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

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Blackmagic Design DaVinci Resolve 14

DaVinci Resolve has made its mark as one of the premier color correction applications for the film and video industries. With the introduction of Resolve 14*, it’s clear that Blackmagic Design has set its sights higher. Advanced editing functions and the inclusion of the Fairlight audio engine put Resolve on track to be the industry’s latest all-in-one post-production powerhouse. I’ve reviewed Resolve in the past as a grading application, but my focus here is editing. Right at the start, let me paraphrase the judges on History Channel’s Forged in Fire series – ‘This NLE can cut!’ If you have no prior allegiances to other editing platforms, then using Resolve as your NLE of choice is a no-brainer.

(*This review was originally written right after the release of Resolve 14 in late 2017.)

DaVinci Resolve 14 comes in two flavors, DaVinci Resolve 14 (free) and DaVinci Resolve Studio ($299). Upgrades have been free to date. It’s the only NLE to support three operating systems: macOS, Windows, and Linux. Mac users also have the option to download Resolve (free) or purchase Resolve Studio through the Apple Mac App Store. These versions are basically the same as those on Blackmagic Design’s website, but with some differences, due to the requirement that App Store software be sandboxed.

Resolve offers the majority of the same features as Resolve Studio. The primary limitations are that exports are capped at UltraHD (3840×2160), and that features such as stereo3D, lens distortion correction, noise reduction, and collaboration require Resolve Studio. Regardless of the version, Resolve is a very deep application that’s been battle-tested through years of high-pressure, enterprise-grade deployment. But is that enough to sway loyal Final Cut Pro X, Premiere Pro, or Media Composer editors to switch? There’s certainly interest, as Stephen Mirrione pointed out in my recent Suburbicon interview, so I wouldn’t be surprised to hear news of a TV show or small feature film being edited with Resolve in the coming year.

The all-in-one concept

Creating a single application that’s good at many different tasks can be daunting and more often than not has been unsuccessful. In the case of Resolve, Blackmagic Design has taken a modal approach by splitting the interface into five pages: Media (ingest/import), Edit, Color, Fairlight (audio mixing), and Deliver (export/output).

The workflow follows a logical, left-to-right path through these five stages of post-production. With each page/mode change, the user interface is reconfigured to best suit the task at hand. The Edit page sports a standard source/record/bin/track layout similar to Media Composer, Premiere Pro, or Final Cut Pro 7. Color switches to the familiar tools and nodes of DaVinci color correction. The Fairlight mixing page isn’t just a mimic of the Fairlight interface. The engineers completely swapped out the audio guts of Resolve and replaced it with the Fairlight audio engine.

Not only is the interface that of a respected DAW, but it is also possible to expand your system with Fairlight’s audio acceleration card, as well as add a Fairlight mixing desk. This means that in a multi-suite facility, you can have task-specific rooms optimized for editing, color grading, or audio mixing – all using the exact same software application without the need for roundtrips or other list translations.

But does it work?

I put both versions of Resolve 14 through the paces and the application is reasonably solid, given how much has changed from version 12 (there was no version 13). General media management, editing, and audio processing is top notch. If you want audio/video output, Blackmagic Design Decklink or UltraStudio hardware is required. There is also a Cinema viewer function for fullscreen viewing on your computer display. With dual displays, the edit interface can be on one along with fullscreen video on the other.

The Fairlight mode will likely require a bit of rethinking by editors used to mixing audio in other NLEs, since it uses a DAW-style interface. Many well-known physical mixing consoles, like those from Solid State Logic, feature channel strips with built-in EQs, compressors, etc. That’s how Fairlight treats these software channels or tracks. Each track can have its own combination of Fairlight audio processing functions. Stick with those and you’ll be happy, although other audio filters on your computer, like Apple AU plug-ins, are accessible. Mixing and audio editing is good with subframe accuracy and the 14.1 update added linked groups to lock faders together. The pace of Fairlight integration was quite fast, but it’s still a bit rough. I encountered a number of application crashes only in the Fairlight page, while scrubbing audio.

