The Handmaid’s Tale

With tons of broadcast, web, and set-top outlets for dramatic television, there’s a greater opportunity than ever for American audiences to be exposed to excellent productions produced outside of Hollywood or New York. Some of the most interesting series come out of Canada from a handful of production vendors. One such company is Take 5 Productions, which has worked on such co-productions as Vikings, American Gothic, Penny Dreadful, and others. One of their newest offerings is The Handmaid’s Tale, currently airing in ten, hourlong episodes on Hulu, as well as being distributed internationally through MGM.

The Handmaid’s Tale is based on a dystopian novel written in 1985 by Margaret Atwood. It’s set in New England during the near future, when an authoritarian theocracy has overthrown the United States government and replaced it with the Republic of Gilead. The population has had declining births due to pollution and disease, so a class of women (the handmaids), who are considered fertile, are kept by the ruling class (the Commanders) as concubines for the purpose of having their children. This disturbing tale and series, with its nods to Nazi Germany and life behind the Iron Curtain, not to mention Orwell and Kubrick, stars Elizabeth Moss (Mad Men, The One I Love, Girl, Interrupted) as Offred, one of the handmaids, as she tries to survive her new reality.

The tone of the style and visuals for The Handmaid’s Tale was set by cinematographer-turned-director, Reed Morano (Frozen River, Meadowland, The Skeleton Twins). She helmed three of the episodes, including the pilot. As with many television series, a couple of editors traded off the cutting duties. For this series, Julian Clarke (Deadpool, Chappie, Elysium) started the pilot, but it was wrapped up by Wendy Hallam Martin (Queer As Folk, The Tudors, The Borgias). Hallam Martin and Christopher Donaldson (Penny Dreadful, Vikings, The Right Kind of Wrong) alternated episodes in the series, with one episode cut by Aaron Marshall (Vikings, Penny Dreadful, Warrior).

Cutting a dystopian future

I recently spoke with Wendy Hallam Martin about this series and working in the Toronto television scene. She says, “As a Canadian editor, I’ve been lucky to work on some of the bigger shows. I’ve done a lot of Showtime projects, but Queer As Folk was really the first big show for me. With the interest of outlets like Netflix and Hulu, budgets have increased and Canadian TV has had a chance to produce better shows, especially the co-productions. I started on The Handmaid’s Tale with the pilot, which was the first episode. Julian [Clarke] started out cutting the pilot, but had to leave due to his schedule, so I took over. After the pilot was shot (with more scenes to come), the crew took a short break. Reed [Morano] was able to start her director’s cut before she shot episodes two and three to set the tone. The pilot didn’t lock until halfway through the season.”

One might think a mini-series that doesn’t run on a broadcast network would have a more relaxed production and post schedule, akin to a feature film. But not so with The Handmaid’s Tale, which was produced and delivered on a schedule much like other television dramatic series. Episodes were shot in blocks of two episodes at a time with eight days allotted per episode. The editor’s assembly was due five days later followed by two weeks working with the director for a director’s cut. Subsequent changes from Hulu and MGM notes result in a locked cut three months after the first day of production for those two episodes. Finally, it’s three days to color grade and about a month for sound edit and mix.

Take 5 has its own in-house visual effects department, which handles simple VFX, like wire removals, changing closed eyes to open, and so on. A few of the more complex VFX shots are sent to outside vendors. The episodes average about 40 VFX shots each, however, the season finale had 70 effects shots in one scene alone.

Tackling the workload

Hallam Martin explained how they dealt with the post schedule. She continues, “We had two editors handling the shows, so there was always some overlap. You might be cutting one show while the next one was being assembled. This season we had a first and second assistant editor. The second would deal with the dailies and the first would be handling visual effects hand-offs, building up sound effects, and so on. For the next season we’ll have two firsts and one second assistant, due to the load. Reed was very hands-on and wanted full, finished tracks of audio. There were always 24 tracks of sound on my timelines. I usually handle my own temp sound design, but because of the schedule, I handed that off to my first assistant. I would finish a scene and then turn it over to her while I moved on to the next scene.”

The Handmaid’s Tale has a very distinctive look for its visual style. Much of the footage carries a strong orange-and-teal grade. The series is shot with an ARRI ALEXA Mini in 4K (UHD). The DIT on set applies a basic look to the dailies, which are then turned into Avid DNxHD36 media files by Deluxe in Toronto to be delivered to the editors at Take 5. Final color correction is handled from the 4K originals by Deluxe under the supervision of the series director of photography, Colin Watkinson (Wonder Woman, Entourage, The Fall). A 4K (UHD) high dynamic range master is delivered to Hulu, although currently only standard dynamic range is streamed through the service. Hallam Martin adds, “Reed had created an extensive ‘look book’ for the show. It nailed what [series creator] Bruce Miller was looking for. That, combined with her interview, is why the executive producers hired her. It set the style for the series.”

Another departure from network television is that episodes do not have a specific duration that they must meet. Hallam Martin explains, “Hulu doesn’t dictate exact lengths like 58:30, but they did want the episodes to be under an hour long. Our episodes range from about 50 to 59 minutes. 98% of the scenes make it into an episode, but sometimes you do have to cut for time. I had one episode that was 72 minutes, which we left that long for the director’s cut. For the final version, the producers told me to ‘go to town’ in order to pace it up and get it under an hour. This show had a lot of traveling, so through the usual trimming, but also a lot of jump cuts for the passage of time, I was able to get it down. Ironically the longest show ended up being the shortest.”

Adam Taylor (Before I Fall, Meadowland, Never a Neverland) was the series composer, but during the pilot edit, Morano and Hallam Martin had to set the style. Hallam Martin says, “For the first three episodes, we pulled a lot of sources from other film scores to set the style. Also a lot of Trent Reznor stuff. This gave Adam an idea of what direction to take. Of course, after he scored the initial episodes, we could use those tracks as temp for the next episodes and as more episode were completed, that increased the available temp library we had to work with.”

