Molly’s Game

Molly Bloom’s future looked extremely bright. A shot at Olympic skiing glory leading to entry into a leading law school. But an accident during qualifying trials for the U. S. ski team knocked her out of the running for the Salt Lake City games. (Bloom notes in her own memoir that it was her decision to retire and change the course of her life, rather than the minor accident.) She moved to Los Angeles and ended up running high stakes, private poker games with her boss at the time. These games included A-list celebrities, hedge fund managers, and eventually, members of the Russian mob. Bloom quickly earned the nickname as the “poker princess”. This all came crashing down when Bloom was busted by the FBI and sentenced for her role in the gambling ring.

Bloom’s memoir came to the attention of screenwriter Aaron Sorkin (The Social Network, Moneyball, Steve Jobs), who not only made this his next film script, but also his debut as a film director. Sorkin stayed close to the facts that Bloom described in her own memoir and consulted her during the writing of the screenplay. The biggest departure is that Bloom named some celebrities at these games, who had previously been revealed in released court documents. Sorkin opted to fictionalize them, explaining that he would rather focus the story on Bloom’s experiences and not on Hollywood gossip. Jessica Chastain (The Zookeeper’s Wife, A Most Violent YearZero Dark Thirty) stars as Molly Bloom.

Although three editors are credited for Molly’s Game, the back story is that a staggered schedule had to be worked out. The post production of Steve Jobs connected feature film editor Elliot Graham (Milk, 21, Superman Returns) with that film’s writer and director – Sorkin and Danny Boyle (T2 Trainspotting, 127 Hours, Slumdog Millionaire). Graham was tapped to cut Molly’s Game later into the process, replacing its original editor. He brought Josh Schaeffer (The Last Man on Earth, Detroiters, You’re the Worst) on as associate editor to join him. Graham started the recut with Schaeffer, but a prior schedule commitment to work on Trust for Boyle, saw him exiting the film early. (Trust is the BBC’s adaptation of the Getty kidnapping story.) Graham was able to bring the film about 50% of the way through post. Alan Baumgarten (Trumbo, American Hustle, Gangster Squad) picked up for Graham and edited with Schaeffer to the finish, thus earning all three an editing credit.

Working with a writer on his directorial debut

It can always be a challenge when a writer is close to the editing process. Scenes that may be near and dear to the writer are often cut, leading to tension. I asked the three about this situation. Graham says, “Aaron has always been on set with his other films and worked very closely with the director. So, he understands the process, having learned from some of the best directors in the business. I had a great time with Aaron on Steve Jobs. He’s an incredibly lovely and generous collaborator who brings out the best in his team.”

Baumgarten expands, “Working with Aaron was fun, because he appreciates being challenged. He’s open to seeing what an editor brings to the film. Aaron wrote a tight script that didn’t need to be re-arranged. Only about 20 minutes came out. We cut one small scene, but it was mostly trimming here and there. You want to be careful not to ruin the rhythm of his writing.”

Graham continues, “Aaron also found his own visual vocabulary. A lot of the story is told in time jumps, from present day to the past in flashbacks. Aaron always is looking for rapid fire, overlapping dialogue. It’s part of his uniqueness and it’s a joy to cut. What was new for Aaron was using voice over to drive things.”

 Another new challenge was the use of stock footage. About 150 stock shots were used for cutaways and mini-montages throughout the film. Most of these were never originally scripted. Graham says, “Stock footage was something I chose to start injecting into the film with Aaron’s collaboration when I came on. We felt it was useful to have visual references for some of the voice overs – to connect visuals with words, which helps to land Aaron’s linguistic ideas for viewers. This began with the opening ski sequence – the first thing I cut when I came on board.”

The editors would pull down shots from a variety of internet sources and then the actual footage had to be found and cleared. The editors ultimately partnered with STALKR to find and clear all of the stock shots that were used. Visual effects were handled by Mr. X in Toronto. Originally, only 90 shots were budgeted (for example, snow falling in the ski sequences), but in the end, there were almost 600 visual effects shots in the final film.