Whether or not you like the editing is more a function of personal style and preference. The user interface design is a lot like Final Cut Pro X, except with bins and tracks. Interface windows, tabs, and panels can be opened or pulled down into various screen configurations, but you don’t have freeform control over size and position. Clearly Premiere Pro is king in that department. Some design choices aren’t consistent. For example, you can’t enable a single-viewer layout when using two displays.

Multicam editing is solid, but I experienced a small bit of latency in the viewer when cutting camera angles on-the-fly. It’s minor and may or may not bother you. You can sync clips by various methods, such as timecode or waveform, but oddly, it seemed to be too lax. In my tests, it would frequently sync clips that it shouldn’t have when a sync relationship didn’t exist.

There are a number of things in Resolve’s design that take getting used to. For example, a Resolve project is locked to the frame rate you picked when that new project was created – same as with Avid. This means you can’t mix sequences with different frame rates within the same project. There are no adjustment layers, although you can fake it in the Color page by using clip and program-based corrections. Color management via LUTs (look-up tables) is much deeper than any other NLE. You can set color management with LUTs to be global, which is best when the project uses only one camera type. Conversely, input LUTs may be applied singly or in a batch to specific cameras in a bin. But, when you do that, the LUT process doesn’t show up in the color correction node (only its result), when you switch to the Color page. On the plus side, real time performance has been improved from previous versions and the built-in effects include filters that you don’t often find in the basic build of other NLEs, like glow and watercolor effects. In addition to great built-in effects, third-party OpenFX packages, like Boris Continuum Complete and Sapphire are also available.

Collaboration

Resolve uses bin-locking like Avid Media Composer. The first editor to open a bin has read/write permission to it. Any other editor can open that same bin in a read-only mode. For example, in a long-form project, separate bins might be organized for Act 1, Act 2, and so on. Different editors can separately work on parts of the film at the same time. Since this all happens in a single database file, it always reflects the most current state of the project.

To set up shared projects, a different PostgreSQL database is required, which is installed through the custom options of the installer. Make sure you are using the most recent version when upgrading Resolve, since the older versions of PostgreSQL are no longer compatible with the newest OS versions. One machine on the network hosts this database and then other workstations connect to that database to access the Resolve projects. Only that host machine needs to have PostgreSQL software installed on it. The process of adding and connecting shared databases has been improved and simplified with the release of 14.1.1 (and later), which now includes an additional server set-up utility application.

In testing collaboration features, I initially ran into set-up problems. These were eventually fixed when I disabled the macOS firewall on the host machine, which was blocking access from the other connected Macs to its shared database. This took some back and forth with Blackmagic Design’s helpful support engineers until we figured out why I was getting the connection errors. Since I had to return the additional “dongle” (USB license key) before this was fixed, I wasn’t able to test two editors simultaneously editing within the same open project. However, the ability to open any shared project from any qualified computer on the network was just fine.

DaVinci Resolve Micro Panel

I also tested the smaller, bus-powered DaVinci Resolve Micro panel. The Micro panel is just the right size for an editor or a DIT on set. It’s smaller than the Mini (tested previously in another review), because it doesn’t have the upward slanting portion in the back; therefore, it’s a better physical fit between your computer keyboard and display. You don’t have to shuffle desk real estate between tools, as you do with the Micro panel. In spite of not having the extra controls and LCD displays of the Mini, the Micro panel combines most of the control functions you need for fast grading. If you are an editor who is heavy into color correction, then this is a must-have for Resolve.

I took an instant liking to the Micro. You can use both hands to quickly and intuitively work the trackballs and knob controls, making for faster and better correction. It’s tactile, with next and previous clip buttons to quickly advance through the timeline, so you can keep your eyes on the screen. I grade in Resolve, Avid, Premiere Pro, and Final Cut Pro X, and all of that is with a mouse. Using the panel easily resulted in faster grading by a factor at least 3X or 4X. I also achieved better-looking corrections with fewer steps or processes than grading in any of these other applications.