Post feelings

Story points in The Handmaid’s Tale are often exposed through flashbacks and Moss’ voice over. Naturally voice over pieces affect the timing of both the acting and the edit. I asked Hallam Martin how this was addressed. She says, “The voice over was recorded after the fact. Lizzie Moss would memorize the VO and act with that in mind. I would have my assistant do a guide track for cutting and when we finally received Lizzie’s, we would just drop it in. These usually took very little adjustment thanks to her preparation while shooting. She’s a total pro.” The story focuses on many ideas that are tough to accept and watch at times. Hallam Martin comments, “Some of the subject matter is hard and some of the scenes stick with you. It can be emotionally hard to watch and cut, because it feels so real!”

Wendy Hallam Martin uses Avid Media Composer for these shows and I asked her about editing style. She comments, “I watch all the dailies from top to bottom, but I don’t use ScriptSync. I will arrange my bins in the frame view with a representative thumbnail for each take. This way I can quickly see what my coverage is. I like to go from the gut, based on my reaction to the take. Usually I’ll cut a scene first and then compare it against the script notes and paperwork to make sure I haven’t overlooked anything that was noted on set.” In wrapping up, we talked about films versus TV projects. Hallam Martin says, “I have done some smaller features and movies-of-the-week, but I like the faster pace of TV shows. Of course, if I were asked to cut a film in LA, I’d definitely consider it, but the lifestyle and work here in Toronto is great.”

The Handmaid’s Tale continues with season one on Hulu and a second season has been announced.

Originally written for Digital Video magazine / Creative Planet Network

©2017 Oliver Peters

A Conversation with Thomas Grove Carter

The NAB Show is a great place to see the next level of media hardware and software. Even better, it’s also a great place to meet old friends, make new ones, and pick up the tips and tricks of your craft through the numerous tutorials, seminars, and off-site events that accompany the show.

This year I had the chance to interview Thomas Grove Carter, an editor at Trim Editing, which is a London-based creative editorial shop. He appeared at several sessions to present his techniques for maximizing the power of Final Cut Pro X. These sessions were moderated by Apple and FCPWORKS.

Thomas Grove Carter has a number of high-profile projects on his reel, including work for Honda, Game of Thrones, Audi, and numerous music artists. Carter is a familiar name in the Final Cut Pro X editing community. He first came to prominence with Honda’s “The Other Side” long-form web commercial. In it, Carter juxtaposes parallel day and night driving scenarios covering the main actor – dad by day, undercover police officer by night. On the interactive website, you can toggle in-sync between the two versions. Thanks to FCPX’s way of connecting clips and the nature of its magnetic timeline, Carter could use this then-young application to build the commercial, as well as preview the interactivity for the client – all on a very tight deadline.

I had the pleasure of sitting down with Carter in a semi-quiet corner of the NAB Press Room shortly after his Post Production World keynote session on Sunday evening.

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[Oliver Peters]: We first started hearing your name when Honda’s “The Other Side” long-form commercial hit the web. That fit ideally with Final Cut Pro X’s unique ability to connect clips above and below the primary storyline on the timeline. Was that something you came up with intuitively?

[Thomas Grove Carter]: I knew that Final Cut Pro X was going to be good for this interactive piece. As you’re playing back in FCPX you can enable and disable layers. This meant I could actually do a rough preview of what it’s going to look like. I knew that I was going to have these two layers of video, but I didn’t exactly know what it was going to be until the edit, so I started to assemble each story separately. Then at some point, once I had each narrative roughly built, I put them both together on the same timeline and started adding the sound. From then on I was able to play it ‘interactively’ right inside FCPX.  Back then, I split the day and night audio above and below the primary storyline. Today though, I’d probably assign a role for the day and a role for all of the night. Because, you can’t add audio-only above the primary storyline anymore. So that’s what I’d do to divide it out. All the audio and video still connects in exactly the same way – it just looks slightly different. Another great advantage of doing this in X was clip connections. For any given shot, there was the day and night version, and then, all the audio for the day and all the audio for the night. Just by grabbing the one clip in the primary and moving it or trimming it – everything for day and night – picture and audio – both would move together.

[OP]: Tell me a bit about your relationship with Trim Editing.

[TGC]: There are three partners, who are the most senior three editors. Then there are four or five other main editors and two or three junior editors, plus a number of assistants and runners.

It’s been running over 12 years and I joined the team just over 4 years ago.

[OP]: Are all of you using Final Cut Pro X?

[TGC]: Originally, before anyone started using Final Cut Pro X, we had a mix of Avid and Final Cut Pro 7. Then we began to move to Avid as we saw that Final Cut Pro 7 was not going to be improved. So I started to move to Avid, too. But, I was using Final Cut Pro X on my own personal projects. I began to use it on smaller jobs and one of the other editors said, “That’s cool, that thing you’re doing there.” And he started to try it out. Now we’re kind of at a point where most of the editors are on Final Cut Pro X. One is using Avid, so our assistants need to be able to work with both.

[OP]: Have you been able to convert the last hold-out?

[TGC]: He’s always been Avid. That’s what he uses. The company doesn’t dictate what we use to edit with. It’s all about making the best work. If I decided tomorrow that I wanted to cut in Avid or Premiere – it wouldn’t be an issue. Anyone can cut with anything they like.

[OP]: Any thoughts of going to Premiere?

