TALENT AND TIPS TOP TIPS


Here are a series of useful editing tips from well-established editors working in some of the UK’s leading post production houses


BEN CAMPBELL Senior editor, Cut+Run Edit an original high-res still without losing any image quality


Select the length of an ‘empty space’ (filler on the Avid timeline) using Add Edit. Put the Pan and Zoom effect on the ‘empty space’. Then go to the Effect Editor. On the top left corner there is a small grey box. Click this to choose the high-res image file (copy this onto your work space first) and use the controls and keyframes to pan and zoom it – make sure you set the display to Target so you see what you’re doing. It will always display the image in its original resolution and it will look great and sharp.


GARETH PARRY Senior editor, Molinare I create a toolbar in Avid DS for each project, to save useful presets and effects, and add it to a custom view so it’s always visible. You can also customise a layout to include a properties window that instantly refreshes depending on the effect you’ve selected.


JIM ALLISON Md, M8media


When faced with small font sizes on high-res displays, select a bin or project window. Go to the ‘Edit’ tab at the top of the screen and scroll down to ‘Set Font’ to change the font and size. To set this as a default setting for new bins, select a bin you’ve adjusted, click ‘Toolset’ and select ‘Save Current’.


DAVE WILLIAMS Dubbing mixer, Envy


Inserting and snapping to a sync point (useful for whooshes/ impacts)


Find the loudest part of the audio region, then hit Command+, to insert a sync point. Find the point you want to snap to on your timeline with the cursor, hold down Shift+Control and click on the region. You can snap the front of the region to this point by holding down Shift and clicking, or snap the end of the region to the point using Control+Command. To snap a copy of the region to any of these points, thus leaving the original region in its original position, add the option key to whatever key combination you are holding down.


RISING STARS


PAUL YANDELL ENVY


A successful participant in Envy’s Academy scheme, Paul Yandell is now the MCR Manager at Envy’s Holden House facility, which supports 23 offlines. His duties range from troubleshooting to taking projects smoothly from offline to Symphony and Smoke. “I’ve consistently had a great experience with Avid software and


hardware through every project I’ve worked on,” says Yandell. “Whether that’s shows which have had a large amount of raw footage across multiple episodes, such as Massive Moves, or jobs which have an incredibly quick turnaround using multiple suites on one show.” “When I began working at Envy I knew offline was the department for me,” says Yandell. However, he says, “Envy pushed me to learn as many departments as possible to give me a well-rounded knowledge.” “My ambition remains to become a long-form offline editor and Envy continues to push me, with an array of different work.”


JESS NOTTAGE


Head of ops, Cut+Run If ingesting a QT file with a different frame rate to your project (on 23.98fps to 25fps conversions, for example), respeed the file for smooth motion. Before importing it, open the console and type: ignoreqtrate true. Then import the file the usual way. The audio will be out of sync, so don’t do this if audio is important.


SAM OSTROVE CUT+RUN


Sam Ostrove is first assistant to editor James Rose, and works on commercials, music videos and short films. He also assists the facility’s US editors when they come over to cut jobs in London.


“As an assistant, I think it is important to know as much as your editor


BARNEY JORDAN Senior fx editor, The Farm Group When completing multiple fx shots throughout a programme in Avid DS, place the shots on the timeline as they are on the master. This will make playing out to the master tape a simple three- button process from timeline to tape.


TALENT create


in regards to the project you are both about to take on,” says Ostrove. “As soon as I know what the rushes are going to be shot on, that’s the start of the fun.” “ I know what files Avid [Media Composer] likes and doesn’t like,” he adds. “Learning by doing is how I learnt to use Avid,” continues Ostrove. “I’ve been using the new Stabilise function in Media Composer 5.5.2 like it was going out of fashion recently.” “I really enjoy what I do and would love to learn as much as I can about editing,” he says. “I’m lucky to be at a place with some very talented people who have a lot of knowledge to share. In the future I’d love to work on some really interesting projects with the best directors.”


Michael Burns profiles two up- and-coming editors currently working their way up the ranks


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