Conclusion

Overall, there’s a lot to love about Resolve, in spite of a few rough edges. In general, it seems more stable under macOS Sierra than with High Sierra. If you use Resolve on a Mac, then you are stuck dealing with Apple’s platform changes. For example, recent Macs that use an Nvidia GPU are at a disadvantage under High Sierra, because Nvidia is just now developing drivers for CUDA under this OS. I experienced a number of crashes running Resolve 14 on my 2014 MacBook Pro until I manually changed the Resolve hardware configuration under Resolve’s preferences from CUDA to using Metal. When I installed what was supposed to be the newest CUDA driver, I still received a prompt that no CUDA-compliant card was present. But, it’s working fine using Metal. Macs with AMD GPUs should be fine.

Resolve 14 is a dense tool, with a lot of depth in various menus, which some may find daunting. This review would be a lot longer if I went even deeper into the many specific features of this application. Yet, it is easy for new users to hit the ground running and then learn as they go. For many, this is their mythical “Final Cut Pro 8”. In any case, DaVinci Resolve 14 is the best incarnation of the all-in-one concept to date. If you add Blackmagic Design’s Fusion visual effects software into the mix (also available in free and paid versions), the result is a combination that’s tough to beat at any price.

Blackmagic Design’s engineers have shown impressive development over a very short period of time, so I fully expect Blackmagic to give the three “A” companies a run for their money. Even if you use another tool as your main editing application, Resolve is a great addition to the toolbox. Using it becomes addictive. Give it a try and you might just find it becomes your first choice.

©2017, 2018 Oliver Peters

Apple Final Cut Pro X 10.4

December finally delivered the much-anticipated simultaneous release of new versions of Apple Final Cut Pro X, Motion, and Compressor – all on the same day as the iMac Pro officially went on sale. In the broader ecosystem, we also saw updates for macOS High Sierra, Logic Pro X, Pixelmator Pro, and Blackmagic Design DaVinci Resolve.

Final Cut Pro X (“ten”), version 10.4 is the fifth major release of Apple’s professional NLE in a little over six years. There are changes under the hood tied to technologies in High Sierra (macOS 10.13), which won’t get much press, but are very important in the development and operation of an application. This version will still run on a wide range of recent and older Macs. The minimum OS requirement is 10.12.4, but 10.13 or later is recommended. There are four new, marquee features in this release: advanced color correction tools, 360° editing, HDR (wide gamut) color space support, and HEVC/H.265 codec support for editing and encoding.

New advanced color tools

Final Cut Pro X was first launched with a color correction tool called the color board. It substituted sliders on a color swatch for the standard curves and color wheel controls that editors had been used to. While the color board was and is effective, as well as a bit deceptive in what you can accomplish, it was an instant turn-off for many. The lack of a more advanced color correction interface opened the field for third party color correction plug-in developers who came up with some great tools. With the release of FCPX 10.4, it’s hard for me to see why FCPX diehards would still buy a color correction plug-in. Yet, I have heard from at least one plug-in developer that their color corrector plug-in sales are staying stable. Clearly users want choice and that’s a good thing.

With this update, you’ve gained three new, native color tools, including color wheels, curves, and hue vs. saturation curves. All are elegantly designed, operate quite fluidly, and generally mimic what you can do in DaVinci Resolve. However, the color board didn’t go away however. There’s a preference setting for which of these four color tools is the default effect when first applying color correction (CMD+6).

Once you start color correcting, you can add more instances of any of these four tools in any combination. Final Cut Pro X sports robust performance, so you can apply several layers of correction to a clip and still have real-time playback without rendering. There are also additional keyboard commands to quickly step through effects or clips on your timeline. While not quite as fluid of a grading workflow as you’d have in a true color correction application, like Resolve, you can get pretty close with some experience. My biggest beef is that you are limited to the controls being locked within the inspector pane. You can’t move the controls around and there is no special color correction workspace. So for me, the ergonomics are poor. In my testing, I’ve also hit some flaws in how the processing is done (more on that in a future post). Ironically the color board actually seems to achieve more accurate correction than the color wheels.

