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July/August 2019

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BITS & PIECES 5 POST JULY/AUG 2019 behind it to make it better. "I can't go into too much detail about the specifics of the software that I've been testing, but I can say not only freely, but very happily, that since I started using Media Composer back in, sometime around 1994, this is the fastest that it's ever felt. It's the engine underneath the software that's supporting it. As for the customizable toolset, I can say that after sitting in sessions and learning more from Avid about what they want to do with it, it's exactly what we've all been hoping for, for many years now." What are you most impressed with? "There's going to be a workflow shift that I think a number of high-end editors are going to be doing as soon as this software comes out. When you're interacting with Media Composer, there are really three views that you're working in, in your bins: there's a List View, in which you can see as many clips in a bin as you possibly can; there's a Frame View, in which you're seeing thumbnails of all of your clips — and that's kind of the one that Hollywood editors, documentary editors work in the most because you can see a thumbnail of this take and that take and extra per- formances doing something differently. For documentary editors, you can see still images, all of the thumbnails of them. Then, you have Script View, and that is for folks like me, who really change the storytelling in the edit bay. "The biggest change that I see is that there's a new, kind of add-on feature called the Inspector tool that's going to bring a lot of folks, who have been using the List View for so many years, into the Frame View world. Because you're used to being in List View, so that you can create this giant bin in front of you and not only see the clip but see every piece of meta data associated with the clip, and that stole so much real estate just so you can see all of this at the same time. Now, you can be in Frame View and not only see a thumbnail of the clip that you're talking about but also this little window is open all the time in the bottom corner [you can close it if you want to], and it shows you all of that meta data. It's a much better way to organize your screen. "I have always been a List View person. I barely ever used Frame View, and now I'm using it all the time. It's the first brand new thing that I've been using. I have always been alienated from the editors that I've talked to, who have been using Frame View for 25 years, but now, I'm right on board with them because I'm able to use it the same way that they do." Anything you wish they didn't change? "If we spoke a month ago, I could have given you a laundry list. But every single time I wished they didn't change something, it got fixed in the next beta version. So, at this point now, I'm not disappointed in anything. "The number one thing that all Avid Media Composer users everywhere have loved since the very beginning, more so than Premiere and Final Cut, is that if you're working in Avid Media Composer, you have 10 different ways to do some- thing. That's one of the big concerns that everybody had. But that's not the case. It's actually the opposite. They added so much functionality to the new panel, the new UI. All of my worries have gone away." Anything you want to add? "If there was ever anything I wanted to tell the Avid editing community, it's that they are not going to open up the software and instantly be in love with everything. They are going to be apprehensive about some things, especially if they've been using the software for many, many years. Don't start using it when you are in the middle of a major project or when you have a major project coming up. Dedicate some time to approach it as if it were a new piece of software. The light at the end of the tunnel is — and I've gone through the exact process myself when I was at a lighter work period — after I played around with it and looked at the workflows, I'm actually editing faster and able to have access to everything better than I did before. It takes some time and everybody works differently, but they're really going to be thrilled once they go through that process." — By Linda Romanello MONSIEUR JOB — BUSQUÉ MAL CALI, COLOMBIA — Toby Holguin is a musician and filmmaker, as well as a founding member of the Latin band Monsieur Job. He recently directed Busqué Mal, the group's official video, via his new filmmaking moniker, Iye Teblu. Busqué Mal, says Holguin, was inspired by his own personal sto- ry — one in which a relationship ends and a new one begins. Holguin describes himself as a street director, who is self taught. For the Busqué Mal shoot, his own home was used as the primary location. Other footage comes from a short, night-time shoot, as well as from a greenscreen shoot that took place in his garage. The project was shot using a Sony Alpha 9 camera, equipped with cinema lenses. For the night-time street shoot, he used LED lights to create the colorful aura around him and his girlfriend. "Lighting is important to me," he states. "It's an incredible art. I used some LED lights and that series came out nice, adding impact." He also used a pyramid, rigged with key lights. The project was edited by Juan David Rojas and cut using Adobe Premiere Pro. Holguin collaborated closely with the editor, completing the job in just two to three days. At press time, Holguin was travelling in preparation for several long- form projects he has in the works in the coming months. — By Marc Loftus For more music videos, see page 24 and visit us online

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