Peter Jackson’s The Hobbit: An Unexpected Journey was one of the most anticipated films of 2012. It broke new technological boundaries and presented many creative challenges to its editor. After working as a television editor, Jabez Olssen started his own odyssey with Jackson in 2000 as an assistant editor and operator on The Lord of the Rings trilogy. After assisting again on King Kong, he next cut Jackson’s Lovely Bones as the first feature film on which he was the sole editor. The director tapped Olssen again for The Hobbit trilogy, where unlike the Rings trilogy, he will be the sole editor on all three films.
Much like the Rings films, all production for the three Hobbit films was shoot in a single eighteen month stretch. Jackson employed as many as 60 RED Digital Cinema EPIC cameras rigged for stereoscopic acquisition at 48fps – double the standard rate of traditional feature photography. Olssen was editing the first film in parallel with the principal photography phase. He had a very tight schedule that only allowed about five months after the production wrapped to lock the cut and get the film ready for release.
To get The Hobbit out on such an aggressive schedule, Olssen leaned hard on a post production infrastructure built around Avid’s technology, including 13 Media Composers (10 with Nitris DX hardware) and an ISIS 7000 with 128TB of storage. Peter Jackson’s production facilities are located in Wellington, New Zealand, where active fibre channel connections tie Stone Street Studio, Weta Digital, Park Road Post Production and the cutting rooms to the Avid ISIS storage. The three films combined, total 2200 hours (1100 x two eyes) of footage, which is the equivalent of 24 million feet of film. In addition, an Apace active backup solution with 72TB of storage was also installed, which could immediately switch over if ISIS failed.
The editorial team – headed up by first assistant editor Dan Best – consisted of eight assistant editors, including three visual effects editors. According to Olssen, “We mimicked a similar pipeline to a film project. Think of the RED camera .r3d media files as a digital negative. Peter’s facility, Park Road Post Production, functioned as the digital lab. They took the RED media from the set and generated one-light, color-corrected dailies for the editors. 24fps 2D DNxHD36 files were created by dropping every second frame from the files of one ‘eye’ of a stereo recording. For example, we used 24fps timecode with the difference between the 48fps frames being a period instead of a colon. Frame A would be 11.22.21.13 and frame B would be 11:22:21:13. This was a very natural solution for editing and a lot like working with single-field media files on interlaced television projects. The DNxHD files were then delivered to the assistant editors, who synced, subclipped and organized clips into the Avid projects. Since we were all on ISIS shared storage, once they were done, I could access the bins and the footage was ready to edit, even if I were on set. For me, working with RED files was no different than a standard film production.”
Olssen continued, “A big change for the team since the Rings movies is that the Avid systems have become more portable. Plus the fibre channel connection to ISIS allows us to run much longer distances. This enabled me to have a mobile cart on the set with a portable Media Composer system connected to the ISIS storage in the main editing building. In addition, we also had a camper van outfitted as a more comfortable mobile editing room with its own Media Composer; we called it the EMC – ‘Editorial Mobile Command’. So, I could cut on set while Peter was shooting, using the cart and, as needed, use the EMC for some quick screening of edits during a break in production. I was also on location around New Zealand for three months and during that time I cut on a laptop with mirrored media on external drives.”
The main editing room was set up with a full-blown Nitris DX system connected to a 103” plasma screen for Jackson. The original plan was to cut in 2D and then periodically consolidate scenes to conform a stereo version for screening in the Media Composer suite. Instead they took a different approach. Olssen explained, “We didn’t have enough storage to have all three films’ worth of footage loaded as stereo media, but Peter was comfortable cutting the film in 2D. This was equally important, since more theaters displayed this version of the film. Every few weeks, Park Road Post Production would conform a 48fps stereo version so we could screen the cut. They used an SGO Mistika system for the DI, because it could handle the frame rate and had very good stereo adjustment tools. Although you often have to tweak the cuts after you see the film in a stereo screening, I found we had to do far less of that than I’d expected. We were cognizant of stereo-related concerns during editing. It also helped that we could judge a cut straight from the Avid on the 103” plasma, instead of relying on a small TV screen.”
The editorial team was working with what amounted to 24fps high-definition proxy files for stereo 48fps RED .r3d camera masters. Edit decision lists were shared with Weta Digital and Park Road Post Production for visual effects, conform and digital intermediate color correction/finishing at a 2K resolution. Based on these EDLs, each unit would retrieve the specific footage needed from the camera masters, which had been archived onto LTO data tape.
The Hobbit trilogy is a heavy visual effects production, which had Olssen tapping into the Media Composer toolkit. Olssen said, “We started with a lot of low resolution, pre-visualization animations as placeholders for the effects shots. As the real effects started coming in, we would replace the pre-vis footage with the correct effects shots. With the Gollum scenes we were lucky enough to have Andy Serkis in the actual live action footage from set, so they were easy to visualize how the scene would look. But other CG characters, like Azog, were captured separately on a Performance Capture stage. That meant we had to layer separately-shot material into a single shot. We were cutting vertically in the timeline, as well as horizontally. In the early stages, many of the scenes were a patchwork of live action and pre-vis, so I used PIP effects to overlay elements to determine the scene timing. Naturally, I had to do a lot of temp green-screen composites. The dwarves are full-size actors and for many of the scenes, we had to scale them down and reposition them in the shot so we could see how the shots were coming together.”