Musicality of the performance

Baumgarten explains the musicality of Sorkin’s style. He says, “Aaron knew the film he wanted and had that in his head. Part of his writing process is to read his dialogue out loud and listen for the cadence of the performance. As you go through takes, the film is always moving in the right direction. As a writer/director, he doesn’t need variations or ad libs in an actor’s performance from one take to another, because he knows what the intention of the line is. As editors, we didn’t need to experiment with different calibrations of the performance. The experimentation came in with how we wove in the voice-over and played with the general rhythm.”

Graham adds, “Daniel Pemberton is the composer I worked with on Steve Jobs. I brought on Carl Kaller, a great music editor, when I came on. I knew that the music and dialogue had to dance a beautiful rhythm together for the film to be its best. With a compressed schedule to finish the film, we needed someone like Carl to help choreograph that dance.”

Baumgarten continues, “Daniel was involved early and provided us with temp tracks, which was a great gift. We didn’t have to use scores from other composers as temp music. Carl was just down the hall, so it was easy to weave Daniel’s temp elements in and around the dialogue and voice-over during the editing stage. There is interplay between the voice-over and the music, and the VO is like another musical element.”

Avid for the post

The post operation followed a standard feature film set-up. Avid Media Composer for the editing work stations, tied to Avid ISIS shared storage. The film was shot digitally using ARRI Alexas.

Production covered 48 days ending in February [2017]. It took 10 weeks to get to a director’s cut and then editing on Molly’s Game continued for about six months, which included visual effects, final sound mix and color correction. Schaeffer explains, “The dialogue scenes were scripted using [Avid] ScriptSync. Aaron was familiar with ScriptSync from The Newsroom, and it was a great help for us on this film. It’s the best way to have everything readily available and it allows us to be extremely thorough. If Aaron wanted to change a single word in a take, we were always able to find all of the alternates and make the change quite easily.”

Schaeffer continues, “Aaron methodically worked in a reel-by-reel order. We would divide up sequences between us at breaks that made sense. But when it came time to review the cut on a sequence, we would all review together. A lot people think that you have three editors on a film because the project is so difficult. The truth is that it lets you be more creative. Productions shoot so much footage these days, that it’s great to be able to experiment. Having multiple editors on a film enables you to take the time to be creative. We were all glad that Aaron set up an environment, which made that possible.”

Originally written for Digital Video magazine / Creative Planet Network

©2018 Oliver Peters

Downsizing

The bond between a film director and the editor is often a long-lasting one. The industry is full of pairings that continue film after film. One such duo is director Alexander Payne (Nebraska, The Descendants, Sideways) and editor Kevin Tent (Welcome to Me, Girl Interrupted, Election). Tent has edited every film that Payne directed, with the exception of Payne’s short film Paris, je t’aime. In fact, Payne also served as producer for Crash Pad, a film directed by Tent.

The latest Alexander Payne film to hit the cinemas is Downsizing, a sci-fi satire starring Matt Damon, Christoph Waltz, and Kristen Wig. In the film, scientists discover human miniaturization as a way to combat overpopulation. Paul (Matt Damon) and Audrey (Kristen Wig) decide to give it a try, exchanging their average life in Omaha for Leisure Land, one of the ‘micro-communities’ sprouting up. Their modest $150,000 in personal assets will make them multimillionaires, so they take the plunge.

Sci-fi and satire

The sci-fi genre is a new approach for Payne, which is where I started my conversation with Kevin Tent. He explains, “The sci-fi theme is a departure for Alexander, but this is still very much an ‘Alexander Payne movie’. It’s still about the human experience. In the plot, shrinking is seen as a way to save the human race, but people get greedy. They can make themselves instantly rich, save money on food, medicine, and move into big ‘McMansions’. Human nature takes over, which makes the film funny and also thought-provoking. It covers a lot of ground and politics.”

“It’s easy to ask, why sci-fi,” Tent continues. “Alexander Payne is an artist who is always looking for ways to challenge himself. He co-wrote the script ten years ago, but it took this long to get it made. For one thing, Downsizing is more expensive than his past films. As an editor, I first looked at the cutting differently, because of working with the visual effects; but, I quickly realized that this film, like Alexander’s others, was about the characters and the story.  [Those are] still the most important elements of the movie. I had recently worked on The Audition, which was shot mostly with green screen – and a while back, The Golden Compass, which was a serious visual effects movie.  I had enough knowledge about the process to know one thing. These people can do anything! We had a terrific VFX team, headed by our creative guru, Jamie Price. ILM and Framestore did most of the visual effects.”

