Issue link: http://digital.copcomm.com/i/501792
37 SPRING 2015 / CINEMONTAGE them during ADR." The editorial facility has eight Avid Media Composer workstations, each connected to a pair of 24-inch Samsung monitors — two stations for each editor/assistant editor team, one for the effects assistant editor and an additional workstation dedicated to encoding and compressions so as not to tie up other computers. "We all have our own editing bay," explains Benni Pierce. "Each bay consists of a six-core Mac Pro running Mountain Lion with 12GB of RAM. We edit on Media Composer, and everyone uses 7.0.4, except for Moos, whose machine runs 6.5. Through our Avid ISIS shared storage network, each system can access dailies, along with libraries of sound effects, music and visual effects. For security purposes, these machines are not permitted to access the Internet. Any and all files that are uploaded are done through a separate machine." The assistants organize bins and media according to each editor's preferences, with only subtle differences between each group. "When we get the offline media, we transfer it to a partition on the ISIS specifically created for whichever episode we are working on," Pierce explains. "The media is then transferred into the project, and we begin the process of organizing it. Each scene is given its own bin, and as the media comes in, we move the files to their specific scenes. Within the scene bins, we group the multi- cam footage and then organize the footage in the thumbnail view based on the lined script notes. We then mark the clips whenever 'action' is called, using markers. "Sometimes, multi-colored markers are used if some takes run over Joshua Charson, left, Eric Litman and David Crabtree. Ryan R. Moos, left, Jennifer MacFarlane, Benni Pierce and Kelly Stuyvesant.