FEATURE FILM
CASE STUDY KILLING BONO
Two brothers attempt to become global rock stars but can only look on as old school friends U2 become the biggest band in the world. That’s the premise for Killing Bono, a rockumentary comedy feature charting the parallel careers of two Dublin rockers – from the vantage point of the one who doesn’t make it. Featuring the last screen
“The beauty of Avid for me is that I can forget about the technology and get on with my job – creative comedy editing.”
BILLY SNEDDON Offline editor KILLING BONO
performance of actor Peter Postlethwaite the £3m film from Greenroom Entertainment was shot entirely on 35mm film at 31 different locations in Northern Ireland. “The idea behind the choice of shooting format was to give the film a really rich texture which would give the sense of Northern Ireland in the 1970s. Although it did work out a little more expensive, it was worth it,” reveals producer Piers Tempest.
COMEDY EDITING ON MEDIA COMPOSER
• Fast offline edit before online and grade at Molinare • Avid Media Access accelerates workflows by eliminating the need for wrapping and transcoding of different file formats
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Editing the film was the kind of positive experience one always hopes for, he adds. “One reason is that, based on a single shooting format, post production was simple and straightforward. Another was that the online, sound post production and grade were all done under one roof on Avid at Molinare.” The film tranfers and ALE files from film lab Deluxe were cut by offline editor Billy Sneddon at Twickenham Studios before an EDL is sent to Molinare for online by Connan McStay on Avid DS Nitris and grade by colourist Tim Waller. An editor with a reputation as a comedy specialist, Sneddon has cut some of the UK’s most high profile comedy including Inbetweeners, The Thick of It, Green Wing and Brass Eye, all on Avid. Sneddon explains why he has
stuck to the edit plaform for his entire editing career. “It’s fast and does the job reliably, so I’ve never needed anything else. I’m not a particularly technically minded editor and part of the beauty of Avid for me is that I can forget about the technology. I can relax and get on with my job – creative comedy editing – safe in the knowledge that my edits always seem to go smoothly.”
Using the latest version of Media Composer, Sneddon points out that Avid Media Access, which enables seamless workflows with a large number of different video file formats (Quicktime in particular) is a big step forward. “Now you just import your media and the Avid recognises it automatically - which eliminates a lot of the headaches associated with using different file formats.”
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