Posts Tagged ‘Studio Daily


the foundry’s storm for red post


I’ve been furiously preparing to attend the upcoming REDucation course next week in LA, brushing up my RED knowledge and watching FXPHD courses ‘red102 comprehensive guide to red post workflow’ and ‘red206 red tales from production.’ As the universe pushes me deeper into 2k/4k work flows, color spaces, and 12bit lin 444 finishing workflows, along comes a Studio Daily email announcing The Foundry’s STORM, a new tool for RED/RAW post.  And it’s available as a public beta (until March 11, 2011)!

Apparently it was released back on November 1 so I’m a bit late to the party, but better late than not partying.  FXPHD even has a class available, stm101-introduction to storm,  taught by filmbot of Final Cut User fame.

Tangentally, a quick trip over to Final Cut User revealed this awesome two part interview and REDucation promo with Ted Schilowitz talking about the upcoming RED Epic:

I’ll hold off writing too much of a review here since I’m still diving into the deep end of the red post production pool.  When I come up for air I’ll formulate some thoughts with a bit of (hopefully work experience) perspective.  In the meantime, I can say I’m a huge fan of The Foundry’s ROLLINGSHUTTER which I’ve used extensively for finishing Canon 5D Mark II footage so I do have high hopes for this new app.

If you haven’t clicked through already, go take a read of Storm’s features and reviews, then download the public beta.

proactively • battening down the hatches • peter


davinci resolve mac setup

Black Magic Design has released a 20 page guide for setting up DaVinci Resolve on a Mac.  Click the above pic to download the PDF.  Studio Daily has a nice write up, too.

proactively • slammed with work • peter


editing for editors, by editors

Two awesome videos have popped up in recent FCP-L posts talking about editing from an editor’s perspective.  Firstly, BBC World News America‘s Bill McKenna has been named ‘Editor of the Year” by the White House News Photographers Association.  Mr. McKenna was asked to edit a video to be shown at the event. It offers a rare glimpse into his world to reveal what inspires a top TV picture editor.

bill mckenna 3

Twicely, Joy Moeller (Creative Director/Editor, 19 Below) gives us the do’s and dont’s of edit suite etiquette.

And if that wasn’t entertaining enough, the stories FCP-L’ers shared kept the laughs (or tears) rolling:

I worked with a producer who always kept track of downtime. She considered anything as downtime, including the editor re-doing an edit. She considered only the finished edit was payable. She had a stopwatch and it was always going.  At the end of the day, she would total it up and ask that it be taken off the edit time for that day.  Remarkably, she had a very successful career as a producer that lasted for many years. It’s just as well I was a producer at the time and not an editor, as I would have cheerfully strangled her.

Bill Affleck / Wasteland Productions, Inc.

Back in the linear days, I had a client who sat with a stop watch and actually clicked it on and off for anything. Go to the bathroom, click, call someone to come to the bay, click, get a drink of water, click. Man that was irritating. I always rounded down for clients anyway, but not this guy.
Also in the linear days, I had the finger snapper one time and it was late and I was tired, I finally stood up, offered him my chair and said he get more accurate edits if he ran it himself. Actually cured him and he requested me from there on out.

Terrence Curren / Alphadogs

You can see more of Terry Curren alongside industry veteran editors Billy Weber, Glenn Morgan and Carol Streit on Studio Daily extemporaneously discussing war stories, battle tactics, and all the things they learned on the job that really have nothing to do with editing but are crucial to the job of an editor.

proactively • ediblogournalising • peter


Swung over to Shane Ross’ Little Frog In Hi Def blog and found this gem.  Falls under the “nothing to do with editing but crucial to the job” category.  Enjoy!


Dear Scott Simmons

I stumbled on Scott Simmons’ Studio Daily rant “What’s wrong with the young FCP editor?”

And I responded:

Ok Scott, as an English major with a concentration in Language, Writing and Rhetoric from University of Maryland at College Park, my initial observation is that you are caught up in the rhetorical analysis of definition, i.e. “What is an editor?”
As a 29 year old editor & producer (yes, a Preditor) who was trained on Avid and now holds Apple Certified Training certifications in Final Cut Pro, Motion 3, and Color, I’d have to say your comments are borderline ageist and NLE biased. But I digress.
I found lots of value in your observations that many young editors don’t understand efficient timeline management, media management, how to output an edit decision list, etc.  But guess what: regardless of your perspective that these are fundamental skills inherent in the title of an editor, kids with FCP skills are still getting their videos up on YouTube and Vimeo with millions of views, millions more than most broadcast shows will ever receive, despite how many iterations of dvd sales and ipod sales they go through.
I have been lucky enough to have the opportunity to matriculate my Avid offline / online workflow, my Avid media management workflow, and many other Avid-centric skills, and implemented them into a Final Cut Studio workflow with great success.  Many of my peers don’t have the opportunity to learn an Avid workflow because the old steel doors are sealed shut unless you want to work a 6pm – 2am shift with lavish titles such as E2 or Digitizer with the hope that one day, 10 years in the future, once you’ve crossed the age 30 barrier, the old Avid guys will swoop in and title you Assistant Editor.  Now you can try making a stringout!
Or, buy FCP, a Macbook Pro and a Canon HV20 and start shooting, cutting, and posting to a the growing New Media outlets available to everyone right now.  Which choice would you make at age 21?
So to bring this back to my initial point, as an industry we may need to reconsider what it is that defines an editor.  I’ll take it on my 29 year old shoulders to assist those who don’t know why betacam sp tapes are pre-blacked with timecode starting at 00:58:30;00, why it’s important for a Color grading workflow to have a timeline with just one video layer and all your motion projects and still images exported as self contained quicktimes and then reimported, and why you might want to check out the manual controls on the HV20 to control the amount of light being recorded.  I hope you can realize that endless finger pointing, role defining, and ageist viewpoints will only isolate the old Avid farts into a corner to find themselves drowning in the crashing new wave of innovative video production workflows.
I look forward to a continued civil discourse.
Best Regards,

Peter Salvia

September 2019
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