[TGC]: We’ve fallen in love with the way FCPX works – the browser and the timeline. I think Premiere is good, because it feels very much like a continuation of where Final Cut Pro 7 was, which is why loads of people have moved to it. I understand that. It’s an easy move. But it’s the core way that X functions that I love. That stuff just isn’t in any other NLE. What I’ve found with everyone who has moved to it, including myself – there were always a few little hooks that keep people coming back, even if you don’t like the whole app initially. For me, the first thing I liked is how you can pull out the audio clips and things move out of the way automatically. And I always just thought ‘I can’t make this thing work, but that feature is cool’. And then I kept coming back to it and slowly fell I love with the rest of it. One of the other editors loved the way of making dynamic selects in the browser and said, “I’m going to do this job in X.” He’d select in the browser using favorites and rejects and he absolutely loved it. Loved the way it was so fluid with the thumbnails and he felt immersed in his rushes. Then he gets to the timeline. “Oh, I can’t make this work.” He sent it back to Final Cut Pro 7 and finished up there. He did that on two or three jobs, because it takes time to get comfortable with the timeline. It’s strange when you come from track-based. But once it clicks, it’s amazing.

[OP]: How do your assistant editors fit into the workflow?

[TGC]: Generally I go from one job to the next. It might be two weeks or a month and a quick turnaround. Occasionally there might be an overlap – like, the next job has already started shooting and I haven’t finished the last one off yet. So it might be that I need an assistant editor to load my stuff. Or maybe I have to move on to the next job and I’ve got an assistant doing final tweaks on the last one. It’s much simpler to load projects in X than it is in Avid and one thing I’ve heard in the industry is, “Oh, does that mean you’re going to fire a lot of assistants, because you don’t need them?” No! Of course, we’re going to employ them, but we’ll actually give them editing work to do whenever we can – not just grunt work. Let them do the cut-downs, versions, first assemblies. There’s more time now for them to be doing creative work.

We also try to promote from within. I was the first person who was hired from outside of the company. Almost all the other editors, apart from the partners, have been people who’ve moved up from within. Yes, we could be paying this assistant to be loading all our stuff and making QuickTimes. But if you can be paying the assistant and they can be doing another job, why wouldn’t you do that? It’s another revenue stream for the company. So it’s great to be able to get them up to a level where they can pick up work and build up their own reels and creative chops.

[OP]: Are you primarily working with proxy media?

[TGC]: Not ‘Final Cut Pro X proxy media’, but we use ProRes Proxy or  LT files, which are often transcoded by a DIT on set. They look great, but the post house always goes back to the camera originals for the grade. Sometimes if it’s a smaller job – a low budget music video, for example – I’ll get the ARRI files if they shooting ProRes and just take them into Final Cut straight away- just to get working quicker.

[OP]: Since you work in the area of high-end commercials, do you typically send out audio, color and effects to outside post facilities?

[TGC]: Sound and post work is finished off elsewhere. We work with all the big post facilities –  The Mill, Framestore, and MPC, for example. The directors we work with have their favorite colorists. They’re hiring them because they have the right eye, the right creative skills – not just because they can push the buttons. But we’re doing more and more in the offline now. Clients aren’t used to seeing things as ‘offline’ these days. They’re used to things looking slick. I do a lot of sound design, because it goes so hand in hand with the picture edit. Sometimes the picture doesn’t work without any of the sound, so I do quite a lot of it – get it sounding really great, but it will ultimately be remixed later. I might be working on a project for a month and the sound becomes a very integral creative element. And then the sound mixer only gets a day to pull it all together. They do a great job, but it’s really important to give them as much as we can to work with – to really set the creative direction of the audio.

[OP]: In your presentations, you’ve mentioned Trim’s light hardware footprint. How is the facility configured?

[TGC]: Well, we’ve got ‘cylinder’ Mac Pros, Retina iMacs, and more recently we’ve been trying out a few of the new MacBook Pros, alongside the LG 5K displays. I’ve actually been cutting with that set up a lot recently. I really like it, because I turn up at the suite with my laptop, plug two cables in and that’s it! One cable for the 5K display, power and audio. The second cable goes out to HDMI. It runs the client monitor (HD/4K TV) and a USB hub. It’s a really slick and flexible set up.

For storage, we’re currently using Samsung T3 SSD drives, which are so fast and light, they can handle most things we throw at them. It’s a really slick and flexible set up. But with a few potential feature films in the near future, we are looking again at shared storage. I think that’s an interesting area of the market these days. There are some really amazing new products, which don’t come from the same old vendors.

[OP]: How do clients react to this modular suite approach?

[TGC]: If were doing our jobs, clients shouldn’t really notice the tech were using to drive the edit. And people love the space we’ve created. We’ve got really nice rooms – none of our suites are small. Clients are looking at a 50″ to 60” TV, which is 4K in some of our suites. And we’ve got really great sound systems. So, in terms of what clients are seeing and hearing, it doesn’t get much better in an edit suite.

Sometimes directors will come by even when they’re not editing with us. They’ll come by and write their treatments and just hang out, which is really nice. There’s a lot of common space with areas to work and meet.

There’s a lot of art all over the place and when anyone sees a sign that has the word ‘trim’ in it – they buy it. It might be a street sign or a ‘trim something’ logo. So, you see these signs all over the building. It adds a really nice character to the place. When I joined the company, I wanted to bring something to it – and I love LEGO – so I built our logo using it. That’s mounted at our entrance now.

[OP]: There’s a certain mentality in working with agencies. How does Trim approach that?

[TGC]: We tend to focus on the directors. That’s where you develop the greatest relationships, which is where the best work comes from. Not that I dislike working with an agency, but you build a much closer creative bond with your directors.

One small way we help build a good working environment for directors and agencies is to all have lunch together, every single day. We have lunch rather than editing and eating at our desks. One of the great things about this is that directors get to meet other agencies and editors get to meet other directors. It’s really good to be able to socialize like that. It also helps build different relationships than what would ever happen if we we’re all locked away in a suite all day.

[OP]: At what point do you typically get involved with a job?