Digital production to aid the process

Alexander Payne shifted to digital acquisition with Nebraska and has followed suit with his latest, Downsizing. According to Tent, “Alexander shoots a lot of coverage, so he likes digital for that. It’s also easier to deal with when compositing visual effects. We had over 130 hours of total footage. Of course, a fairly good chunk was plates for VFX and 2nd unit footage. Most of the scenes were shot with single camera, but sometimes with multi-cam. Especially for some of the big speeches, which were covered with two and sometimes three cameras. We synced up the takes in the Avid, which makes it so easy to switch from camera to camera. Mindy Elliot is our amazing first assistant. She’s a total pro and a total joy to work with. She’s been running our cutting rooms since The Descendants. Angela Latimer was our second. She did 99% of the scripting [for Avid’s ScriptSync feature] and also helped cut early versions of Paul’s drug montage [scene in Downsizing]. Joe Carson was our VFX editor. I met him while working on Sponge Bob The Movie. I was one of the live action CGI editors on that film. Joe is awesome. He not only kept all of our visual effects organized, but he was also kept busy with the countless comps, morphs, and speed-ups that we tossed at him on a daily basis.”

Production wrapped in mid-August 2016 and then Tent started cutting with Payne right after Labor Day. Tent continues, “When I cut with Alexander, we basically start from scratch. I do create an editor’s cut during production, which we go back to for reference during our time together cutting, but it isn’t the starting point when I begin with Alexander. He’s a good editor, so when we work together, it’s really like having two editors in the room. We start watching dailies and start building scenes. We often look back at my editor’s cut and realize the scene or a part of it was better in that earlier version. Or maybe not. If there is something we like, we’ll put it back into the current cut.  We completed our first pass (kind of a director’s assembly) in January to show the studio. By early to mid-July we had a locked cut with about 80% of the completed VFX shots. The remainder trickled in afterwards. All together, that’s about ten or eleven months of cutting and finishing. Our DI/color grading was handled by the amazing Skip Kimball at Technicolor.”

Tools and tips

As a fellow editor, it’s always fun to talk about the tools and how to use them on a feature film project. Kevin Tent is a committed Avid Media Composer user. (Pacific Post provided the Avid systems used by the editing team.) According to Tent, “This was a huge project and Media Composer never had a problem with it.” One unique hallmark of Media Composer is Avid’s Script Integration. Notable within it is ScriptSync, Media Composer’s ability to automatically analyze waveforms and synchronize them – and, therefore, the associated clip – against text that has been input, like a film script. When correctly indexed, simply clicking on a line of dialogue in the on-screen script brings up all of the corresponding coverage. An ongoing licensing dispute limited its use to older versions of Media Composer, until the issue was finally resolved this year. That is great news for devotees of Avid’s powerful ScriptSync capability.

Many film editors swear by Avid’s Script Integration tools, yet some never use them at all. Was Tent a ScriptSync user? “Hell, ya!,” is his instant reply. “We stayed on Media Composer 7.0.6, because of the ScriptSync licensing issue, just so we could use it. I had Angela mark a lot of extra material and ad libs in addition to the scripted dialog. For example, an action like Paul opening a door or something like that. That would help, especially if they shot a lot of takes or resets within one bigger take, which tends to happen a lot when the shooting is on digital. There’s a massive party scene midway through the movie with people dancing, smoking pot, that kind of thing, and I asked Angela to add a ton of detail describing the scene. It made finding specific actions so quick. It’s also an especially great aid at re-cutting scenes when you are looking for alternate coverage.”

Another aid that editors like is to place scene cards on the wall. Typically these are 3”x5” note cards with written scene descriptions – one for each scene – that can be pinned to the wall in the order of the ongoing edit. Although Tent is also a proponent of these – a remnant practice from the old film days – his Downsizing cutting room didn’t have enough wall space to accommodate cards.

