Sorry, I’ve really let this blog, and my podcast, fall to the wayside. I’ve fallen behind on stuff I’ve wanted to write and podcast about. If you would like to know why, here’ a great article from Kylee Wall on the Creative Cow about being a post production dad.
The short of it is that I’m working 12-15 hours a day on A HAUNTING to get it done before it starts airing. And I’m setting aside the remaining time to be with my family, so they don’t forget what I look like.
SOON! Soon though. I have a great blog post I want to write about going from Rough Cut phase to Fine Cut phase. And a podcast about borrowing ideas from other people. So… soon. In the meantime, read that blog post by Kylee.
This is very interesting…given my current situation. Production company in Virginia…production happening in Virginia. Post being a mixture of Virginia and Los Angeles. Really curious how this would handle long form shows.
One thing I find myself doing very often while editing remotely…me in L.A., the production company in Virginia…is exporting Quicktime files of my project for my producers at “home base” to watch. I will do this on an Act by Act basis…when I finish an act, I’ll export it, upload to their FTP.
Now, like most, if not all of you, I don’t like to sit and wait for a long time while this process happens. I have stuff to do. So I want this to go fast. And I have found a formula that makes it not only go fast, but keeps the file sizes small too. Without making the video look too crappy.
First off, I want to note, this is REVIEW quality. Meaning, you watch it for content, not quality. The outputs aren’t high res, they aren’t high quality. They are OK quality. This is how I keep the file sizes small, and export times fast. How fast? Real time fast. A 48 min sequence exports in about 50 min. OK, a little SLOWER than real time. But what if I told you this includes a timecode window? One that I didn’t render before exporting? Yeah, that impressed me too.
OK, so the first thing I do is highlight all my tracks, and from start to finish on the timeline. Then I do an EXPERT RENDER…meaning, “render all effects that aren’t real time effects.” Since I render as I edit, this often takes little to no time…but some stuff slips through the cracks. Then, I make a new blank layer, and drop on my Timecode Generator effect. And then, without rendering again (if you did another expert render, it would want to render that timecode…for the entire length of the sequence)…I simply choose FILE>EXPORT. A window pops up asking for export type, and location of where the file should go. From there I click on the drop down menu and choose EXPORT TO QT MOVIE, and set my destination, and file name. Then I use the following settings.
1) This is the main export window. I’m not going to repeat all the settings you see here, I only want to point out that I use 640×360, as I am editing a 16:9 sequence, and I make sure it is chosen in both the WIDTH AND HEIGHT section, and the DISPLAY ASPECT RATIO section. This frame dimension must be consistent in all export window options. Oh, and USE MARKS means that the IN and OUT points I set are the range that will be exported. I will have my full timeline up, but only want to export one Act, so I mark IN and OUT for the act I want to export. Make sure that is checked, otherwise it’ll export the whole sequence.
2) I click on FORMAT OPTIONS to get the above menu. I make sure to enable AUDIO and VIDEO here. Even though I might have it chosen to do video and audio in the previous menu, if it isn’t chosen here, you won’t get it. Gotta to it in both places. Click on AUDIO…choose 44.1 and 16-bit stereo. If you want smaller QT files, make it mono, or 22.0 and mono. I don’t do this. Because audio is very important. If the picture quality sucks…fine. People can see past that. But if the audio sucks, is noisy…then the QT is unwatchable. This is the one area I keep the settings in the GOOD range.
OK, click on VIDEO and you get:
3) A couple things to mention here. At first Avid defaults to SORENSON 3. So click on the drop down menu and choose H.264. If you leave the DATA RATE on AUTOMATIC, that allows you to adjust the slider. If you type in a number, RESTRICT TO, then you can’t. I generally keep it on AUTOMATIC and put the quality at MEDIUM. For smaller files, you can restrict to 1000 or 1500 kbps. I just find MEDIUM to be a good middle ground. Another important thing to do, is change the encoding from BEST QUALITY, where it defaults, to FASTER. This is the key to the fast export times.
Click OK. Click OK again..the other OK, in the MOVIE settings. Then click SAVE AS…and name it whatever you will. This way you don’t need to redo your settings. Just choose the preset you make and you are ready to go.
Then watch it progress in real time.
