily imported as Keynote presentations when that was released in 2003), images as backgrounds, and more. Now we could take those videos we made and make DVDs that we could pop into our DVD player and watch. Families all over the world could make their vacation look a little less like a bunch of kids fighting and a lot more like bliss. And for anyone that needed more, Apple had DVD Studio Pro - which many a film studio used to make the menus for movies for years. They knew video was going to be a thing because going back to the 90s, Jobs had tried to get Adobe to release Premiere for the iMac. But they'd turned him down, something he'd never forget. Instead, Jobs was able to sway Randy Ubillos to bring a product that a Macromedia board member had convinced him to work on called Key Grip, which they'd renamed to Final Cut. Apple acquired the source code and development team and released it as Final Cut Pro in 1999. And iMovie for the consumer and Final Cut Pro for the professional turned out to be a home run. But another piece of the puzzle was coming together at about the same time. Jeff Robbin, Bill Kincaid, and Dave Heller built a tool called SoundJam in 1998. They had worked on the failed Copeland project to build a new OS at Apple and afterwards, Robbin made a great old tool (that we might need again with the way extensions are going) called Conflict Catcher while Kincaid worked on the drivers for a MP3 player called the Diamond Rio. He saw these cool new MP3 things and tools like Winamp, which had been released in 1997, so decided to meet back up with Robbin for a new tool, which they called SoundJam and sold for $50. Just so happens that I've never met anyone at Apple that didn't love music. Going back to Jobs and Wozniak. So of course they would want to do something in digital music. So in 2000, Apple acquired SoundJam and the team immediately got to work stripping out features that were unnecessary. They wanted a simple aesthetic. iMovie-esque, brushed metal, easy to use. That product was released in 2001 as iTunes. iTunes didn't change the way we consumed music.That revolution was already underway. And that team didn't just add brushed metal to the rest of the operating system. It had begun with QuickTime in 1991 but it was iTunes through SoundJam that had sparked brushed metal. SoundJam gave the Mac music visualizers as well. You know, those visuals on the screen that were generated by sound waves from music we were listening to. And while we didn't know it yet, would be the end of software coming in physical boxes. But something else big. There was another device coming in the digital hub strategy. iTunes became the de facto tool used to manage what songs would go on the iPod, released in 2001 as well. That's worthy of its own episode which we'll do soon. You see, another aspect about SoundJam is that users could rip music off of CDs and into MP3s. The deep engineering work done to get the codec into the system survives here and there in the form of codecs accessible using APIs in the OS. And when combined with spotlight to find music it all became more powerful to build playlists, embed metadata, and listen more insightfully to growing music libraries. But Apple didn't want to just allow people to rip, find, sort, and listen to music. They also wanted to enable users to create music. So in 2002, Apple also acquired a company called Emagic. Emagic would become Logic Pro and Gerhard Lengeling would in 2004 release a much simpler audio engineering tool called Garage Band. Digital video and video cameras were one thing. But cheap digital point and shoot cameras were everwhere all of a sudden. iPhoto was the next tool in the strategy, dropping in 2002 Here, we got a tool that could import all those photos from our cameras into a single library. Now called Photos, Apple gave us a taste of the machine learning to come by automatically finding faces in photos so we could easily make albums. Special services popped up to print books of our favorite photos. At the time most cameras had their own software to manage photos that had been developed as an after-thought. iPhoto was easy, worked with most cameras, and was very much not an after-thought. Keynote came in 2003, making it easy to drop photos into a presentation and maybe even iDVD. Anyone who has seen a Steve Jobs presentation understands why Keynote had to happen and if you look at the difference between many a Power Point and Keynote presentation it makes sense why it's in a way a bridge between the making work better and doing so in ways we made home better. That was the same year