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October 2015

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PLAYING FAVORITES www.postmagazine.com 30 POST OCTOBER 2015 on the final look in the same session." Flame's timeline also helped Romano track iterations in the VFX for the first two seasons of Fox's Sleepy Hollow. "There were as many as 400 VFX in a single episode, many of which were improved during the life cycle of finishing," he re- calls. "I was able to structure the timeline to note what I did when. I was always moving forward, but if I needed to go back, I could keep that history alive." NORTHERN LIGHTS (ADOBE PREMIERE PRO) Mark Tyler, an editor/compositor with New York City's Northern Lights (www. nledit.com), has worked on Autodesk Smoke, Avid and Apple Final Cut sys- tems. He picks the best tool for the job and sometimes combines editing sys- tems to meet the needs of a project. That said, Adobe Premiere Pro has emerged as his current favorite editing tool. "I can take in Red 4K footage or foot- age in any resolution without transcod- ing — it all just works," he reports. "You can do that on other systems, but the editorial tools in Smoke are not as user friendly, and you have to transcode on Avid. For commercial editing, Premiere Pro eliminates the transfer and transcod- ing time that exists when using Avid; the hard drive comes in, we get the footage onto the network server and we're ready to go." He also hails Premiere Pro's "interoper- ability with the rest of the Adobe Creative Cloud: Audition, After Effects, SpeedGrade color correction. When we work with our graphics department, Mr. Wonderful, we're all using the same workflow." Tyler used Premiere Pro to edit a new campaign, featuring Jennifer Love Hewitt, for Palmer's Cocoa Butter from MME/NY. It was shot on Arri Alexa, and dailies were color corrected on-set. "I didn't like the look of the dailies, so I used the original 4:4:4 footage to edit in Premiere Pro," he says. "I did color correction on the fly with Red Giant's Colorista plug-in and all the VFX in After Effects; there were a lot of camera stabilizations, beauty work and lighting fixes to do." He tapped Photoshop and Illustrator for the spots' title design. Tyler is also a "big fan" of Smoke for Mac. "I do a lot of retouching and VFX work on that platform," he says. "I've used Autodesk products since the mid- '90s. I was one of the first in New York to use Fire for editing, not just VFX." Northern Lights has a Lustre/Flame Premium suite on the premises; Tyler shares footage with that room via the facility's network when necessary. A recent Smoke for Mac project was a spot for a British liquor brand available in the US. "The supers were baked into the British spot, but the US needed different ones, so I used Smoke to paint out the original supers and track in new back- grounds and supers. I was able to do everything at once — painting, tracking and compositing — in a batch." CUT+RUN (AVID MEDIA COMPOSER) At the New York City office of com- mercial editing house Cut+Run (www. cutandrun.com), Dan Maloney favors an Avid Media Composer V.7.0.4 running on a 12-core Mac Pro tower. "I've done the bulk of my work on Avid, with a few years on Final Cut Pro 7, which has come and gone at this point," he says. "I've also done two Premiere projects this past year; it's good to try different systems, but I feel Media Composer is the most stable. After what happened with Final Cut Pro, I can't help but think Cut+Run editor Maloney (center) has done much of his work on an Avid, including this Audience spot for Gillette. Palmer's latest cam- paign was edited by Northern Lights' Tyler (center photo) using Adobe Premiere.

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