Video editors are being called on to do more and mixing audio is one of those tasks. While advanced audio editing and mixing is still best done in a DAW and by a professional who uses those tools everyday, it’s long been the case that most local TV commercials and a lot of corporate videos are mixed by the editor within the NLE. Time for a second look at the subject.
Although most modern NLEs have very strong audio tools, I find that Adobe Premiere Pro CC is one of the better NLEs when it comes to basic audio mixing. There is a wide range of built-in plug-ins and it accepts most third party VST and AU (Mac) filters. Audio can be mixed at both the clip and the track level using faders, rubber-banding in the timeline or by writing automation mix passes with the track mixer. The following are…
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Most video editors can get by with the audio editing tools that are built into their NLE. But if you want that extra audio finesse, then you really need some dedicated audio applications and plug-ins. 2014 is closing out nicely with new offerings from Sony Creative Software and iZotope.
Sony Creative Software – Sound Forge Expands
Sony’s software arm – known for Acid, Vegas and Sound Forge, to name a few – has expanded its Mac audio offerings. Although Sony’s audio applications have traditionally been Windows-based, Sony previously ventured into the Mac ecosystem with its 1.0 version of Sound Forge Pro for the Mac. This year version 2.0 was released, which includes more features, power and support for 64-bit plug-ins. All Sound Forge Mac versions are architected for OS X and not simply a port from Windows.
As before, Sound Forge Pro continues to be a file-based editor and…
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The modern direction in file-based post production workflows is to keep your camera files native throughout the enter pipeline. While this might work within a closed loop, like a self-contained Avid, Adobe or Apple workflow, it breaks down when you have to move your project across multiple applications. It’s common for an editor to send files to a Pro Tools studio for the final mix and to a colorist running Resolve, Baselight, etc. for the final grade. In doing so, you have to ensure that editorial decisions aren’t incorrectly translated in the process, because the NLE might handle a native camera format differently than the mixer’s or colorist’s tool. To keep the process solid, I’ve developed some disciplines in how I like to handle media. The applications I mention are for Mac OS, but most of these companies offer Windows versions, too. If not, you can easily find equivalents.
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One of the sad byproducts of the circle of life is that relatives, friends and colleagues precede you to that great film production in the sky. As you get older, that sadly increases in frequency. In the recent past I’ve seen my parents go. They meant a lot to me and the way they faced life’s challenges has always been an inspiration to me. But that’s a post for another time. Each passing of a friend hits you just a little harder.
This past weekend Florida lost a true legend in the business – Ralph R. Clemente. He was the program director and professor for the Film Production Technology program at Valencia College – a unique film production program that he crafted together with the then Dean, Rick Rietveld. The program grew out of a grant program sponsored by the Walt Disney Company, followed by Universal Studios in the…
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There’s a lot of good film content that only lives on 4×3 SD 29.97 interlaced videotape masters. Certainly in many cases you can go back and retransfer the film to give it new life, but for many small filmmakers, the associated costs put that out of reach. In general, I’m referring to projects with $0 budgets. Is there a way to get an acceptable HD product from an old Digibeta master without breaking the bank? A recent project of mine would say, yes.
How we got here
I had a rather storied history with this film. It was originally shot on 35mm negative, framed for 1.85:1, with the intent to end up with a cut negative and release prints for theatrical distribution. It was being posted around 2001 at a facility where I worked and I was involved with some of the post production, although not the original edit. At…
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The Avid – Resolve Roundtrip Workflow
Avid Media Composer has always been regarded as the best offline editing tool and its heritage was built upon a strong offline-to-online workflow. The file-based world has complicated things and various camera formats have made life even more complex for editors. Many have become quite fond of using Blackmagic Design’s DaVinci Resolve as a great companion to Media Composer. It’s cross-platform and even the free version will do most of what you need. Here’s a step-by-step example of how you might use the combo. Relinking varies a bit, based on file metadata and might need to be modified for your particular circumstances. This workflow is great with ARRI ALEXA files and will most likely work well with other similar camera formats. (Click images for an expanded view.)