that Apple released the iTunes Music Store. This seemed like the final step in a move to get songs onto devices. Here, Jobs worked with music company executives to be able to sell music through iTunes - a strategy that would evolve over time to include podcasts, which the moves effectively created, news, and even apps - as explored on the episode on the App Store. And ushering in an era of creative single-purpose apps that drove down the cost and made so much functionality approachable for so many. iTunes, iPhoto, and iMovie were made to live together in a consumer ecosystem. So in 2003, Apple reached that point in the digital hub strategy where they were able to take our digital life and wrap them up in a pretty bow. They called that product iLife - which was more a bundle of these services, along with iDVD and Garage Band. Now these apps are free but at the time the bundle would set you back a nice, easy, approachable $49. All this content creation from the consumer to the prosumer to the professional workgroup meant we needed more and more storage. According to the codec, we could be running at hundreds of megabytes per second of content. So Apple licensed the StorNext File System in 2004 to rescue a company called ADIC and release a 64-bit clustered file system over fibre channel. Suddenly all that new high end creative content could be shared in larger and larger environments. We could finally have someone cutting a movie in Final Cut then hand it off to someone else to cut without unplugging a firewire drive to do it. Professional workflows in a pure-Apple ecosystem were a thing. Now you just needed a way to distribute all this content. So iWeb in 2004, which allowed us to build websites quickly and bring all this creative content in. Sites could be hosted on MobileMe or files uploaded to a web host via FTP. Apple had dabbled in web services since the 80s with AppleLink then eWorld then iTools, .Mac, and MobileMe, the culmination of the evolutions of these services now referred to as iCloud. And iCloud now syncs documents and more. Pages came in 2005, Numbers came in 2007, and they were bundled with Keynote to become Apple iWork, allowing for a competitor of sorts to Microsoft Office. Later made free and ported to iOS as well. iCloud is a half-hearted attempt at keeping these synchronized between all of our devices. Apple had been attacking the creative space from the bottom with the tools in iLife but at the top as well. Competing with tools like Avid's Media Composer, which had been around for the Mac going back to 1989, Apple bundled the professional video products into a single suite called Final Cut Studio. Here, Final Cut Pro, Motion, DVD Studio Pro, Soundtrack Pro, Color (obtained when Apple acquired SiliconColor and renamed it from FinalTouch), Compressor, Cinema Tools, and Qmaster for distributing the processing power for the above tools came in one big old box. iMovie and Garage Band for the consumer market and Final Cut Studio and Logic for the prosumer to professional market. And suddenly I was running around the world deploying Xsan's into video shops, corporate taking head editing studios, and ad agencies Another place where this happened was with photos. Aperture was released in 2005 and offered the professional photographer tools to manage their large collection of images. And that represented the final pieces of the strategy. It continued to evolve and get better over the years. But this was one of the last aspects of the Digital Hub Strategy. Because there was a new strategy underway. That's the year Apple began the development of the iPhone. And this represents a shift in the strategy. Released in 2007, then followed up with the first iPad in 2010, we saw a shift from the growth of new products in the digital hub strategy to migrating them to the mobile platforms, making them stand-alone apps that could be sold on App Stores, integrated with iCloud, and killing off those that appealed to more specific needs in higher-end creative environments, like Aperture, which went ended in 2014, and integrating some into other products, like Color becoming a part of Final Cut Pro. But the income from those products has now been eclipsed by mobile devices. Because when we see the returns from one strategy begin to crest - you know, like when the entire creative industry loves you, it's time to move to another, bolder strategy. And that mobile strategy opened our eyes to always online (or frequently online) synchronization between products and integration with products, like we get with Handoff and other technologies today. In 