[TGC]: I’ll usually get pencilled on a job while the director is still pitching it. And then I’ll start work straight after the shoot. Occasional we’ll be on set, but only if it’s a really tight deadline. On that Honda job, that was a six-day shoot to make two, 2 1/2 minute films and then they needed to see it really soon after the shoot. So, I had to be on set. But typically I like not being on set, because when you’re on set you’re suddenly part of the, “Oh, this shot was amazing. It took us four hours to get in the pouring rain.” You’re invested in that baggage. Whereas, when you just view it coldly in the edit, you don’t know what happened on set. You can go, “This shot doesn’t work – let’s lose it.” That fresh vision is a great reason for the editor to be as far from a shoot as possible.

[OP]: One of the projects on your reel is a Games of Thrones promo. How did that job come your way?

[TGC]: That was actually a director I hadn’t worked with – but, just a director who wanted to work with me. He’d been trying to get me on a few jobs that I hadn’t been able to do. It was an outside director that HBO brought in to shoot. It wasn’t a trailer made of footage from the show. They brought in a commercials and music director to shoot the piece and he wanted to work with me. So, it came down like that and then I worked with him and HBO to bring it all together.

[OP]: Do you have any preferences for the types of projects you work on?

[TGC]: Things like the Audi commercial are really fun, because there’s a lot of sound design. A lot of commercials are heavily storyboarded, but it can often be more satisfying if the director has been a bit more loose in the filming. It might be a montage of different people doing activities, for example. And those can be quite fun, because the final thing – you’ve come up with it and you’ve created the narrative and the flow of it. I say that with hindsight, because they turn out to be the most creatively satisfying. But, the process can be much harder when you’re in the thick of it – because it’s on your shoulders and you haven’t got a really locked storyboard to fall back on. I’ll happily do really long hours and work really hard, if it’s a good bit of work – and, at the end of the day, I’ve worked with nice people.

[OP]: With Final Cut Pro X – anything that you’d like to see different?

[TGC]: Maybe collaboration is one thing that would be interesting to see if there’s a new and interesting take on it. Avid bin-locking is great, but actually when you boil it down, it’s quite a simple thing. It locks this bin, you can’t go in there. You can make a copy of it. That’s all it’s doing, but it’s simple and it works really well. All the cloud-based things I’ve seen so far – they’ve not really gotten me excited. I don’t feel like anyone has really nailed what that is yet. Everyone is just doing it because they can, not because it works really well, or is actually useful. I’d be interested to see if there’s something that can be done there.

In the timeline, I’d like to be able to look inside compound clips without stepping into them. I often use compound clips to combine sound effects or music stems. I’d like to be able to open them in context in the timeline and edit the contents inline with the master timeline. And I’d love some kind of dupe detection in the timeline. But otherwise, I’m really enjoying the new version.

Click this link to watch Thomas Grove Carter in action with FCPX at this year’s Las Vegas SuperMeet at NAB.

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I certainly appreciated the time Thomas Grove Carter spent with me to do this interview. Along with a few other interviews, it made for a better-than-average Vegas trip. As a side note, I recorded my interviews (for transcription only) on my iPad, with the aid of the Apogee MetaRecorder app. This works with iPhones and iPads and starts at free, however, you should spend the $4.99 in-app upgrade to be able to do anything useful with it. It can use the built-in mic and records full quality audio WAV files – and – it features a connection to FCPX with fcpxml. Finally, to aid in generating a text transcript, I used Digital Heaven’s SpeedScriber. Although still in beta, it worked well for what I needed. As with all audio-to-text transcription applications, there’s no such thing as perfect. I did need to do a fair amount of clean-up, however, that’s not uncommon.

©2017 Oliver Peters

Blackmagic Design DaVinci Resolve Panels

I started my editing career in the era of linear editing suites, where dedicated control panels ruled. CMX keyboards, Grass Valley switchers, ADOs – you name it. These enabled operational speed and experienced editors could drive these rooms like a virtuoso pianist. Much of that dexterity has been lost, thanks to the ubiquity of software-based user interfaces for applications running on general purpose computers and controlled by a mouse. But Grant Petty and Blackmagic Design have set out to change that. At the beginning of March, he introduced two new color correction control panels as companion tools to the company’s DaVinci Resolve editing and grading solution. According to Petty more people are using Resolve to edit than to color correct. By introducing these new panels, he hopes to get more of these users involved in the color correction side of Resolve.

Blackmagic Design now offers three DaVinci Resolve panels: Advanced ($29,995), Mini ($2,995) and Micro ($995). Obviously, the Advanced panel is for serious, dedicated color correction facilities with the traffic to support that investment. It’s a large, three-module console with four trackball/ring controls in the center section. The Mini and Micro panels are designed to be more portable than the Advanced panel. The Mini is essentially a three-trackball subset of the center section of the larger panel. The Micro is the trackball section of the Mini, without the Mini’s tilted backplane. If you are an editor who uses Resolve for color correction, but that’s less than 50% of your workload, then the Micro is probably the right panel for you. If you color correct more than 50%, then the Mini is the better bet. However, these panels are designed for more than just editors. If you work as a DIT (digital imaging technician) in the field or on-set, you most likely use Resolve, making these panels the perfect addition to your toolkit.

Taking the Mini for a spin

Blackmagic Design loaned me a Resolve Mini panel for about two weeks for this review. I have to say, it was love at first sight. These panels continue with Blackmagic’s modern industrial design style. This has earned them an international Design Team of the Year award from the Red Dot Awards last year. The Mini panel is a well-constructed metal console with precision trackballs, rings, knobs and buttons. (The panel also uses some high-impact plastic in its construction.) With packaging, it weighs 24 pounds, thus it’s more “transportable” than portable. If you want something to toss into a gig bag, then the Micro would be the panel to buy. The Mini is better for facility use; however, it’s easy enough to move between rooms as needed.