There are a few quirks. Previously created presets for the color board will be converted into color preset effects, which now appear in the effects browser. This enables you to preview a color preset applied to a clip by skimming over the effect thumbnail. Unfortunately, I found this conversion didn’t always work. On a Sierra machine (10.12), the older presets were automatically converted after waiting a few minutes; however, nothing happened on a High Sierra machine (10.13). I eventually resorted to copying my converted effects presets from the Sierra Mac over to the High Sierra Mac. I suspect, that because the High Sierra update automatically reformats the internal SSD drive to the new Apple File System (APFS), this conversion process is somehow impeded. Of course, if you don’t already have any existing custom presets, then it’s not an issue.

(You can check out my previously-created color presets for instructions and downloads here.)

There is no control surface support yet, although future support for third party color correction controllers has been alluded to. It would be nice to see support for Tangent or Avid panels at the very least. There’s a new FCPXML version (1.7) that includes this new color metadata; however, it doesn’t seem to be imported into the newest version of Resolve. It’s possible that color metadata in the FCPXML file is only intended for FCPX-to-FCPX transfers and not round tripping to other applications.

360° editing

Let me say up front that this doesn’t hit my hot button. It’s an area where Apple is playing catch-up to Adobe. Quite frankly, for both of these companies, it only appeals to a small percentage of users. Not all 360° formats are supported. Your footage must be equirectangular (stitched panorama), in order that FCPX can properly correct its display. Nevertheless, if you do work on 360° productions, then FCPX provides you a nice tool kit.

You can set up your timeline sequence for monoscopic or stereoscopic 360° editing. Once set up, simply open a separate 360° viewer, side-by-side to the normal viewer. When you do this, you’ll see the uncorrected image on the right and the adjusted point-of-view image on the left. What’s really cool, is that you can play the timeline and actively navigate your view of the content within of the 360° viewer, without ever stopping playback. Plus I’m talking about 4K material here! Clearly the engineers have tweaked the performance and not just integrated a plug-in.

There are also a set of custom effects designed for seamless use on 360° images. For example, if you apply a standard blur, there will be a visible seam where the left and right edges meet. If you apply a 360° blur effect, then the image and effect are properly blended. If you want to get the full effect, just attach an HTC Vive VR headset to view clips in full 360°. Want to test this, but don’t have any footage? A quick web search will provide a ton of downloadable, equirectangular clips to play with.

Wide gamut / high dynamic range (HDR)

Apple is trying to establish leadership with the integration of workflows to support HDR editing. I suspect that their ultimate goal is proper HDR support for Apple TV 4K and the iPhone X. The state of HDR today is very confusing without any real standards. There’s DolbyVision and HDR10, an open standard. The latter leaves the actual implementation up to manufacturers, while Dolby licenses its technology with tight specs. The theoretical DolbyVision brightness standard is 10,000 nits (cd/m2), but their current target is only 4,000 nits. HDR10 caps at 1,000 nits. Current consumer TV sets run in the 300 to 500 nit range with none exceeding 1,000 nits. Finally, projected brightness in movie theaters is even lower.

To work in HDR within Final Cut Pro X, first set up the FCPX Library as wide instead of standard gamut. Then set the Project (sequence) to one of four standards: Rec 709 (standard dynamic range), Rec 2020, Rec 2020 PQ, or Rec 2020 HLG. The first Rec 2020 mode simply preserves the full dynamic range of log-encoded camera files when FCPX applies its LUTs. The PQ and HLG options are designed for DolbyVision and/or HDR10 mastering. HDR tools are provided to go between color spaces, such as mastering in Rec 2020 PQ and delivering in Rec 709 (consult Apple’s workflow document). However, it is only in the Rec 2020 PQ color space that the FCPX scope will display in nits, rather than IRE. When set to nits, the scale is 0 to 10,000 nits instead of 0 to 120 IRE.