Now, if you want fast encoding of QT H.264 files…also in real time. Then look at the Matrox solutions. Compress HD is a PCIe card that fits in the MacPro computers. And then there are the MAX versions of their hardware IO devices. If you use the Matrox H.264 option, that will trigger these devices to kick in and aid the encoding process. Making high res H.264s in real time. Chew on that.
(NOTE: I am working with footage from the Canon C300…accessed via AMA and consolidated, not transcoded. So our footage is XDCAM 422…a GOP format. And GOP formats don’t allow for SAME AS SOURCE exports. So I can’t do that and use, say COMPRESSOR and add the TC burn there. If your footage was DNxHD in any flavor, you’d be able to do that. But I wonder if doing that, then taking into Compressor or Sorenson and compressing is any quicker than the real time, direct output from Avid that I have laid out here.)
OK, so I’ve been bad about blogging lately. I blame work. Long hours are bad for bloggers.
ANYWAY…so that you all don’t go into withdrawl, I’ll link to a great post by my friend Jon Chappell over at digitalrebellion.com. His post on Avid AMA best practices is one that anyone who uses and Avid must read. Not “should” read…but MUST read. This is required reading. There will be a pop quiz.
I’m going to avoid the tech in this post, and try to concentrate on the creative. Because to tell the truth, there isn’t a lot of tech involved, just editing. Yes, can say things like the trim tool in Avid make cutting this show very easy, as the trim tool, in my opinion, is one of the best tool for cutting narrative. It allows me to nuance the scenes better than I could with FCP.
Oh, sorry, I’m talking tech. I’ll stop. I’ll stop saying things like I’m doing my temp mix on the timeline without the audio mix tool open, I’m using keyframes. Not chopping up the audio tracks and lowering/raising levels in the mixer and adding dissolves, like I always have done in the past. I’ll skip saying that.
I guess I could say that I’m sticking to traditional editing, and not relying on a lot of fancy transition effects. Well, I’m using ONE, and only as a transition between scenes that denote a passage of time. It’s a simple film leak that’s super imposed between the cuts, with speed ramps for 4-5 frames on either end to make it look like a camera starting and stopping. Other than that, it’s all straight cutting.
And that’s what I want to really get into…the cutting. The way I approach the cutting. This show is an interesting cross of interviews, narration and recreations. That makes it a bit of a challenge to cut. See, I can’t just cut it like a narrative show, just cut the scenes as scripted. I need to make sure that the narration fits, and that interview bites fit. See, I have to have the scenes driven mainly by the sound bites, with the audio from the scenes to be lowered to make room for them, and only have it break through at certain points so that story points are made in the narrative. It’s a balance…a tough one. Because the dialog of the actors will be the same as the interview, so the interview audio needs to go over the acting, but then punctuate the scenes with audio from the scenes. And still allow for space for narration to fill in the gaps.
Now, while they did take a lot of this into account when they shot, there are still moments where I have more narration than I do scene, so I need to recut the scene after I add the interview and VO so that I can cover what is being said. It can be tough at times, but it can also allow me to find reactions to emphasize what is being said. It’s a challenge, and all this does add time to the edit. I’m not cutting a doc with VO and sound bites that I just need to fill in with b-roll and music…nor am I cutting straight narrative, where I can rely on performance to carry the story. I need to blend both. And moreso than previous shows I have cut that had recreations, like Andrew Jackson and the Mexican American War. Those relied mainly on VO and interview bites, and all the recreations were basically backdrop to those. Very few sound ups were had. But this show has a 60/40 split, leaning towards performance over interview.
OK, with the story part cut, I need to also address audio. I tend to cut the story and the interviews and VO first, and then go back and add music and sound design. And yes, I mean sound design. More on that in a second.
This show will have a composer, and the temp tracks we are relying on are from previous shows and other cues in their library. The music will all be redone, so what I am doing is just temp, but it needs to sound like the final to make the scenes work…to sell it to the producers and network. So a good amount of time is taken on the music. And as what always happens with music, the timing of the scene changes slightly when I add music, and add sections where the music punctuates the action.