The smaller Micro is bus-powered over USB, but the Mini includes several connection and power options. Communications can be over ethernet or USB/USB-C. Power options include standard AC wall power, 12 volt 4-pin, or ethernet PoE. Like other Blackmagic Design products, you have to supply your own power chord, but the Mini does include a USB-to-USB-C adapter chord. To run the panel, you need to install Resolve Studio (paid) or Resolve (free), version 12.5.5 or later. And yes, these panels only work with Resolve. Connection is drop-dead easy. Just power it up and plug in the USB cable to any available USB port on your computer (or looped off of a connected device, like a monitor). Then select the panel in Resolve’s preferences. This ease of installation is refreshing, without any of the finickiness of other protocols, like EUCON. The one downside for editors is that this panel only controls the color mode of Resolve. There are no dedicated controls for editing, importing or exporting. So you won’t be able to shed the keyboard and mouse completely.

Everything at your fingertips

The main section of the panel includes three trackballs for hue control and rings for luminance control. Generally these correspond to shadow, mids and highlight ranges of the image. Across the top of this flat section are twelve knobs for additional color controls. Push in the knobs to reset their adjusted values. On the right are buttons to move through nodes, clips and stills, along with play/stop buttons. The slanted backplane of the Mini panel features two five-inch, high-resolution LCD menu/control displays, fifteen buttons on either side, eight soft keys across the top, and eight knobs under the displays. The buttons on the left select the portion of the interface that you need to deal with, like primary correction, tracking, sizing, blurs, etc. The buttons on the right are to add nodes, copy and paste, move through stills and keyframes, and toggle the computer display to a full screen viewer.

Resolve’s primary color correction window is pretty deep, requiring paging through different sections of the control window, such as primary bars, primary wheels, log, raw and more. There’s actually a fourth control wheel for offset in addition to lows, mids and highs. Much of this is exposed to the panel. For example, you can use the knobs to adjust the primary bars, while also moving the trackballs, which would normally adjust the primary wheels. Across the bottom of Resolve’s primary window are additional controls for contrast, saturation and more, which spread across two pages of that interface window. These controls are all active on the Mini by using the twelve knobs located above the trackballs. In some cases, you’ll need to change the part of the interface that appears on the two LCDs. This is enabled by the two arrow keys in the upper left corner of the panel. However, switching pages on the panel is required less often than when you only use the mouse with the interface.

The offset function (the fourth primary wheel and fourth trackball on the Advanced panel) can be accessed by selecting the offset key located above the middle trackball. In that mode, the left ring controls temperature, middle ring controls tint and right ring controls level. The right trackball controls color balance.

Resolve is built around controls that may or may not be present in other applications. For example, it is designed as a YRGB system, meaning you can gang level and color controls, but can also correct Y (luminance) lift/gamma/gain levels independent of color (RGB). In addition to standard three-wheel color corrections, you also have contrast/pivot control, as well as some photographic-style enhancements. These include color boost (like a vibrance control), mid detail (softens or sharpens the image), plus blurs. In you are using Resolve Studio, then temporal noise reduction is active. From what I can tell, this is the only control not active when using the panel with the free version of Resolve.

Resolve uses an elaborate curves system, which you would think would be difficult to implement with knobs and buttons. However, Blackmagic has done a wonderful job. The normal curve levels (ganged or independent channels) can be adjusted by six of the knobs under the LCD displays. These work at preset intervals of 0, 20, 40, 60, 80 and 100% along the curve path from dark to light. If you use hue curves, you start with one of six preset colors selected from the panel. Then an “input hue” knob lets you change the selected color left or right within its hue range, based on the last color knob selected. Custom curves also offer a YSFX tool. This is an adjustment to shrink and even invert the curve range. The extreme opposite setting results in a negative image.

There are plenty of other tools. Resolve has a powerful point-cloud tracker, which can also be accessed from the Mini. One handy feature is the ability to automatically add a node with a preset box or circle window. Once applied, then you adjust the window. Although you can step through keyframes, it still requires the mouse to add or delete keyframes. You also have to delete nodes via mouse and not from the panel. Some keys, like FX and User are available for future expansion.

In practice

I spent about a week with the panel, working on and off with some test projects. Needless to say, I enjoyed the process, but there are a few things I wish were different.  The Mini panel is really designed for full-time color grading. If you have a desk layout for editing, then there probably isn’t enough extra space to situate the Mini is an optimal location. For instance, if you wanted to place the panel between your keyboard and display, then the Micro would be a better option. There is no power switch, so the panel is always on. Fortunately, it’s fan-less and quiet, even when on. There are no illumination controls for the displays or the backlit keys. That’s fine in a normally lit room, but might be too bright for some, if you keep the light level very low in the suite.

I’d like to see more versatile transport control. Resolve supports faster-than-real-time playback and scrubbing, but the control panel only gives you 1X play in the forward or reverse directions. It would be nice to have better transport control from the panel. Resolve functions, like adding LUTs, can’t be handled from the panel. The controls to select HSL qualifiers for secondary color correction include eyedroppers, but you still need to use the mouse to graphically pick the right area of the screen. It would be nice if you could do this with the trackball. These are minor points and by no means deal breakers.

A dedicated color correction panel will not only make you a faster colorist – it will also make you a better one. More controls are front and center, which means you are likely to discover and use processes that you would otherwise miss if you simply relied on the mouse or a pen and tablet. You have two hands to control the panel. As with any other tactile task, such as audio mixing with a mixing board, your hands will soon know instinctively what to adjust without having to look at the panel. You can stay more focused on your video display and the scopes. Grading is not only faster, but it’s more intuitive.

Some are going to baulk at the price, no matter how reasonable these portable panels are. To place that into context, at $2,995, the Mini is still less expensive than a decked out Mac Pro or MacBook Pro, which might be your main editing/grading workstation. Plus they work with the free version of Resolve. So if color correction is part of your business model and Resolve is your color correction tool of choice, then either of these two DaVinci Resolve panels is easily justified. The more I’ve been using the Resolve Mini, the more I like it. It’s the Porsche of small grading control panels – solid, stylish and powerful.

