…as in “going native.” Get it? OK, sorry…moving on.
I have a new project starting up in June. This is a revival of a TV series that aired on the Discovery Channel called “A Haunting.” The name is changing slightly to “An American Haunting,” but will pick up where the last series ended, episode number wise. This time it is going to be aired on the new DESTINATION AMERICA network, one of their secondary channels.
This will be an interesting project, as it is being produced by New Dominion Pictures out of Suffolk, Virginia…with interviews done around the country and re-creations being shot on the New Dominion backlot in Suffolk…and post will happen in Los Angeles. Well, not only L.A., two of the three editors will be here. The third is on the east coast, based out of Philly, although he is relocating to Virginia for the production so that one editor is at home base. The assistant editor will also be in Suffolk in the main offices, and will prep the footage for the editors there.
(New Dominion was a very busy production company 10 years ago, with multiple shows happening at the same time. But they had to shutter their doors and sell off just about everything when the re-creation market dried up in favor of cheaper “reality” programming. Thus the need to re-build from the ground up).
It will be shot with the new Canon C300, and we will have two of them going. The camera shoots to MXF in the XDCAM format, and that is only one of the reasons we have decided to use Avid Media Composer, and Symphony, to cut and finish this show. We will use AMA to access the media, then consolidate it to our drives, keeping it in the native format. In many cases, these files will then be grouped as multi-camera clips. We’ve done a few tests, and it seems to work well. And the plan is to finish using the Symphony software, that all of us editors will have anyway.
Final Cut Pro 7 was touched upon, but because of the cameras used, the transcode time involved…and because we want to move forward with technology that will keep up with the ever changing production landscape, we opted to go with Avid Symphony and Media Composer 6. Build systems that will move forward. Yes, there is Adobe Premiere…but because the assisting will be done in Virginia, and media shipped to Los Angeles, and all sorts of media management needing to happen, and needing to be rock solid, Avid seemed like the obvious choice.
FCP-X was mentioned, but not considered, as none of the editors were interested in using it.
Adobe CS6 was a thought…because of how it works with files natively. And because the editing workflow, editing language, was very close to FCP 7. And all the editors were well versed with FCP 7. But the main reason we chose not to use it was media management issues. Currently they are below where FCP 7 is…and as many know, FCP 7’s media management was pretty iffy. I will be more than willing to use Premiere Pro CS6 on a single editor show or special…and for many of the smaller projects I work on. But for this show, with an assistant editor in Virginia, ingesting and organizing the media for two editors in L.A. and the other in a third location, and with a short production schedule, we opted to go for Avid editing solutions as they are tried and true with media management. Rock solid. And with Symphony being offered to people with FCP 7 licenses for $999…all three editors will be going that route. The main office going for Media Composer, as they are starting post from the ground up.
This will give me the opportunity to edit full time in my home office on my system. Lately I have been working on systems at production companies primarily, and using my system for smaller side projects that I do after hours. I will be able to sit in front of my own system, full time, for the first time in over a year. During the heat of the summer, so I need to make sure the huge stand-alone AC unit is up and running soon.
And just as I started this blog when I made my transition from FCP to Avid…now I’ll blog about my transition from FCP back to Avid. Triumphs and frustrations.