Post Magazine

October 2015

Issue link: https://digital.copcomm.com/i/585189

Contents of this Issue

Navigation

Page 32 of 51

PLAYING FAVORITES www.postmagazine.com 31 POST OCTOBER 2015 about the legacy of the editing software I'm working with. I want it to be around in 10 years." Admittedly, Maloney tends "not to use a lot of gadgets," but he likes to have a good selection of audio tools on hand. A winner of several sound design awards, he says audio is "a personal interest of mine. I do sound design passes for spots and try to get the audio as clean as possible." He uses Avid Audio EQ to match "down-and-dirty ADR recorded in my room. The EQ tool helps me match the ADR to the original production sound so the new line doesn't stick out. I also like D-Verb in the Avid Audio Suite for adding reverb to ADR in order to sim- ulate the environment that the original production sound was recorded in." He just started to look at Avid Artist Mix, an audio control surface with a fader system he thinks will be a more user-friendly interface. "The mixer inside the editing software can be difficult to manipulate with a mouse or tablet at times," he says. "I'm looking for ways to mix faster." One of Maloney's assistants is using Blackmagic Design's DaVinci Resolve 12 for transcoding raw camera footage from jobs and adding the color grade in one pass. "She really likes it. It's really benefi- cial in terms of saving time," he reports. Audience, a recent Gillette spot from Grey/NY that was shot on a beach in Mexico, had some wave noise over the dialogue. "Shooting on a beach is a bit of a challenge, plus, we had no access to the talent for ADR," says Maloney. "So I had to do a lot of audio clean-up. It was tricky to maintain the continuity of the waves lapping while cutting back and forth between the A and B cameras. Adding a layer of stock beach sounds helped so any lapses in audio didn't be- come a focal point of the spot. The spot was also really sweetened in the mix." ROCK PAPER SCISSORS (ADOBE PREMIERE PRO) For the last three years Adam Pertofsky, partner/editor at Rock Paper Scissors in Santa Monica (www.rockpaperscissors. com), has favored Adobe Premiere Pro to cut commercials and documentaries. "Its functionality is so easy, and editing in the timeline is really simple — that's key to why I use it," he says. "It's so simple to pull in different formats for docs and edit in the timeline. And no rendering helps keep up speed, especially for commer- cials where you have to work fast." He cites a spot for Workday financial planning that featured a lot of VFX. "It had a lot of layers, and Pro's motion tracking really helped. It was so easy to key in different shots," Pertofsky notes. "The crop tool was terrific as well. For jobs with heavy duty VFX, my assistant may go out to After Effects while I'm cutting, but most of the time I can do the VFX in Pro." Pertofsky runs Premiere Pro on his of- fice system and his home laptop. "Right now I'm using my laptop to go through a lot of stock footage for a documenta- ry I'm directing for ESPN. I'm watching hours and hours of footage, pulling se- lects and throwing them into sequences that will be easily available when I cut the film. Organizing footage is really easy." It's also simple to color code different shot labels. "It used to be that the color label you applied to a shot was applied to the whole clip," he says. "Now I can change the color of a shot and it doesn't affect the master clip it came from. I can give a red label to a shot I really like or a director's circle take; I can give an orange label to my select. It's another great orga- nizing tool — it all comes down to speed." Pertofsky praises Premiere Pro's time remapping feature, too. "I've always had problems speed ramping shots in other systems," he says. "But Adobe has tack- led it really well. I use time remapping often, not just for diving in and out of slow motion. It helps get content to time even if there are no VFX." He has found Adobe to be "the most receptive of all the manufacturers I've dealt with. Adobe wants Pro to be as good as it can be." Rock Paper Scissors' Pertofsky cut this Workday spot (top) using Adobe Premiere Pro.

Articles in this issue

Links on this page

Archives of this issue

view archives of Post Magazine - October 2015