Originally written for Digital Video magazine / Creative Planet Network

©2017 Oliver Peters

CrumplePop and FxFactory

If you edit with Final Cut Pro – either the classic and/or new version – then you are familiar with two of its long-running plug-in developers. Namely, FxFactory (Noise Industries) and CrumplePop. Last year the two companies joined forced to bring the first audio plug-ins to the FxFactory plug-in platform. CrumplePop has since expanded its offerings through FxFactory to include a total of six audio and video products. These are AudioDenoise, EchoRemover, VideoDenoise, AutoWhiteBalance, EasyTracker, and BetterStabilizer.

Like much of the eclectic mix of products curated through FxFactory, the CrumplePop effects work on a mix of Apple and Adobe products (macOS only). You’ll have to check the info for each specific plug-in to make sure it works with your application needs. These are listed on the FxFactory site, however, this list isn’t always complete. For example, an effect that is listed for Premiere Pro may also work in After Effects or Audition (in the case of audio). While most are cross-application compatible, the EasyTracker effect only works in Final Cut Pro X. On the other hand, the audio filters work in the editing applications, but also Audition, Logic Pro X, and even GarageBand. As with all of the FxFactory effects, you can download a trial through the FxFactory application and see for yourself, whether or not to buy.

I’ve tested several of these effects and they are simple to apply and adjust. The controls are minimal, but simplicity doesn’t mean lack of power. Naturally, whenever you compare any given effect or filter from company A versus company B, you can never definitively say which is the best one. Some of these functions, like stabilization, are also available within the host application itself. Ultimately the best results are often dependent on the individual clip. In other words, results will be better with one tool or the other, depending on the challenges presented in any given clip. Regardless, the tools are easy to use and usually provide good results.

In my testing, a couple of the CrumplePop filters proved very useful to me. EchoRemover is a solid, go-to, “fix it” filter for location and studio interviews, voice overs, and other types of dialogue. Often those recordings have a touch of “boominess” to the sound, because of the room ambience. EchoRemover did the trick on my trouble clip. The default setting was a bit heavy-handed, but after a few tweaks, I had the clean track I was looking for.

EasyStabilizer is designed to tame shaky and handheld camera footage. There are several starting parameters to choose from, such as “handheld walking”, which determine the analysis to be done on the clip. One test shot had the camera operator with a DSLR moving around a group of people at a construction site in a semi-circle, which is a tough shot to stabilize. Comparing the results to the built-in tools didn’t leave any clear winner in my mind. Both results were good, but not without some, subtle motion artifacts.

I also tested EasyTracker, which is designed for only Final Cut Pro X. I presume that’s because Premiere Pro and After Effects already both offer good tracking. Or maybe there’s something in the apps that makes this effect harder to develop. In any case, EasyTracker gives you two methods: point and planar. Point tracking is ideal for when you want to pin an object to something that moves in the frame. Planar is designed for tracking flat objects, like inserting a screen into phone or monitor. When 3D is enabled, the pinned object will scale in size as the tracked object gets larger in the frame. UPDATE: I had posted earlier that the foreground video seemed to only work with static images, like graphic logos, but that was incorrect. The good folks at CrumplePop pointed me to one of their tutorials. The trick is that you first have to make a compound clip of the foreground clip and then it works fine with a moving foreground and background image.

Like other FxFactory effects, you only buy the filter you want, without a huge investment in a large plug-in package, where many of the options might go unused. It’s nice to see FxFactory add audio filters, which expands its versatility and usefulness within the greater Final Cut Pro X (and Premiere Pro) ecosystem.

©2017 Oliver Peters

Faster, Together at NAB

With the NAB trade show just around the corner, it’s time to shore up your last minute plans for things to do and see. In addition to the tons of exhibits in the Las Vegas Convention Center halls, there are numerous outside meetings, conferences, training sessions, and places for production and post professionals to meet and greet.

A new addition this year is LumaForge’s Faster, Together Stage presentations. These are being held Monday through Wednesday across the street at the Courtyard by Marriott Las Vegas Convention Center. I’ll be part of the “State of the NLE” panel discussion Wednesday at 3PM. It should be fun and although some have referred to this as the “NLE cage match”, we are all friends and looking forward to an enlightening discussion. The presentations are free, but you must register in advance. See you there!

©2017 Oliver Peters

Five Came Back

We know them today as the iconic Hollywood directors who brought us such classic films as Mr. Smith Goes To Washington, It’s a Wonderful Life, The African Queen, and The Man Who Shot Liberty Valance – just to name a few. John Ford, William Wyler, John Huston, Frank Capra and George Stevens also served their country on the ground in World War II, bringing its horrors and truth to the American people through film. In Netflix’s new three-part documentary series, based on Mark Harris’ best-selling book, Five Came Back: A Story of Hollywood and the Second World War, contemporary filmmakers explore the extraordinary story of how Hollywood changed World War II – and how World War II changed Hollywood, through the interwoven experiences of these five legendary filmmakers.

This documentary series features interviews with Steven Spielberg, Francis Ford Coppola, Guillermo Del Toro, Paul Greengrass and Lawrence Kasdan, who add their own perspectives on these efforts. “Film was an intoxicant from the early days of the silent movies,” says Spielberg in the opening moments of Five Came Back. “And early on, Hollywood realized that it had a tremendous tool or weapon for change, through cinema.” Adds Coppola, “Cinema in its purest form could be put in the service of propaganda. Hitler and his minister of propaganda Joseph Goebbels understood the power of the cinema to move large populations toward your way of thinking.”