The Downsizing script clocked in a tad long and the first assembly that Payne and Tent cut was 2:45 (final length was 2:08). Obviously the team needed to do a bit of “downsizing” themselves. Tent explains, “The biggest lost scenes were bookending storyteller elements to open and close the film. There was an old caveman from far in the future telling a group of children about the events within the film and how once giants roamed the world. This story element was painful to lose, because it was very funny and effective emotionally. But it took an added three or four minutes to get to Matt Damon’s character and that hurt us.  The audience wants you to get to your main characters and understand what they’re seeing within a reasonable amount of time. Fortunately, Alexander hadn’t shot it yet as part of the main production. We previewed with storyboards, temp music, and voice over. While it was tough to lose it from the point of view of the script, we weren’t leaving produced material ‘on the cutting room floor’. Ultimately if you don’t know it was there, you won’t miss not having it.”

Downsizing opened in cinemas on December 21. Whether you are in it for the thought-provoking concepts or simply a lot of laughs and a wild ride, it’s a film to enjoy. Alexander Payne is bound to have another success on his hands.

Originally written for Digital Video magazine / Creative Planet Network

© 2017, 2018 Oliver Peters

Stocking Stuffers 2017

It’s holiday time once again. For many editors that means it’s time to gift themselves with some new tools and toys to speed their workflows or just make the coming year more fun! Here are some products to consider.

Just like the tiny house craze, many editors are opting for their laptops as their main editing tool. I’ve done it for work that I cut when I’m not freelancing in other shops, simply because my MacBook Pro is a better machine than my old (but still reliable) 2009 Mac Pro tower. One less machine to deal with, which simplifies life. But to really make it feel like a desktop tool, you need some accessories along with an external display. For me, that boils down to a dock, a stand, and an audio interface. There are several stands for laptops. I bought both the Twelve South BookArc and the Rain Design mStand: the BookArc for when I just want to tuck the closed MacBook Pro out of the way in the clamshell mode and the mStand for when I need to use the laptop’s screen as a second display. Another option some editors like is the Vertical Dock from Henge Docks, which not only holds the MacBook Pro, but also offers some cable management.

The next hardware add-on for me is a USB audio interface. This is useful for any type of computer and may be used with or without other interfaces from Blackmagic Design or AJA. The simplest of these is the Mackie Onyx Blackjack, which combines interface and output monitor mixing into one package. This means no extra small mixer is required. USB input and analog audio output direct to a pair of powered speakers. But if you prefer a separate small mixer and only want a USB interface for input/output, then the PreSonus Audiobox USB or the Focusrite Scarlett series is the way to go.

Another ‘must have’ with any modern system is a Thunderbolt dock in order to expand the native port connectivity of your computer. There are several on the market but it’s hard to go wrong with either the CalDigit Thunderbolt Station 2 or the OWC Thunderbolt 2 Dock. Make sure you double-check which version fits for your needs, depending on whether you have a Thunderbolt 2 or 3 connection and/or USB-C ports. I routinely use each of the CalDigit and OWC products. The choice simply depends on which one has the right combination of ports to fit your needs.

Drives are another issue. With a small system, you want small portable drives. While LaCie Rugged and G-Technology portable drives are popular choices, SSDs are the way to go when you need true, fast performance. A number of editors I’ve spoken to are partial to the Samsung Portable SSD T5 drives. These USB3.0-compatible drives aren’t the cheapest, but they are ultraportable and offer amazing read/write speeds. Another popular solution is to use raw (uncased) drives in a drive caddy/dock for archiving purposes. Since they are raw, you don’t pack for the extra packaging, power supply, and interface electronics with each, just to have it sit on the shelf. My favorite of these is the HGST Deckstar NAS series.

For many editors the software world is changing with free applications, subscription models, and online services. The most common use of the latter is for review-and-approval, along with posting demo clips and short films. Kollaborate.tv, Frame.io, Wipster.io, and Vimeo are the best known. There are plenty of options and even Vimeo Pro and Business plans offer a Frame/Wipster-style review-and-approval and collaboration service. Plus, there’s some transfer ability between these. For example, you can publish to a Vimeo account from your Frame account. Another expansion of the online world is in team workgroups. A popular solution is Slack, which is a workgroup-based messaging/communication service.