Well, I have to say “sound design.” No, I am not an audio mixer, but I still need to do quite a bit of sound design. I need to layer music, and small hits, rises, impacts…scary SFX cues and demon breaths and all sorts of audio to make the scary parts work. I mean, you should see them without the scary music or effects. They are creepy, sure. But add the SFX and it REALLY sells it. Audio can get pretty thick…16 tracks of audio, and more than a few are stereo tracks. Go down to the WEEKS 3-4 post and see what my timeline looks like. I might have 3 tracks of video, because I might layer a couple shots, have a layer for transitions, and another for titles. But that’s it. AUDIO? 16 tracks…the most I am allowed for real time playback. Audio is by far more involved than video.
But again, this adds time. A lot of time. Hunting through music cues for the right one, one that you didn’t use before. And wait, what was that one I heard when looking for something in that last act? Where is that one, it will work great here. And then listening to all sorts of WHOOSHES and IMPACTS and ghostly audio again and again to see what might work, and what just sounds cheesy.
So I delivered the rough cut of my first episode…and it was 58 minutes long. It needs to be 48 minutes for international distribution, with 5 minutes taken out for domestic. So it’s a tad long. I’m awaiting notes on that one. In the meantime, I’m in the middle of Act 4 of my second episode (of 6 acts) and making headway. Just today I cut 2:48 of finished, fully mixed and sound designed video. A little slower than usual, I try to get 4-5 min done a day. But today I was working on a scene that was full of dramatic tension buildup, and ghostly encounter, so it took a little time. I expect notes on my first episode tomorrow, so when that happens, I’ll stop work on episode 2 to address those so we can get that off to the network. Then back to finish up the rough cut to get that to the producers. And by then my drive with the next episode will arrive.
No rest until it’s over. #postdontstop
After a long hiatus, the Edit Bay podcast is finally back. The thirty-ninth episode of THE EDIT BAY is now available for download.
This one is all about how the stuff I watch on TV doesn’t look nearly as good as when I color corrected it in my edit bay.
To play in your browser or download direct, click here.
To subscribe to this podcast in iTunes, CLICK HERE.
OK, this has been an odd couple weeks, as I took half a week off to vacation up at Lake Arrowhead, and then I had a tight tight deadline to get this show done. But I’ll keep this short and sweet too. I’ll mention the obstacles I faced, and how I solved them.
OBSTACLE #1: The heat.
Yes, it was getting hot in LA. In the 90’s in the valley where my office…er…garage…is located. And my garage lacks one major component…insulation. So while I did buy a 12,000 BTU air conditioner, it really didn’t cool the office down at all. And that made working out there intolerable, and dangerous for the equipment. So, I did the only thing I could do at the time…moved into the house. I set up a small table in my bedroom and set up my new 2012 MacBook Pro (non-retina) along with one of my Dell 24″ monitors and a speaker so that I could continue editing in a nice cool setting. I brought in my nice chair, bought a Griffin laptop mount to get the computer up to a reasonable height to match the Dell, connected the hard drive and was ready to go. This setup helped with obstacle #2.
OBSTACLE #2: Slow computer
Even though it is a tower with loads of RAM (if you think 16GB is loads) and a nice graphics card (Nvidia 285GT) with a Kona 3 card…Avid Symphony seemed to struggle. I would get beach balls periodically that would last about 30-45 seconds, then finally go away. The system would lag behind my keystrokes, meaning I’d hit 5-6 keys…then wait two seconds for the Avid to catch up to me. And I would get consistent FATAL IO ERRORS…related to the Kona. And this horrid “K” key bug where I’d press “K” to pause playback, only it wouldn’t, it just slowed playback down until I released it…in which case it resumed at full speed. I’d need to his the spacebar to stop. That happened periodically.
So in moving into the house, I began using my laptop to edit. And let me tell you, most of those problems went away. By most I mean the “K” key issue persisted, and I got one FATAL IO ERROR…but only after I installed the AJA IoXT box to the system. And then it only happened once in two weeks. And I didn’t use the IoXT all the time, as my reference monitor had to be left out in the office/garage, as I have no room on my bedroom setup for it. Ah well. But overall, the laptop performed a lot better than my tower. Even encoding an H.264 with TC burn was faster on that laptop. My 2008 MacPro is showing it’s age.
