Issue link: https://digital.copcomm.com/i/1543164
45 S P R I N G Q 1 I S S U E T E C H with the episode's director. Strand said, "Our line pages are pretty standard: the scripted lines, and the opposing pages with notes for the scene. Theoretically, the scripted lines are represented when you do a ScriptSync. But I wish Avid would find a way to improve that translation because there's information on the script supervi- sors' opposing pages that can't be put into the Avid script notes. So, let's say there's a line flub on line number 16. There's no place to put in those line numbers in ScriptSync. For me, the optimal setup would be to look only at the script in Avid." As a workaround, Strand removes all the line pages from his script binder, leaving only the opposing pages. He explained, "I have my assistant put in some of the occa- sional line numbers, as reference. It's more work for her, but I'm sure AI will take a lot of that off our plates eventually. And that may, unfortunately, be to the detriment of our assistant's employment. But the goal is to translate all of the different film processes into the digital realm. The line script pages are the final frontier." The sound of the show is equally com- plex, with numerous characters mic'd up on set, dense dialogue laden with medical terminology, off-camera line deliveries, and dialogue leading a cut. Strand, who works with 16 audio tracks in his guide track, said, "There are so many characters, and if we were to unfurl the recordings, it could get pretty deep. Our production sound mixer, Von Varga, is very good at making a mix track, so I generally work with two dialogue tracks. But oftentimes, I will be replacing dialogue (as everyone does) with better dialogue from other takes as we move through the space to maintain some of those continuous shots, just to keep it visu- ally consistent even though I'm modulating performance." The key to doing the best work on a tight schedule is making the tools work for the editor, rather than having the editor adapt to the tools. When Avid releases a new version of Media Composer, these editors find ways to make it fit their workflow. For Luciano, that means mapping commands to her six-button mouse to quickly navigate the Avid timeline, and using Avid keyboard shortcuts, such as Replace Edit, to improve efficiency. Since muscle memory makes for more fruitful work, Reinisch will spend his first editing day setting up the latest Avid environment to match the Avid system he learned on. He said, "I like to have the bins separate and floating, not all stacked up. I'm not opposed to learning the new 'stuff,' but given how fast we have to go, there isn't much time. And while I couldn't use another editing software at this point, I do wish Avid's special effects offerings were more modern, more like how After Effects handles embedded sequences." Strand agreed, "We are all creatures of habit. Avid is so good at allowing us to have our own personal approaches to accessing our material. Its flexibility to allow me to cut my old way is really laudable. However, I do wish they'd improve their Title tool. I can't make it work even though I've watched some videos. And I have to keep cutting the show, so that's my priority. Maybe later on, we should get an Avid rep to come by the bay and walk us through the new features." ■ Jennifer Walden is a freelance writer who specializes in post-production technology. P H OT O : H B O ALL HANDS: Noah Wyle in "The Pitt."