As more resources become available online, the benefits of large-scale computing horsepower are available to even single editors. One of the first of these new resources is cloud-based, speech-to-text transcription. A number of online services provide this functionality to any NLE. Products to check out include Scribeomatic (Coremelt), Transcriptive (Digital Anarchy), and Speedscriber (Digital Heaven). They each offer different pricing models and speech analysis engines. Some are still in beta, but one that’s already out is Speedscriber, which I’ve used and am quite happy with. Processing is fast and reasonably accurate, given a solid audio recording.

Naturally free tools make every user happy and the king of the hill is Blackmagic Design with DaVinci Resolve and Fusion. How can you go wrong with something this powerful and free with ongoing company product development? Even the paid versions with some more advanced features are low cost. However, at the very least the free version of Resolve should be in every editor’s toolkit, because it’s such a Swiss Army Knife application.

On the other hand, editors who have the need to learn Avid Media Composer, need look no further than the free Media Composer | First. Avid has tried ‘dumbed-down’ free editing apps before, but First is actually built off of the same code base as the full Media Composer software. Thus, skills translate and most of the core functions are available for you to use.

Many users are quite happy with the advantages of Adobe’s Creative Cloud software subscription model. Others prefer to own their software. If you work in video, then it’s easy to put together alternative software kits for editing, effects, audio, and encoding that don’t touch an Adobe product. Yet for most, the stumbling block is Photoshop – until now. Both Affinity Photo (Serif) and Pixelmator Pro are full-fledged graphic design and creation tools that rival Photoshop in features and quality. Each of these has its own strong points. Affinity Photo offers Mac and Windows versions, while Pixelmator Pro is Mac only, but taps more tightly into macOS functions.

If you work in the Final Cut Pro X world, several utilities are essential. These include SendToX and XtoCC from Intelligent Assistance, along with X2Pro Audio Convert from Marquis Broadcast. Marquis’ newest is Worx4 X – a media management tool. It takes your final sequence and creates a new FCPX library with consolidated (trimmed) media. No transcoding is involved, so the process is lighting fast. Although in some cases media is copied without being trimmed. This can reduce the media to be archived from TBs down to GBs. They also offer Worx4 Pro, which is designed for Premiere Pro CC users. This tool serves as a media tracking application, to let editors find all of the media used in a Premiere Pro project across multiple volumes.

Most editors love to indulge in plug-in packages. If you can only invest in a single, large plug-in package, then BorisFX’s Boris Continuum Complete 11 and/or their Sapphire 11 bundles are the way to go. These are industry-leading tools with wide host and platform support. Both feature mocha tracking integration and Continuum also includes the Primatte Studio chromakey technology.

If you want to go for a build-it-up-as-you-need-it approach – and you are strictly on the Mac – then FxFactory will be more to your liking. You can start with the free, basic platform or buy the Pro version, which includes FxFactory’s own plug-ins. Either way, FxFactory functions as a plug-in management tool. FxFactory’s numerous partner/developers provide their products through the FxFactory platform, which functions like an app store for plug-ins. You can pick and choose the plug-ins that you need when the time is right to purchase them. There are plenty of plug-ins to recommend, but I would start with any of the Crumplepop group, because they work well and provide specific useful functions. They also include the few audio plug-ins available via FxFactory. Another plug-in to check out is the Hawaiki Keyer 4. It installs into both the Apple and Adobe applications and far surpasses the built-in keying tools within these applications.

The Crumplepop FxFactory plug-ins now includes Koji Advance, which is a powerful film look tool. I like Koji a lot, but prefer FilmConvert from Rubber Monkey Software. To my eyes, it creates one of the more pleasing and accurate film emulations around and even adds a very good three-way color corrector. This opens as a floating window inside of FCPX, which is less obtrusive than some of the other color correction plug-ins for FCPX. It’s not just for film emulation – you can actually use it as the primary color corrector for an entire project.