OBSTACLE #3: lots of footage, lots of scenes, music to be added…
Basically…time. I was running short on time, and I had a lot of footage to cut. In the end I went a couple days over my deadline, and ended up with a 57 min rough cut. The cut should be in the 48 min range for international, with three minutes removed for domestic. So I am 10 minutes long. No biggie, that just means that the episode will have to be attacked with a machete to cut out enough stuff to get me to time. It took me longer than usual as I had a small library of music that I needed to choose from, and I’m a bit too much of a perfectionist when it comes to music editing and temp audio mixing. It’s a blessing, and a curse. My cuts sound good…but take longer to do. It turned out to be fine, as the producers were still focused on the first episode that another editor cut…so I had some breathing room. Still, it took eighteen 12-14 hour days to get this cut done. 3 days more than I was allotted for this. I hope the next episode will go smoother. I think it will.
OBSTACLE #4: other things
Yes, other things needed my attention. I was on vacation, so was busy trying to work and pack at the same time. Then trying to work with the kids constantly coming in because they heard some cool moment they wanted to see, and they wanted to watch me edit (at that point I switched to using headphones so they couldn’t hear things), and I was trying to deal with two onlines for MSNBC that needed tweaks here and there (Defending Casey Anthony and Ted Bundy: Death Row Tapes. Casey already aired).
All in all I like my cut. I will need to go back and “fancify” things…rock and roll it a little. Add speed effects and cool transitions and the like. I did a bit while I was doing the rough after seeing what the first cut had, I had to try to keep the same style, and make it “not boring.” I did mainly focus on the story, but also wanted to have SOME cool things to make it stand out. And that cool stuff takes a while. I wonder how long the editors of AMERICAN HORROR STORY get to cut a show? I’ll see if the assistant editor Misha comments here and lets us know. He follows me on Twitter, and we’ve had pizza together…so I hope he might.
OK…the cut is done, and I’m off to eat dinner and watch a movie with my family. Here’s a picture of my timeline:
OK, time for another review for a hard drive enclosure: the RAIDAGE GAGE104U40SL-SAUF 1U 4 Bay RAID Enclosure from iStarUSA. This one is cool…it stands out. That’s why, when the makers asked me to review the unit by commenting on a previous post, I leapt at the chance. Well, after first starting to compose the email gently letting them down… “Thank you for your interest in my blog. I’m sorry, but I no longer do hardware reviews for drive enclosures as I find them dull and the same old same old…” But then I got a wild hair and clicked on the link to look at the thing.
I liked what I saw.
Here’s why I liked what I saw. This is a slot loading TRAYLESS hard drive enclosure. I can take bare SATA drives I buy off the shelf at Fry’s or order at newegg.com and put them in the unit right away. No trays to screw onto the drives first. Pop open the door, and in they go.
I’m a HUGE fan of this type of enclosure, because I use bare SATA drives to archive all sorts of things. Camera masters, media managed show masters, show outputs, stock footage, music, and sound effects. And I also use them on occasion to edit from, although that is rare. You see, I currently have a SansDigital unit connected via eSATA that I use as a trayless enclosure, although it isn’t designed to be one. Yes, you can slide the drives in, but the unit wants you to then screw them in, to keep them in place. The drives aren’t as snug in their beds as they should be…they are only held in place by the connectors. So it isn’t the best solution, which is why I mainly use it only for archive solutions.
But this unit is designed for the bare drives. It holds them in place without the need for trays.
And it has nice release handles to aid in getting the disks out.
And it’s VERY quiet. There are fans for cooling, but I don’t hear them. I hear the drives more than them, and when you close the big front door…even that sound becomes very minute. Barely noticeable. My MacPro is louder.
And there are indicator lights on the front so you can see which slots have drives in them, and if they are active.
OK, so we have one cool feature… that the unit takes bare SATA drives without trays. Let’s add a couple more cool features.
This unit pretty much has it all. It covers nearly all the bases. It has eSATA (my current connection of choice), Firewire 800 (two connectors), Firewire 400 (one connector), USB 3.0. You can connect this to just about anything (Yes, for Thunderbolt you will need an adapter). Perfect! I can connect it to my MacPro via eSATA, or to my 2012 MacBook Pro via Firewire 800 or ultra fast USB 3 and use it to back up tapeless media or files from my laptop. Or use it as my media drive. Macs used to lack USB 3, but now they are available on their laptops…and they are a Windows workstation standard, so on a Windows PC you have ultra fast USB 3 connect-ability as well.