As with most feature film editors, Jabez Olssen likes to fill out his cut with temporary sound effects and music, so that in-progress screenings feel like a complete film. He continued, “We were lucky to use some of Howard Shore’s music from the Rings films for character themes that tie The Hobbit back into The Lord of the Rings. He wrote some nice ‘Hobbity’ music for those. We couldn’t use too much of it, though, because it was so familiar to us! The sound department at Park Road Post Production uses Avid Pro Tools systems. They also have a Media Composer connected to the same ISIS storage, which enabled the sound editors to screen the cut there. From it, they generated QuickTime files for picture reference and audio files so the sound editors could work locally on their own Pro Tools workstations.”
Audiences are looking forward to the next two films in the series, which means the adventure continues for Jabez Olssen. On such a long term production many editors would be reluctant to update software, but not this time. Olssen concluded, “I actually like to upgrade, because I look forward to the new features. Although, I usually wait a few weeks until everyone knows it’s safe. We ended up on version 6.0 at the end of the first film and are on 6.5 now. Other nonlinear editing software packages are more designed for one-man bands, but Media Composer is really the only software that works for a huge visual effects film. You can’t underestimate how valuable it is to have all of the assistant editors be able to open the same projects and bins. The stability and reliability is the best. It means that we can deliver challenging films like The Hobbit trilogy on a tight post production schedule and know the system won’t let us down.”
Originally written for Avid Technology, Inc.
©2013 Oliver Peters
As with most television schedules, Phil Spector was shot and completed in a time frame and with a budget more akin to a well-funded independent feature, rather than a typical studio film. Tulliver explained, “Our schedule to complete this film was between that of a standard TV project and a feature. If a studio film has six weeks to complete a mix, a film like this would have three. The steps are the same, but the schedule is shrunk. I was cutting during the thirty-day production phase, so I had a cut ready for David a week after he wrapped. HBO likes to see things early, so David had his initial cut done after five weeks, instead of the typical ten-week time frame. Like any studio, HBO will give us notes, but they are very respectful of the filmmakers, which is why they can attract the caliber of talent that they do for these films. At that point we went into a bit of a hold, because David wanted some additional photography and that took awhile until HBO approved it.”
Mamet wrote a very lean screenplay, so the length of the cut didn’t present any creative challenges for Tulliver. She continued, “David’s scripts are beautifully crafted, so there was no need to re-arrange scenes. We might have deleted one scene. David makes decisions quickly and doesn’t overshoot. Like any director, he is open to changes in performance; but, the actors have such respect for his script, that there isn’t a lot of embellishment that might pose editing challenges in another film. Naturally with a cast like this, the performances were all good. The main challenge we had, was to find ways to integrate Spector’s songs into the story. How to use the music to open up scenes in the film and add montages. This meant all of the songs had to be cleared. We were largely successful, except with John Lennon’s Imagine, where Yoko Ono had the final say. Although she was open to our using the song, ultimately she and David couldn’t agree to how it would be integrated creatively into the film.”
“Today, I cut the same way I did when I was cutting film. I like to lay out my cut as a road map. I’ll build it rough to get a sense of the whole scene, rather than finesse each single cut as I go. After I’ve built the scene that way, I’ll go back and tweak and trim to fine-tune the cut. Digital editing for me is not all about the bells-and-whistles. I don’t use some of the Avid features, like multi-camera editing or Script Sync. While these are great features, some are labor-intensive to prepare. When you have a minimal crew without a lot of assistants, I prefer to work in a more straightforward fashion.”
Few films have the potential to be as politically charged as 
Tichenor continued, “Kathryn likes to set up scenes and then capture the action with numerous cameras – almost like it’s a documentary. Then she’ll repeat that process several times for each scene. Four to seven camera keep rolling all day, so there’s a lot of footage. Plus the camera operators are very good about picking up extra shots and b-roll, even though they aren’t an official second unit team. There are a lot of ways to tell the story and Kathryn gave us – the editors – a lot of freedom to build these scenes. The objective is to have a feeling of ‘you are there’ and I think that comes across in this film. Kathryn picks people she trusts and then lets them do their job. That’s great for an editor, but you really feel the responsibility, because it’s your decisions that will end up on the screen.”
Both Tichenor and Goldenberg have been cutting on Avid Media Composers for years, but this film didn’t tax the capabilities of the system. Tichenor said, “This isn’t an effects-heavy film. Some parts of the stealth helicopters are CG, but in the Avid, we mainly used effects for some monitor inserts, stabilization and split screens.” Goldenberg added, “One thing we both do is build our audio tracks as LCR [left, center, right channel] instead of the usual stereo. It takes a bit more work to build a dedicated center channel, but screenings sound much better.”