Five Came Back is directed by Laurent Bouzereau, written by Mark Harris and narrated by Meryl Streep. Bouzereau and his team gathered over 100 hours of archival and newsreel footage; watched over 40 documentaries and training films directed and produced by the five directors during the war; and studied 50 studio films and over 30 hours of outtakes and raw footage from their war films to bring this story to Netflix audiences. Says director Laurent Bouzereau, “These filmmakers, at that time, had a responsibility in that what they were putting into the world would be taken as truth. You can see a lot of echoes in what is happening today. It became clear as we were doing this series that the past was re-emerging in some ways, including the line we see that separates cinema that exists for entertainment and cinema that carries a message. And politics is more than ever a part of entertainment. I find it courageous of filmmakers then, as with artists today, to speak up for those who don’t have a platform.”

An editor’s medium

As every filmmaker knows, documentaries are truly an editor’s medium. Key to telling this story was Will Znidaric, the series editor. Znidaric spent the first sixteen years of his career as a commercial editor in New York City before heading to Los Angeles, in a move to become more involved in narrative projects and hone his craft. This move led to a chance to cut the documentary Winter on Fire: Ukraine’s Fight for Freedom. Production and post for that film was handled by LA’s Rock Paper Scissors Entertainment, a division of the Rock Paper Scissors post facility. RPS is co-owned by Oscar-winning editor, Angus Wall (The Social Network, The Girl with the Dragon Tattoo). Wall, along with Jason Sterman and Linda Carlson, was an executive producer on Winter of Fire for RPS. The connection was a positive experience, so when RPS got involved with Five Came Back, Wall tapped Znidaric as its editor. Much of the same post team worked on both of these documentaries.

I recently interviewed Will Znidaric about his experience editing Five Came Back. “I enjoyed working with Angus,” he explains. “We edited and finished at Rock Paper Scissors over a fifteen month period. They are structured to encourage creativity, which was great for me as a documentary editor. Narratively, this story has five main characters who are on five individual journeys. The canvas is civilization’s greatest conflict. You have to be clear about the war in order to explain their context. You have to be able to find the connections to weave a tapestry between all of these elements. This came together thanks to the flow and trust that was there with Laurent [Bouzereau, director]. The unsung hero is Adele Sparks, our archival producer, who had to find the footage and clear the rights. We were able to generally get rights to acquire the great majority of the footage on our wish list.”

Editing is paleontology

Znidaric continues, “In a documentary like this, editing is a lot like paleontology – you have to find the old bones and reconstruct something that’s alive. There was a lot of searching through newsreels of the day, which was interesting thematically. We all look at the past through the lens of history, but how was the average American processing the events of that world during that time? Of course, those events were unfolding in real time for them. It really makes you think about today’s films and how world events have an impact on them. We had about 100 hours of archival footage, plus studio films and interviews. For eight to nine months we had our storyboard wall with note cards for each of the films. As more footage came in, you could chart the growth through the cards.”

Five Came Back was constructed using three organizing principles: 1) the directors’ films before the war, 2) their documentaries during the war, and 3) their films after the war. According to Znidaric, “We wanted to see how the war affected their work after the war. The book was our guide for causality and order, so I was able to build the structure of the documentary before the contemporary directors were interviewed. I was able to do so with the initial interview with the author, Mark Harris. This way we were able to script an outline to follow. Interview footage of our actual subjects from a few decades ago were also key elements used to tell the story. In recording the modern directors, we wanted to give them space – they are masters – we just needed to make sure we got certain story beats. Their point of view is unique in the sense that they are providing their perspective on their heroes. At the beginning, we have one modern director talking about one of our subject directors. Then that opens up over the three hours, as each talks a little bit about all of these filmmakers.”

From Moviola to Premiere Pro

This was the first film that Znidaric had edited using Adobe Premiere Pro. He says, “During film school, I got to cut 16mm on the Moviola, but throughout my time in New York, I worked on [Avid] Media Composer and then later [Apple] Final Cut Pro 7. When Final Cut Pro X came out, I just couldn’t wrap my head around it, so it was time to shift over to Premiere Pro. I’m completely sold on it. It was a dream to work with on this project. At Rock Paper Scissors, my associate editor James Long and I were set up in two suites. We had duplicate drives of media – not a SAN, which was just given to how the suites were wired. It worked out well for us, but forced us to be extremely diligent with how our media was organized and maintaining that throughout.” The suites were configured with 6-core 2013 Mac Pros, AJA IoXT boxes and Mackie Big Knob mixers for playback.

“All of the media was first transcoded to ProRes, which I believe is one of the reasons that the systems were rock solid during that whole time. There’s an exemplary engineering department at RPS, and they have a direct line to Adobe, so if there were any issues, they became the go-betweens. That way I could stay focused on the creative and not get bogged down with technical issues. Plus, James [Long] would generally handle issues of a technical nature. All told, it was very minimal. The project ran quite smoothly.” To stay on the safe side, the team did not update their versions of Premiere Pro during this time frame, opting to stick with Premiere Pro CC2015 for the duration. Because of the percentage of archival footage, Five Came Back was finished as HD and not in 4K, as are a number of other Netflix shows.

To handle Premiere Pro projects over the course of fifteen months, Znidaric and Long would transfer copies of the project files on a daily basis between the rooms. Znidaric continues, “There were sequences for individual ‘mini-stories’ inside the film. I would build these and then combine the stories. As the post progressed, we would delete some of the older sequences from the project files in order to keep them lean. Essentially we had a separate Premiere Pro project file for each day, therefore, at any time we could go back to an earlier project file to access an older sequence, if needed. We didn’t do much with the other Creative Cloud tools, since we had Elastic handling the graphics work. I would slug in raw stills or placeholder cards for maps and title cards. That way, again, I could stay focused on weaving the complex narrative tapestry.”