To answer your question before you ask it…no, you cannot connect it to your tower via eSATA and another computer via Firewire or USB 3 and have it show up on both at the same time. It won’t work, I tried. And why two firewire 800 ports? Loop through. Daisy chaining drives is possible with this.
Well, it does have a pretty major footprint. Meaning that it does take up a big part of your desk. But you can set one of your monitors on top of it, or put it off to the side under your decks. Unlike my SansDigital that stacks the drives vertically, this design has the drives side by side. But that is to enable it to do the other cool think I liked about it.
IT’S RACK MOUNTABLE!
It takes up 1 U of rack space. That stands for ONE UNIT…one width high. In that respect, it takes up very little space. And since I happen to have a rack or two under my desk, it fit in perfectly. So perfectly that I’m most likely going to buy the unit when testing is over. I like it that much.
The unit can be configured in many ways.
- JBOD (Just a Bunch of drives), meaning that each drive shows up as a separate drive. Put four drives in, you see four drives appear on the desktop.
- RAID 0
- RAID 1
- RAID 3
- RAID 5
Don’t know what those all mean? Then go here for some light reading:
Most people use JBOD like I do, for archiving, RAID 0 for speed, or RAID 5 for speed and redundancy.
Yes yes…”how fast is the thing?” I know that’s what you want to know. Alright, I tested it only as a JBOD unit. That’s the default setting it ships with. I tested it in this manner as I didn’t have four drives of the same make/model/size in order to test the other RAID types. Those are all in my other RAID. I did have four drives of varying size, so I tested the speed of the unit in JBOD mode via firewire 800 and eSATA. Those being the fastest and more common connector types.
With eSATA I got speeds in the 98MB/s to 108MB/s range. A bit faster than I get with a G-Raid connected via eSATA, or my SansDigital. VERY nice.
Firewire 800 resulted in between 69MB/s and 82MB/s…which is typical for the other drives I have as well.
For the RAID 0 and RAID 5 testing, I relied on the manufacturer to provide the numbers. I’m sure if I had the 4 drives to test with I’d get the same numbers they did. I’m confident they were truthful in their reporting. They connected it via eSATA to a windows machine.
Here are the RAID 0 numbers:
Between 111MB/s and 123MB/s using the AJA test…but upwards of 140MB/s using the ATTO benchmark. I think I trust that one better on a PC.
And the RAID 5 numbers:
RAID 5 gave pretty much the same numbers as RAID 0. Between 111MB.s and 119MB/s, and upwards of 140MB/s using the ATTO test. Now, the reasons the numbers are a LOT higher like 300MB/s, is the limitation of eSATA connections. That’s near it’s limit. For faster speeds, look at GigE Ethernet, Fibre and SAS connection speeds. But for the connection types it has, that’s pretty dang decent. Perfectly fine for multiple layers of compressed video formats like ProRes and DNxHD. 3-4 streams in my tests.
No, it isn’t a speed demon, but what it offers is ease of use. Easy to get drives in and out, so you can buy bare SATA drives (cheaper than ones with enclosures) and swap them out for archiving camera masters, show masters, or going back and forth from project to project. And because it is rack mountable taking up only 1U of space…it’s compact and out of the way.
By the way, they have a pretty cool video that shows off the unit on YouTube. Check it out.
Now that I have a laptop with USB 3, and my Tower sporting eSATA…this is on my wish list.
The units run for $375, and can be found on Newegg.com
(The unit was returned at the conclusion of the review)
Week 2 was a full week. A LONG full week. There is a lot of footage to go through, a lot of script pages to go through…so my days are ending up being 12-14 hours long. It’s a good thing I enjoy editing…otherwise that’d be a bit much. But I love what I do. I guess in this situation that’s a good and bad thing.
Well, I cannot say enough how good the C300 footage looks. It looks great. And they are using prime lenses, so it is really sharp. And it does very well in low light. Some scenes are very dark, but I can still see what is going on.