2009 Apple acquired a company called Lala, which would later be added to iCloud - but the impact to the Digital Hub Strategy was that it paved the way for iTunes Match, a cloud service that allowed for syncing music from a local library to other Apple devices. It was a subscription and more of a stop-gap for moving people to a subscription to license music than a lasting stand-alone product. And other acquisitions would come over time and get woven in, such as Redmatia, Beats, and Swell. Steve Jobs said exactly what Apple was going to do in 2001. In one of the most impressive implementations of a strategy, Apple had slowly introduced quality products that tactically ushered in a digital lifestyle since the late 90s and over the next few years. iMovie, iPhoto, iTunes, iDVD, iLife, and in a sign of the changing times - iPod, iPhone, iCloud. To signal the end of that era because it was by then ubiquitous. - then came the iPad. And the professional apps won over the creative industries. Until the strategy had been played out and Apple began laying the groundwork for the next strategy in 2005. That mobile revolution was built in part on the creative influences of Apple. Tools that came after, like Instagram, made it even easier to take great photos, connect with friends in a way iWeb couldn't - because we got to the point where “there's an app for that”. And as the tools weren't needed, Apple cancelled some one-by-one, or even let Adobe Premiere eclipse Final Cut in many ways. Because you know, sales of the iMac DV were enough to warrant building the product on the Apple platform and eventually Adobe decided to do that. Apple built many of these because there was a need and there weren't great alternatives. Once there were great alternatives, Apple let those limited quantities of software engineers go work on other things they needed done. Like building frameworks to enable a new generation of engineers to build amazing tools for the platform! I've always considered the release of the iPad to be the end of era where Apple was introducing more and more software. From the increased services on the server platform to tools that do anything and everything. But 2010 is just when we could notice what Jobs was doing. In fact, looking at it, we can easily see that the strategy shifted about 5 years before that. Because Apple was busy ushering in the next revolution in computing. So think about this. Take an Apple, a Microsoft, or a Google. The developers of nearly every single operating system we use today. What changes did they put in place 5 years ago that are just coming to fruition today. While the product lifecycles are annual releases now, that doesn't mean that when they have billions of devices out there that the strategies don't unfold much, much slower. You see, by peering into the evolutions over the past few years, we can see where they're taking computing in the next few years. Who did they acquire? What products will they release? What gaps does that create? How can we take those gaps and build products that get in front of them? This is where magic happens. Not when we're too early like a General Magic was. But when we're right on time. Unless we help set strategy upstream. Or, is it all chaos and not in the least bit predictable? Feel free to send me your thoughts! And thank you…
ArTEEtude. West Cork´s first Art, Fashion & Design Podcast by Detlef Schlich.
*ArTEEtude Shop* ** *https://www.arteetude.com/shop/* ( https://www.arteetude.com/shop/ ) *Apple Podcast* ** *https://podcasts.apple.com/us/podcast/arteetude-west-cork-s-first-art-fashion-design-podcast/id1527081647* ( https://podcasts.apple.com/us/podcast/arteetude-west-cork-s-first-art-fashion-design-podcast/id1527081647 ) *Spotify Podcast* ** *https://open.spotify.com/show/3eBv4E5qgW8Vot0oojAr1t* ( https://open.spotify.com/show/3eBv4E5qgW8Vot0oojAr1t ) ** *ArTEEtude is West Cork´s first art, fashion and design podcast created and produced by* Detlef Schlich. H *e will dive and discover with us and Lou McMahon into the unknown and exciting deep ocean of the creative mind. In these three podcast episodes, McMahon and Schlich talk about her childhood and early inspiration in Six Mile Bridge, Co. Clare. They will talk about her online experience as a singer-songwriter and this strange feeling in a Lock-down to sing to an audience without an audience alone just in front of a camera. Eventually, they will speak about Mahon´s aspiration as a media composer and more. At the end of each episode, we will listen to one of Lou McMahon´s songs.