To edit in one of these wide gamut color spaces, set your preferences to display HDR in raw values. Then Final Cut interacts with the color profile of the monitor through macOS to effectively dim the viewer image for this new color space. However, this technique is not applied to the filmstrips and thumbnail images in the browser, which will appear with blown out levels unless you manually override the colorspace setting for each clip. If your footage was shot with camera raw or log-encoding, using a RED, ARRI or similar camera, then you are ready to work in HDR today.

It’s critical to note that no current computer display or consumer flat panel will give you an accurate HDR image to grade by. This includes the new iMac Pro screens. You will need the proper AJA i/o hardware and a calibrated HDR display to see a proper HDR image. Even then, it’s still a question of which HDR levels you are trying to master to. For example, if you are using the scope in FCPX with a brightness level up to 10,000 nits, but your target display can only achieve 1,000 nits, then what good is the reading on the scope? We are still early in the HDR process, but I’m concerned that FCPX 10.4 will give users a false impression of what it really takes to do HDR properly.

HEVC / H.265

You can now import iMovie for iOS projects into FCPX 10.4.  Support for the H.265 (HEVC) codec has been added with this release, but you’ll need to be on High Sierra. If you shot video with an iPhone X and started organizing it in iMovie on the phone, then that video may have used the H.265 codec. Now you can bring that into FCPX to continue the job.

Going the other way will require Compressor encoding. HEVC is also the required format to send HDR material to the web. Apple is late to the game in H.265 support, as Sorenson and Adobe users have been able to do that for a while. I tested H.265 encoding of short clips in Compressor on my mid-2014 Retina MacBook Pro and it was extremely slow. There was no issue with H.264 encoding. The same H.265 test in Adobe Media Encoder – even when it was uprezzing a 1080p file to 4K – was significantly faster than Compressor.

Final thoughts

For current users. When you update to Final Cut Pro X 10.4, please remember that it will update each FCPX library file that you open afterwards. Although this has generally been harmless for most users, it’s best to follow some precautions. Zip your 10.3 (or earlier) version of the application and move that .zip file out of the applications folder before you update. Archive all of your existing Final Cut libraries. This way you can find your way back, in case of some type of failure.

Final Cut Pro X 10.4 is a solid upgrade that will have loyal FCPX users applauding. Overall, these new tools are useful and, as before, FCPX is a very fluid, enjoyable editing application. It slices through 4K content better than any other NLE on the Mac platform. If you like its editing paradigm, then nothing else comes close.

Unfortunately, Apple didn’t squash some long-standing bugs. For example, numerous users online are still complaining about the issue where browser text intermittently disappears. I do feel that there were missed opportunities. The functionality of audio lanes – a feature introduced in 10.3 as a way to get closer to track-style audio mixing – hasn’t been expanded. The hope for an enhanced, roles-based audio mixer has once again gone unanswered. On the other hand, the built-in audio plug-ins have been updated to those used by Logic Pro X and there’s a clean path to send your audio to Logic if you want to mix there.

I definitely welcome these updates. The new color tools make it a more powerful application to use for color grading, so I’m happy to see that Apple has been listening. Now, I hope that we’ll see some of the other needs addressed before another year passes us by.

©2017, 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

Audio Splits and Stems in Premiere Pro Revisited

Creating multichannel, “split-track” master exports of your final sequences is something that should be a standard step in all of your productions. It’s often a deliverable requirement and having such a file makes later revisions or derivative projects much easier to produce. If you are a Final Cut Pro X user, the “audio lanes” feature makes it easy to organize and export sequences with isolated channels for dialogue, music, and effects. FCPX pros like to tweak the noses of other NLE users about how much easier it is in FCPX. While that’s more or less true – and, in fact, can be a lot deeper than simply a few aggregate channels – that doesn’t mean it’s particularly hard or less versatile in Premiere Pro.