I don’t want to forget audio plug-ins in this end-of-the-year roundup. Most editors don’t feel too comfortable with a ton of surgical audio filters, so let me stick to suggestions that are easy-to-use and very affordable. iZotope is a well-known audio developer and several of its products are perfect for video editors. These fall into repair, mixing, and mastering needs. These include the Nectar, Ozone, and RX bundles, along with the RX Loudness Control. The first three groups are designed to cover a wide range of needs and, like the BCC video plug-ins, are somewhat of an all-encompassing product offering. But if that’s a bit rich for the blood, then check out iZotope’s various Elements versions.

The iZotope RX Loudness Control is great for accurate loudness compliance, and best used with Avid or Adobe products. However, it is not real-time, because it uses analysis and adaptive processing. If you want something more straightforward and real-time, then check out the LUFS Meter from Klangfreund. It can be used for loudness control on individual tracks or the master output. It works with most of the NLEs and DAWs. A similar tool to this is Loudness Change from Videotoolshed.

Finally, let’s not forget the iOS world, which is increasingly becoming a viable production platform. For example, I’ve used my iPad in the last year to do location interview recordings. This is a market that audio powerhouse Apogee has also recognized. If you need a studio-quality hardware interface for an iPhone or iPad, then check out the Apogee ONE. In my case, I tapped the Apogee MetaRecorder iOS application for my iPad, which works with both Apogee products and the iPad’s built-in mic. It can be used in conjunction with FCPX workflows through the integration of metadata tagging for Keywords, Favorites, and Markers.

Have a great holiday season and happy editing in the coming year!

©2017 Oliver Peters

Avid Media Composer | First

They’ve teased us for two years, but now it’s finally out. Avid Technology has released its free nonlinear editing application, Media Composer | First. This is not dumbed-down, teaser software, but rather a partially-restricted version of the full-fledged Media Composer software and built upon the same code. With that comes an inherent level of complexity, which Avid has sought to minimize for new users; however, you really do want to go through the tutorials before diving in.

It’s important to understand who the target user is. Avid didn’t set out to simply add another free, professional editing tool to an increasingly crowded market. Media Composer | First is intended as a functional starter tool for users who want to get their feet wet in the Avid ecosystem, but then eventually convert to the full-fledged, paid software. That’s been successful for Avid with Pro Tools | First. To sweeten the pot, you’ll also get 350 sound effects from Pro Sound Effects and 50 royalty-free music tracks from Sound Ideas (both sets are also free).

Diving in

To get Media Composer | First, you must set up an Avid master account, which is free. Existing customers can also get First, but the software cannot be co-installed on a computer with the full version. For example, I installed Media Composer | First on my laptop, because I have the full Media Composer application on my desktop. You must sign into the account and stay signed in for Media Composer | First to lunch and run. I did get it to work if I signed in, but then disconnected the internet. There was a disconnection prompt, but nevertheless, the application worked, saved, and exported properly. It doesn’t seem mandatory to be constantly connected to Avid over the internet. All project data is stored locally, so this is not a cloud application.

The managing of the account and future updates are handled through Application Manager, an Avid desktop utility. It’s not my favorite, as at times it’s unreliable, but it does work most of the time. Opening the installer .dmg file will take a long time to verify. This seems to be a general Avid quirk, so be patient. When you first open the application, you may get a disk drive write permissions error message. On macOS you normally set drive permissions for “system”, “wheel”, and “everyone”. Typically I have the last two set to “read only”, which works for every other application, except Avid’s. Therefore, if you want to store Avid media on your internal system hard drive, then “everyone” must be changed to “read & write”.

The guided tour

The Avid designers have tried to make the Media Composer | First interface easy to navigate for new users – especially those coming from other NLEs, where media and projects are managed differently than in Media Composer. Right at the launch screen you have the option to learn through online tutorials. These will be helpful even for experienced users who might try to “out-think” the software. The interface includes a number of text overlays to help you get started. For example, there is no place to set project settings. The first clip added to the first sequence sets the project settings from there on. So, don’t drop a 25fps clip onto the timeline as your first clip, if you intend to work in a 23.98fps project. These prompts are right in front of you, so if you follow their guidance, you’ll be OK.