Elastic developed the main title and a stylistic look for the series while a52 handled color correction and finishing. Elastic and a52 are part of the Rock Paper Scissors group. Znidaric explains, “We had a lot of discussions about how to handle photos, stills, flyers, maps, dates and documents. The reality of filming under the stress of wartime and combat creates artifacts like scratches, film burn-outs and so on. These became part of our visual language. The objective was to create new graphics that would be true to the look and style of the archival footage.” The audio mix when out-of-house to Monkeyland, a Los Angeles audio post and mixing shop.

Five Came Back appealed to the film student side of the editor. Znidaric wrapped up our conversation with these thoughts. “The thrill is that you are learning as you go through the details. It’s mind-blowing and the series could easily have been ten hours long. We are trying to replicate a sense of discovery without the hindsight of today’s perspective. This was fun because it was like a graduate level film school. Most folks have seen some of the better known films, but many of these films aren’t as recognized these days. Going through them is a form of ‘cinematic forensics’. You find connections tied to the wartime experience that might not otherwise be as obvious. This is great for a film geek like me. Hopefully many viewers will rediscover some of these films by seeing this documentary series.”

The first episode of Five Came Back aired on Netflix on March 31. In conjunction with the launch of Five Came Back, Netflix will also present thirteen documentaries discussed in the series, including Ford’s The Battle of Midway, Wyler’s The Memphis Belle: A Story of a Flying Fortress, Huston’s Report from the Aleutians, Capra’s The Battle of Russia, Stevens’ Nazi Concentration Camps, and Stuart Heisler’s The Negro Soldier.

Originally written for Digital Video magazine / Creative Planet Network

©2017 Oliver Peters

Red Giant Magic Bullet Suite 13

The hallmark of Red Giant’s Magic Bullet software products are that they are designed to enhance or stylize images. As their banner states, they focus on “color correction, finishing and film looks for filmmakers.” You can purchase individual software products or a comprehensive suite of tools. I reviewed Magic Bullet Suite 12 a couple a years ago. A few months ago Red Giant released its Magic Bullet Suite 13 update. As in the past, you can purchase it outright or as an upgrade from a previous version. With each iteration of the suite, Red Giant shuffles the mix of products in the toolkit and this version is no different.

Magic Bullet Suite 13 is comprised of seven plug-in products, which include Looks 4.0, Colorista IV, Denoiser III, Cosmo II, Mojo II, Film, and the newly added Renoiser. The tools are cross-platform compatible (macOS or Windows), but depending on the editing or compositing software you use, not all of these plug-ins work in every possible host. All of the tools will work in Adobe Premiere Pro or After Effects, as well as Apple Final Cut Pro X. Magic Bullet Looks 4.0 provides the broadest host support, including some less common choices. Looks supports After Effects, Premiere Pro, Final Cut Pro X, Motion, Magix Vegas Pro, Avid Media Composer, DaVinci Resolve, EDIUS, and HitFilm Pro. Colorista only supports the Adobe and Apple hosts, while the other tools support the bulk of possible choices, with the exception Media Composer. Therefore, what you cut or composite with will determine what your best purchase will be – full suite or individual plug-ins.

New bells and whistles

The big selling point of this release is GPU acceleration across the board using OpenGL/OpenCL. This provides real-time color correction. There are plenty of refinements throughout, but if you are an Adobe user, you’ll note that Colorista IV has embraced Adobe’s panel technology. If you are comfortable with Premiere Pro’s Lumetri Color panel, you can now instead work with Colorista, in this exact same manner. I’ve dabbled a bit with all of these tools in various Avid, Apple, and Adobe hosts. While performance is good and certainly improved, you’ll have the best experience in Adobe After Effects and Premiere Pro. Another advantage you’ll have is Adobe’s built-in masking and tracking tools. Want to isolate someone’s face and track a Colorista correction to it during a moving shot? No problem, since the Adobe’s features augment any installed plug-in. As an editor, I like to do most of my work within the NLE, but honestly, if you want the best total experience, use these tools in After Effects. That’s where everything shines.

Looks

I won’t dive into each specific feature, since you can download a free trail version and see for yourself. Plus, you can reread my Magic Bullet Suite 12 review, as many of the main features are similar. But let me note a few items, starting with Looks. This is the grandaddy plug-in of the group, which actually runs as a mini sidebar application. Apply the plug-in, click the “edit” button, and your reference frame opens in the standalone Looks interface. It includes a wealth of tools that can be applied, reordered, and adjusted in near-infinite variations to get just the specific look you desire. There are three helpful features – grading head starts, the ability to save custom presets, and a looks browser. The browser offers a ton of custom presets with a small thumbnail for each. These are updated with the reference frame and as you hover over each, the main viewer window is updated to display that look, thanks to GPU acceleration. If you want to start from scratch, but not sure what the best tools are to use, that’s where the head starts come in. This section includes six starting points that include a series of correction tools in a preset order, but without any tweaks yet applied.

Colorista IV

Colorista IV is another tools that’s received a lot of attention in this build. I’ve already mentioned the panel, but something really unique is the built-in Guided Color Correction routine. This is designed to guide novice and even experienced editors and compositors through series of color correction steps in the right order. Colorista also gained temperature and tint controls, RGB point curves, log support, and LUTs. The addition of integrated LUTs fills a gap, because Red Giant’s separate LUT Buddy tool has been dropped from Suite 13.

Renoiser

The other tools have also gained added features, but let’s not forget the new Magic Bullet Renoiser 1.0. This is designed to give cinematic texture and grain to pristine video and CGI footage. It includes 16 stock presets ranging from 8mm to 35mm. These are labeled based on certain fanciful styles, like “Kung Fu Fighting” or “Classic 35mm”. Renoiser’s settings are completely customizable.

There’s a lot to like in this upgrade, but first and foremost for me was the overall zippier operation, thanks to GPU acceleration. If you use these tools a lot in your daily editing and compositing, then Magic Bullet Suite 13 will definitely be worth the update.

©2017 Oliver Peters