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The editing of feature films is a small niche of the overall market for editing software, yet companies continue to highlight features edited with their software as a form of aspirational marketing to attract new users. Avid Technology has had plenty of competition since the start of the company, but the majority of mainstream feature films are still edited using Avid Media Composer software. Lightworks and Final Cut Pro “legacy” have their champions (soon to be joined by FCP X and Premiere Pro CC), but Media Composer has held the lead – at least in North America – as the preferred software for feature film editors.
Detractors of Avid like to characterize these film editors as luddites who are resistant to change. They like to suggest that the interface is stodgy and rigid and just not modern enough. I would suggest that change for change’s sake is not always…
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It’s time to talk about color correctors. In this post, I’ll compare Color, Resolve, SpeedGrade and Symphony. These are the popular desktop color correction systems in use today. Certainly there are other options, like Filmlight’s Baselight Editions plug-in, as well as other NLEs with their own powerful color correction tools, including Autodesk Smoke and Quantel Rio. Some of these fall outside of the budget range of small shops or don’t really provide a correction workflow. For the sake of simplicity, in this post I’ll stick with the four I see the most.
Although it started as a separate NLE product with dedicated hardware, today’s Symphony is really an add-on option to Media Composer. The main feature that differentiates Symphony from Media Composer in file-based workflows is an enhanced color correction toolset. Symphony used to be the “gold standard” for…
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If you want to be a good indie filmmaker, you have to understand some of the basic principles of telling interesting visual stories and driving the audience’s emotions. These six ideas transcend individual components of filmmaking, like cinematography or editing. Rather, they are concepts that every budding director should understand and weave into the entire structure of how a film is approached.
1. Get into the story quickly. Films are not books and don’t always need a lengthy backstory to establish characters and plot. Films are a journey and it’s best to get the characters on that road as soon as possible. Most scripts are structured as three-act plays, so with a typical 90-100 minute running time, you should be through act one at roughly one third of the way into the film. If not, you’ll lose the interest of the audience. If you are 20 minutes into the…
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In Conversation with Walter Murch
Kiran Ganti (KG): What is the definition and the characteristic of a transition?
Walter Murch (WM): At the basic level, a transition is simply the process of changing from some state A to another state, B. What we should examine carefully is the degree of change, and our awareness of it. Change is happening all the time, though we are not always conscious of it. But without change there is no perception. This is somewhat of a paradox. If you are staring constantly at a static object you would think that nothing is changing, but it turns out your eyeballs are constantly moving, though the movements are so tiny you are unaware of it. You might be stationary, the object you are staring at might be stationary, but your eyeballs are rapidly scanning the image in what are called microsaccades, at the rate of around sixty per second. It is this slight vibration the eyeballs are moving about 1/180th of a degree – that is keeping your perception alive, scrubbing the image across a slightly different set of rods and cones at the back of your eye. In a way it is kind of like the scanning electron gun in a video monitor. Fascinating experiments have been performed, neutralizing these microsaccades, and the result is that the vision of the subject quickly dims and then disappears entirely, even though his eyes are open and he is in a lighted room. At a very basic perceptual level, then, there has to be some kind of a transition, a change, for us to perceive the world at all.
1. In film terms, the smallest transition is the frame: this is the equivalent of the microsaccade that keeps vision alive, and we are unconscious of the shift as such from one frame to the next, though it is perceived by us as motion.
2. The next smallest transition is the cut between shots: this is the equivalent of a shift of attention of our eyes and we are intermittently conscious of this sometimes more sometimes less, depending on the nature of the cut.
3. And then a still bigger transition is the cut (or dissolve, or whatever) between one scene and another, and we are usually quite conscious of this. In fact it is the editors job to make sure that the audience is conscious of the transition from one scene to the next, otherwise there will be confusion.
4. Beyond that there are the major transitions between the Acts of a movie, but these are more difficult to qualify since cinema is unlike theatre: very rarely does a curtain fall in a movie! But we do occasionally get a sense of this end of act transition. For example, in The Godfather all the scene transitions up until Michael kills Solozzo and McCluskey have some action or story continuity. But after the double murder we get a somewhat abstract montage of various newspaper images, and the music changes from dramatic orchestral to tinkling piano, and it is by these means that the film is letting us know this is the end of Act I. Everything after these murders will be different.