The same holds true for importing media through the Source Browser. With Media Composer you either transcode a file, which turns it into Avid-managed media placed into the Avid MediaFiles folder, or simply link to the file. If you select link, then the file stays in place and it’s up to the user not to move or delete that file on the hard drive. Although the original Avid paradigm was to only manage media in its MediaFiles hard drive folders, the current versions handle linking just fine and act largely the same as other NLEs.

Options, restrictions, and limitations

Since this is a free application, a number of features have been restricted. There are three biggies. Tracks are limited to four video tracks and eight audio tracks. This is actually quite workable, however, I think a higher audio track count would have been advisable, because of how Avid handles stereo, mono, and multichannel files. On a side note, if you use the “collapse” function to nest video clips, it’s possible to vertically stack more than just four clips on the timeline.

The application is locked to a maximum project size of 1920×1080 (Rec. 709 color space only) and up to 59.94fps. Source files can be larger (such as 4K) and you can still use them on the timeline, but you’ll have to pan-and-scan, crop, or scale them. I hope future versions will permit at least UltraHD (4K) project sizes.

Finally, Media Composer | First projects cannot be interchanged with full fledged Media Composer projects. This means that you cannot start in Media Composer | First and then migrate your project to the paid version. Hopefully this gets fixed in a future update. If not, it will negatively impact students and indie producers using the application for any real work.

As expected, there are no 3D stereoscopic tools, ScriptSync (automatic speech-to-text/sync-to-script), PhraseFind (phonetic search engine), or Symphony (advanced color correction) options. One that surprised me, though, was the removable of the superior Spectramatte keyer. You are left with the truly terrible RGB keyer for blue/green-screen work.

Nevertheless, there’s plenty of horsepower left. For example, FrameFlex to handle resizing and Timewarps for retiming clips, which is how 4K and off-speed frame rates are handled. Color correction (including scopes), multicam, IllusionFX, source setting color LUTs, Audiosuite, and Pro Tools-style audio track effects are also there. Transcoding allows for the use of a wide range of codecs, including ProRes on a Mac. 4K camera clips will be transcoded to 1080. However, exports are limited to Avid DNxHD and H.264 QuickTime files at up to 1920×1080. The only DNxHD export flavor is the 100Mbps variant (at 29.97, 80Mbps for 23.98), which is comparable to ProResLT. It’s good quality, but not at the highest mastering levels.

Conclusion

This is a really good first effect, no pun intended. As you might expect, it’s a little buggy for a first version. For example, I experienced a number of crashes while testing source LUTs. However, it was well-behaved during standard editing tasks. If Media Composer | First files can become compatible with the paid systems and the 1080 limit can be increased to UHD/4K, then Avid has a winner on its hands. Think of the film student who starts on First at home, but then finishes on the full version in the college’s computer lab. Or the indie producer/director who starts his or her own rough cut on First, but then takes it to an editor or facility to complete the process. These are ideal scenarios for First. I’ve cut tons of short and long form projects, including a few feature films, using a variety of NLEs. Nearly all of those could have been done using Media Composer | First. Yes, it’s free, but there’s enough power to get the job done and done well.

©2017 Oliver Peters

Suburbicon

George Clooney’s latest film, Suburbicon, originated over a decade ago as a screenplay by Joel and Ethan Coen. Clooney picked it up when the Coens decided not to produce the film themselves. Clooney and writing partner Grant Heslov (The Monuments Men, The Ides of March, Good Night, and Good Luck), rewrote it as taking place in the 1950s and added another story element. In the summer of 1957, the Myers, an African-American couple, moved into a largely white suburb in Levittown, Pennsylvania, setting off months of violent protests. The rewritten script interweaves the tale of the black family with that of their next-door neighbors, Gardner (Matt Damon) and Margaret (Julianne Moore). In fact, a documentary was produced about the historical events and shots from that documentary were used in Suburbicon.

Calibrating the tone

During the production and editing of the film, the overall tone was adjusted as a result of the actual, contemporary events occurring in the country. I spoke with the film’s editor, Stephen Mirrione (The Revenant, Birdman or (The Unexpected Virtue of Ignorance), The Monuments Men) about this. Mirrione explains, “The movie is presented as over-the-top to exaggerate events as satire. In feeling that out, George started to tone down the silliness, based on surrounding events. The production was being filmed during the time of the US election last year, so the mood on the set changed. The real world was more over-the-top than imagined, so the film didn’t feel quite right. George started gravitating towards a more realistic style and we locked into that tone by the time the film moved into post.”