Now, this show is pretty unique in that it employs interviews, narration, and recreation audio. But the narration and interviews do tend to cover a lot of the scripted scenes. I just have to let a few key lines be heard. So this makes editing a bit tricky. I have to cut the scene like you would a scene, yet make sure I leave enough room for narration and interviews to cover up the parts that need to be covered up, yet let the lines I want to hear be heard at the right time. And I want these scenes to make sense if I turned off narration and interviews. So, what I do first is cut the scene like I would cut the scene. Then I drag in the narration and sound bites and try to fit them in. If I need to extend the scene a bit to cover more of either of those, before I can do a sound up on my lines, I then deal with that. Typically adding more pauses, looks, reactions…breath. If i need to shorten the scene, I do so but still try to have the dialog make sense. Yes, it is going to be covered up by voiceovers, but still, I want it to work.
On the technical end, I am working slightly longer hours because I need to group the clips myself…multicam them. The Assistant Editor will do them for the next episode. This episode I was told that it wasn’t done (something I agreed to), because most times both cameras don’t cover the same action, and it might be best to just treat them as separate takes. I agreed to that, and thus why they weren’t grouped, but then I found that grouping them helps me speed up the process. First, I can watch both angles at the same time when previewing footage. Second, I’m finding that more than a few times, the lines being read differ from each other. They aren’t sticking to the script strictly…mainly in scenes with the kids. They want the kids to act natural, so they are having them adjust the lines sometimes to best fit how they say things. It does help the kids give better performances, but it does make editing more…challenging. I prefer the better performances…let me deal with getting them to match.
As for the Avid performance, one thing is plaguing me. Well, a couple things, but the biggest is that the PAUSE button…the K key…isn’t pausing. It isn’t stopping playback about 1 times in 4. 25% of the time, it doesn’t pause. It’ll just slow down the footage. I then have to press the space bar to get it to stop (space is PLAY, but that also STOPS). I’ve mentioned this on the COW forums, and the Avid ones. And I have found others posing the same issues. And there are no solutions, there are workarounds. One person suggested I remap PLAY to the K key. And I did, and that stopped the issue. But then raises more issues, like when I press the K key, then press L…things go double speed. Don’t ask why I do that. Habit I formed in FCP that when I pressed play, then moved the playhead with the mouse, FCP then picked up playing…because it doesn’t stop unless you tell it to, even if you move the playhead. Whereas Avid will stop if you move the playhead. 8 years of habit…tough to break.
Now, I did try fixing it. It first appeared under Avid 5.5. But then I updated to 6.0…then 6.0.1. Still happened. I Patched using 184.108.40.206…same thing. I switched to my laptop…SAME THING. It’s taunting me. So many people say they don’t have this issue, but I have it on several machines, using several versions of the app. And others report this issue, so somethings up.
The second issue is that Avid still seems to not be able to keep up with my keystrokes, and often will lock up with a spinning beachball. After the 4th I’m going to try to get my laptop set up to the main editing machine…and hope that cures that. But my MacPro tower is running 16GB of RAM, is running an NVIDIA card…is running in 64 bit mode, so I don’t get why this is still happening. On more than one occasion I’ve had to force quit because it was just locked up.
There is a third issue, one that plagued Walter Biscardi…and that is one of TAPE NAME. Or rather, the lack of one. Unlike FCP, and Adobe, that assign the reel number a name based on the name of the folder you backed up to…or the name of the card if you import directly, Avid Media Composer or Symphony don’t do that. They don’t assign any source to the clip. This would help me greatly in tracking down footage masters. And this is a big issue when it comes to going to Resolve, as Walter found out. And we don’t know how we’ll be finishing the shows just yet. So this is an issue that might affect us more, later.
But Angus of Avid did say that they know of the issue and will be dealing with it. Can’t wait guys, thanks.
While I’ve been editing this, I’ve been onlining a couple other shows on the side. TED BUNDY: DEATH ROW TAPES and DEFENDING CASEY ANTHONY, both for MSNBC. These were editing with FCP, and on CASEY I’ve had to go in and do some touch up editing. And I prep the shows for online and man, is FCP snappy and pain free, and no beach balls. All the Avid slowness and locking up has made me really miss FCP.
On the plus side I sent out Act one for review, just to show them the style I’m employing, and I got back good notes. They like it…and that is a load off. And I’m really digging the trim mode editing Avid utilizes. I’m able to make tweaks to the sequences so fast, and I am always tweaking shots to fill the void, or to shorten so that the lines I need to be heard, are heard.