Last year I wrote about how to set this up using Premiere submix tracks, which is a standard audio post workflow, common to most DAW and mix applications. Go back and read the article for more detail. But, what about sequences that are already edited, which didn’t start with a track configuration already set up with submix tracks and proper output routing? In fact, that’s quite easy, too, which brings me to today’s post.

Step 1 – Edit

Start out by editing as you always have, using your standard sequence presets. I’ve created a few custom presets that I normally use, based on the several standard formats I work in, like 1080p/23.976 and 1080p/29.97. These typically require stereo mixes, so my presets start with a minimum configuration of one picture track, two standard audio tracks, and stereo output. This is the starting point, but more video and audio tracks get added, as needed, during the course of editing.

Get into a habit of organizing your audio tracks. Typically this means dialogue and VO tracks towards the top (A1-A4), then sound effects (A5-A8), and finally music (A9-A12). Keep like audio types on their intended tracks. What you don’t want to do is mix different audio types onto the same track. For instance, don’t put sound effects onto tracks that you’ve designated for dialogue clips. Of course, the number of actual tracks needed for these audio types will vary with your projects. A simple VO+music sequence will only have two to four tracks, while dramatic entertainment pieces will have a lot more. Delete all empty audio tracks when you are ready to mix.

Mix for stereo output as you normally would. This means balancing components using keyframes and clip mixing. Then perform overall adjustments and “riding faders” in the track mixer. This is also where I add global effects, like compression for dialogue and limiting for the master mix.

Output your final mixed master file for delivery.

Step 2 – Multichannel DME sequences

The next step is to create or open a new multichannel DME (dialogue/music/effects) sequence. I’ve already created a custom preset, which you may download and install. It’s set up as 1080p/23.976, with two standard audio channels and three, pre-labelled stereo submix channels, but you can customize yours as needed. The master output is multichannel (8-channels), which is sufficient to cover stereo pairs for the final mix, plus isolated pairs for each of the three submixes – dialogue, music, and effects.

Next, copy-and-paste all clips from your final stereo sequence to the new multichannel sequence. If you have more than one track of picture and two tracks of audio, the new blank sequence will simply auto-populate more tracks once you paste the clips into it. The result should look the same, except with the additional three submix tracks at the bottom of your timeline. At this stage, the output of all tracks is still routed to the stereo master output and the submix tracks are bypassed.

Now open the track mixer panel and, from the pulldown output selector, switch each channel from master to its appropriate submix channel. Dialogue tracks to DIA, music tracks to MUS, and effects tracks to SFX. The sequence preset is already set up with proper output routing. All submixes go to output 1 and 2 (composite stereo mix), along with their isolated output – dialogue to 3 and 4, effects to 5 and 6, music to 7 and 8. As with your stereo mix, level adjustments and plug-in processing (compression, EQ, limiting, etc.) can be added to each of the submix channels.

Note: while not essential, multichannel, split-track master files are most useful when they are also textless. So, before outputting, I would recommend disabling all titles and lower third graphics in this sequence. The result is clean video – great for quick fixes later in the event of spelling errors or a title change.

Step 3 – Multichannel export

Now that the sequence is properly organized, you’ve got to export the multichannel sequence. I have created a mastering export preset, which you may also download. It works in the various Adobe CC apps, but is designed for Adobe Media Encoder workflows. This preset will match its output to the video size and frame rate of your sequence and master to a file with the ProRes4444 codec. The audio is set for eight output channels, configured as four stereo pairs – composite mix, plus three DME channels.

To test your exported file, simply reimport the multichannel file back into Premiere Pro and drop it onto a timeline. There you should see four independent stereo channels with audio organized according to the description above.

Presets

I have created a sequence and an export preset, which you may download here. I have only tested these on Mac systems, where they are installed into the Adobe folder contained within the user’s Documents folder. The sequence preset is placed into the Premiere Pro folder and the export preset into the Adobe Media Encoder folder. If you’ve updated the Adobe apps along the way, you will have a number of version subfolders. As of December 2017, the 12.0 subfolder is the correct location. Happy mixing!

©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