* *Lou McMahon is a singer-songwriter, media music composer, session vocalist, animal lover and culture reporter from County Clare in Ireland. Lou's songs showcase a multitude of melodic riches in a vibrant package, described in the media as a* "jazz trad crossover" *Clare People and* "Pop oriented" *allmusic.com. Lou's haunting voice combined with thought-provoking lyrics and beautiful melodies makes her* ''one to watch'' *Irish Daily Mail.* ** *Schlich is Visual Artist, Film Maker and Ritual Designer, living and loving in West Cork and best known for his Essay about the Cause and Effect of Shamanism, Art and Digital Culture and the video installation Transodin´s Tragedy. He is mainly working in the field of performance, photography, painting, sound, installations, and film. To research our human condition and create artwork from this reflection he is using often the methodology of the digital-shaman as alter ego.* --------------- *WEBSITE LINKS* --------------- ---------------------------------------------------------------------------------------------- *Lou McMahon WEBSITE:* https://loumcmahon.com/index.html ( https://loumcmahon.com/index.html ) ---------------------------------------------------------------------------------------------- FACEBOOK: https://www.facebook.com/loumcmahonmusic/ ( https://www.facebook.com/loumcmahonmusic/ ) *INSTAGRAM:* https://www.instagram.com/loumcmahonmusic/ *TWITTER:* https://twitter.com/loumcmaho?lang=en ( https://twitter.com/loumcmaho?lang=en ) *@loumcmaho* *TIKTOK:* https://www.tiktok.com/@loumcmahon?lang=en ( https://www.tiktok.com/@loumcmahon?lang=en ) YouTube Channel https://www.youtube.com/c/loumcmahonable/featured ---------------- *Detlef Schlich* ---------------- *Instagram* ----------- *Detlef Schlich* ( https://www.instagram.com/detschlich/ ) ** *ArTEEtude* ( https://www.instagram.com/arteetude/ ) ** *I love West Cork Artists* ( https://www.instagram.com/ilovewestcorkartists/ ) ** *Facebook* ---------- *Detlef Schlich* ( https://www.facebook.com/Transodin ) ** *I love West Cork Artists Group* ( https://www.facebook.com/groups/WestCorkArt/ ) *ArTEEtude* ( http://www.arteetude.com/ ) *You Tube Channels* ------------------- visual Podcast *ArTEEtude* ( https://www.youtube.com/channel/UCBnOjvvGVETmyPqv-jMCw1g?guided_help_flow=3 ) *Cute Alien TV* ( https://www.youtube.com/channel/UCDN-60zrAMRlZn3rh2bxn7zA ) ** *official Website* ------------------ *ArTEEtude* ( http://www.arteetude.com/ ) ** *Detlef Schlich* ( http://www.detlefschlich.com/ ) ** *Det Design* ( http://www.detdesign.com/ ) ** *Tribal Loop* ( http://www.triballoop.com/ ) ** *Download here for free Detlef Schlich´s Essay about the* *Cause and Effect of Shamanism, Art and Digital Culture* ( https://www.researchgate.net/publication/303749640_Shamanism_Art_and_Digital_Culture_Cause_and_Effect ) *https://www.researchgate.net/publication/303749640_Shamanism_Art_and_Digital_Culture_Cause_and_Effect* *Lou McMahon YouTube Songs* *Lou McMahon 'Pockets Of Change'* *https://www.youtube.com/watch?v=FC1DWIViakI* ( https://www.youtube.com/watch?v=FC1DWIViakI ) *LOU MCMAHON - WIDE EYED LADY (OFFICIAL VIDEO)* *https://www.youtube.com/watch?v=CbuIqz56brw* ( https://www.youtube.com/watch?v=CbuIqz56brw ) *Lou McMahon 'Sabai'* ** *https://www.youtube.com/watch?v=UHBNvGMpss0* ( https://www.youtube.com/watch?v=UHBNvGMpss0 ) Support this podcast at — https://redcircle.com/arteetude-a-podcast-with-artists-by-detlef-schlich/donations
In this Episode of the ColorCast, the Coloristos discuss a number of major announcements live from the show floor at NAB 2014, including Resolve 11, the Blackmagic URSA camera, Cintel Film Scanner, AJA CION camera, Flame/ Flame Assist 2015, Baselight Dailies, and new pricing for Digital Vision Nucoda and Nucoda Look.They also cover major trends affecting both production and post, from new ProRes support on Windows for Assimilate Scratch and Quantel Pablo RIO, and on Linux for Resolve, along with the continued push toward the Cloud with Media Composer|Cloud, Adobe CC, and Scratch 8, and subscriptions with Media Composer and Smoke 2015.The Coloristos ColorCast is a monthly podcast about Film and Television Color Grading, Color Science, and Post-Production. If you're interested or involved in color grading, finishing, and digital intermediate post-production, this show is for you. The Coloristos are: Josh Petok, a colorist working on reality and episodic television in Los Angeles. Juan Salvo, a colorist and online editor for films and commercials in New York. Jason Myres, a colorist and post-production engineer in Los Angeles.
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