Yesterday I took a stab at editing the show using my laptop. The laptop in question is the new 2012 MacBook Pro…2.3Ghz i7, 8GB of RAM, matte screen. I took the external drive with the episode and connected it via Firewire 800 (glad I got the non-retina…I need that connector). I ordered a Thunderbolt to DVI/HDMI adapter from monoprice.com for a very reasonable $14 so that I could connect it to one of my Dell 24″ monitors. Now, the laptop on the desk is a little low, and I’d like to get it semi close to the level of my Dell that I will be connecting it to, but I didn’t get a laptop stand…not for this test. I’m too cheap…actually, too busy to go buy one. So I used a box.
So as you can see, I have the laptop on the left, complete with project window, bins and mixer. The large Dell has the Composer and timeline window. Nothing feeding my broadcast monitor yet. I’m saving up for the AJA IOXT…or at least the AJA T-TAP. Although of those only the IO XT has dual Thunderbolt, so I could connect the IO box and external monitor. The T-TAP has one Thunderbolt port, so it’d be a choice of external monitor, or second computer monitor. Not both….unless I shelled out for an Apple Display. Not gonna happen.
So I set out to edit, and edit I did.
The new computer was definitely faster than my old one…a 2008 Octo-Core 3.0Ghz Mac Pro with 16GB of RAM. It ran circles around it. It was able to keep up with my keystrokes, where the MacPro lagged behind a few keystrokes. It scrubbed better, less skippy. Less beach balls. Faster renders. It was great.
You see, I have a script I need to follow, and I didn’t want to print it out and waste paper. I like to look at it on the computer. But because I was editing with my computer, I could just lean over an look at the script. I had to hide the Avid interface, or click away from it…read…then go back. Distracting to say the least. And I still needed to check email, look at show notes contained in emails, tweet, and iChat with the wife. More than a few people on Twitter suggested that I get an iPad for this. But guys, I just shelled out $2200 for a new laptop, I’m not about to shell out $500 more for an iPad. Not just for reading the script. The screen was small. I’m used to two 24″ Dells to look at. Suddenly I had a 15″ and a 24″. It might have been better to have the second monitor to be smaller too. I might look into that.
So I put up with it for the day, but that was it. I switched back to the tower the next day…just so I could have my script at my ready. But I miss my laptop already as the edit station. It was solid. A pretty good replacement for my tower, at least for running Avid Symphony and FCP. I haven’t tackled Premiere with it yet. I did tackle FCP with it today, rendering out an online I am working on at the same time. The renders were much faster, and I didn’t get any General Errors like I did with the Tower. The laptop was better.
I might have to print out the script. Because I under such a crunch, any speed boost would help.
OK, it was only half a week. I received the drive via UPS on Wed, a 3GB OWC drive with eSATA and FW800 connections, and began my cut. Actually, I began on Tuesday by reading the script. it is 98 pages long. That normally indicates that the end product will be 98 min too, as it is typically 1 min per page. But there is a lot of screen direction on every page, so it will be shorter. Not sure how much shorter, but I think it will be longer than the target time of 48 min.
On the drive a project file and media…the project all organized for my by the assistant editor back in Virginia. There were folders for all my bins: Cuts bins, footage bins, audio bins. The footage was all organized by scene, A camera and B camera…and by interview subject. Audio, well, all I had for that was the narration thus far. SFX to come soon. Music was provided on the drive as compressed files labelled by previous episode numbers. I uncompressed those, and imported them into a separate project, putting the media on local drives. Because this music will be used across all three projects I will cut. After I imported the music, I changed the name of the folder on the media drive, in the MXF folder, to “5″ so that it’s different than the other number (“1″), yet still something that Avid would see. I then copied it to the show drive…. and then hid it on my local drives. So that Avid wouldn’t see both and get confused.
I opened the project and opened the CURRENT CUT bin. In there was the RADIO EDIT that the assistant cut for me. What I mean by RADIO CUT is that it is all the audio (narration and interview bites) strung together according to the script. If you played it without watching it, you’d get the story. Basically just people talking. The producers actually have this cut before they start shooting. This was cut, and then screened, to help them plan out what they will need to shoot. So this was cut weeks, if not months, ago. No, I didn’t watch this. No need, I read the script. But I did duplicate the sequence and name the new one ROUGH CUT v1. I always duplicate my cuts before I make any changes. This way, if I need to go back to anything…in case I need to recover something I lost, or use a scene the way I cut it in a previous cut, I have it.