The production took place on the Warner Brothers lot in September 2016 with Mirrione and first assistant editor Patrick Smith cutting in parallel with the production. Mirrione continues, “I was cutting during this production period. George would come in on Saturdays to work with me and ‘recalibrate’ the cut. Naturally some scenes were lost in this process. They were funny scenes, but just didn’t fit the direction any longer. In January we moved to England for the rest of the post. Amal [Clooney, George’s wife] was pregnant at the time, so George and Amal wanted to be close to her family near London. We had done post there before and had a good relationship with vendors for sound post. The final sound mix was in the April/May time frame. We had an editing room set up close to George outside of London, but also others in Twickenham and at Pinewood Studios. This way I could move around to work with George on the cut, wherever he needed to be.”

Traveling light

Mirrione is used to working with a light footprint, so the need for mobility was no burden. He explains, “I’m accustomed to being very mobile. All the media was in the Avid DNxHD36 format on mobile drives. We had an Avid ISIS shared storage system in Twickenham, which was the hub for all of the media. Patrick would make sure all the drives were updated during production, so I was able to work completely with standalone drives. The Avid is a bit faster that way, although there’s a slight trade-off waiting for updated bins to be sent. I was using a ‘trash can’ [2013] Mac Pro plus AJA hardware, but I also used a laptop – mainly for reference – when we were in LA during the final steps of the process.” The intercontinental workflow also extended to color correction. According to Mirrione, “Stefan Sonnenfeld was our digital intermediate colorist and Company 3 [Co3] stored a back-up of all the original media. Through an arrangement with Deluxe, he was able to stream material to England for review, as well as from England to LA to show the DP [Robert Elswit].”

Music was critical to Suburbicon and scoring fell to Alexandre Desplat (The Secret Life of Pets, Florence Foster Jenkins, The Danish Girl). Mirrione explains their scoring process. “It was very important, as we built the temp score in the edit, to understand the tone and suspense of the film. George wanted a classic 1950s-style score. We tapped some Elmer Bernstein, Grifters, The Good Son, and other music for our initial style and direction. Peter Clarke was brought on as music editor to help round out the emotional beats. Once we finished the cut, Alexandre and George worked together to create a beautiful score. I love watching the scenes with that score, because his music makes the editing seem much more exciting and elegant.”

Suiting the edit tool to your needs

Stephen Mirrione typically uses Avid Media Composer to cut his films and Suburbicon is no exception. Unlike many film editors who rely on unique Avid features, like ScriptSync, Mirrione takes a more straightforward approach. He says, “We were using Media Composer 8. The way George shoots, there’s not a lot of improv or tons of takes. I prefer to just rely on PDFs of the script notes and placing descriptions into the bins. The infrastructure required for ScriptSync, like extra assistants, is not something I need. My usual method of organization is a bin for each day of dailies, organized in shooting order. If the director remembers something, it’s easy to find in a day bin. During the edit, I alternate my bin set-ups between the script view and the frame view.”

With a number of noted editors dabbling with other software, I wondered whether Mirrione has been tempted. He responds, “I view my approach as system-agnostic and have cut on Lightworks and the old Laser Pacific unit, among others. I don’t want to be dependent on one piece of software to define how I do my craft. But I keep coming back to Avid. For me it’s the trim mode. It takes me back to the way I cut film. I looked at Resolve, because it would be great to skip the roundtrip between applications. I had tested it, but felt it would be too steep a learning curve, and that would have impacted George’s experience as the director.”

In wrapping our conversation, Mirrione concluded with this take away from his Suburbicon experience. He explains, “In our first preview screening, it was inspiring to see how seriously the audience took to the film and the attachment they had to the characters. The audiences were surprised at how biting and relevant it is to today. The theme of the film is really talking about what can happen when people don’t speak out against racism and bullying. I’m so proud and lucky to have the opportunity to work with someone like George, who wants to do something meaningful.”

Originally written for Digital Video magazine / Creative Planet Network

©2017 Oliver Peters