The Radio Cut was 38 minutes long. And as I mentioned, the show will have a target total running time of 48 min. for international, and 43:30 for domestic. The initial cut will aim at that 48 min mark, and be seamless, with no act breaks. From that we will cut out the small bits we call “Plus Elements,” the extra scenes international needs, and make it a 43:30 “cut to clock” with act breaks inserted. Now, I have a lot of scenes to cut, and they will add time to the show, as there will be many cases where we use the audio from the scenes. But mostly the scenes will happen with narration or interview bites rolling under the footage.
I started by watching all the footage I had, scene by scene. This is a MUST that all editors must do. Watch all of the footage before you cut. And editor needs to know what they have. Not only so that you can use the best take in the scenes, but also to know all your options. And when a director asks, “don’t we have this shot?” or “I thought I got a close up, can we use that here?” You know what they are talking about. Know your footage. That is your job. Even if you have to scrol through it at double speed, watch it all. Well, you can’t scrub through dialog at 2x speed. B-Roll and action shots you can. Dialog has to be watched.
Now, there was one show I was on where I didn’t have time to watch all the footage. It was a “reality show” (loosest use of the term) and I was given 80 hours of footage to cut in 40 hours time…into a rough cut, with music and SFX added. So I literally had no time to watch everything. I went for the last take and used those (typically they are the best, as that is when the director was satisfied with the performance) and cut as fast as I could. When the director asked, “Is that the best take?” I wouldn’t know. I’d have to then look at the others. They did get annoyed if I found a better one, but what could I do? I had no time to watch everything.
Watch everything…if you can. It’s important.
I also needed to do a few things the assistant didn’t…group clips. Not all of them…there were many times when they shot with both cameras but far enough apart that a slate would have been problematic. And far enough apart that we didn’t need them synched. But when both cameras were on the same subject, I needed to group the clips. The issue was that there were no slates, and no hand claps. Because of that the assistant and post super decided to not group, and said I should treat all the camera angles as separate shots. I found in many cases it was preferred to group, so I did. Via audio cues. There was a door slam in one take, but for most I went on when the director called ACTION. The cameras were jam synced on the set at the beginning of each scene, but they drifted apart after every take. Oddness that the camera guys couldn’t figure out. So I couldn’t just group using timecode.
By the end of day Friday, I have cut 10 min of show time, and it is adding lot of time to the cut. I figure I will end up with perhaps 60-65 min by the time I am done. But that’s only a guess. That means that a lot will have to be cut, and the pacing changed in order to get us to time.
Oh…just a bit about cutting with Avid. This NLE isn’t new to me. I started on it and used it for 10 years before I switched to FCP…so going back isn’t too hard. Even though this is the newest version…Avid Symphony 220.127.116.11…it is pretty much exactly the same as it always has been, but with new features. I don’t use the Smart Tool on all the time, I use it the same way it always worked, activating the tools I need when I need them. Trim mode, select arrows. I’m using Avid as an Avid…not activating the Smart Tool to make the tools act semi-FCP like. It isn’t quite the same, so I’d rather just use Avid as Avid. And since this is very much a narrative show in how it is shot, the trim tools come in VERY handy.
The footage was shot using two Canon C300 cameras. And it looks AMAZING, by the way. They are using fixed focal length lenses, and spending a lot of time lighting, so the footage looks great. The format the cameras shoot is XDCAM in an MXF wrapper, something Avid deals with natively. So we are accessing the footage via AMA, then consolidating it in the native format to the media drives. We aren’t transcoding to DNxHD 145…we are sticking to native as the file sizes are smaller and the consolidation time is shorter. It plays back fine…smooth without skipping. And I am able to group the two angles and play back fine.
After a few days on my 2008 Octo-Core 3.0Ghz Mac Pro with 16GB of RAM, I’m going to be switching to my new 2012 2.3Ghz MacBook Pro with 8GB of RAM…to see if there is any noticeable speed difference. That’ll be the subject of a future blog post.