#THE CUTTING ROOM FLOOR PODCAST UPDATE#
#THE CUTTING ROOM FLOOR PODCAST MANUAL#
#THE CUTTING ROOM FLOOR PODCAST SOFTWARE#

#THE CUTTING ROOM FLOOR PODCAST MANUAL#

ItРІР‚в„ўs situations like these where you really have to think on your feet because of the unique nature of the problem, no manual or editing class can prepare you for what course of action to take.

#THE CUTTING ROOM FLOOR PODCAST SOFTWARE#

I wanted to share a real-world challenge that I faced recently on my current show and how I used my knowledge of Avid software to pinpoint the root of the problem and fix it. I donРІР‚в„ўt usually write about the individual projects I work on, but I thought IРІР‚в„ўd take a page from Shane RossРІР‚Вs playbook and do a little first-person story-telling for once. Without the NLE РІР‚Сљarms raceРІР‚Сњ Media Composer wouldnРІР‚в„ўt be blessed with the РІР‚СљSelect All to the RightРІР‚Сњ feature (which I use practically all the time now), and Apple would not have included a large timecode window, color-coded markers that automatically ripple through the timeline, an equivalent to the РІР‚СљRemove Match Frame EditsРІР‚Сњ command, and an offline HD codec in their latest version of Final Cut (see the complete list of new features here). Every substantial release of a non-linear editing application raises the bar for each of its peers, forcing them to consider integrating the better features of competing products and innovate to produce stellar new features that will hopefully tip the scales in their favor next time an editor or post house is looking to make a major software purchase.

#THE CUTTING ROOM FLOOR PODCAST UPDATE#

Yesterday Apple released their first update to Final Cut Studio in over 2 years, and I am thrilled! Why, you may ask, do I care about the latest iteration of Final Cut when I havenРІР‚в„ўt used FCP in over 3 years? The answer: competition. Sometimes a poorly written, haphazardly-shot mess of a story can be turned into something meaningful in the skillful hands of a top-notch editor, and similarly, a beautiful story can be butchered by an editor who doesnРІР‚в„ўt let the material find its own voice and tries to impose a style that doesnРІР‚в„ўt fit the material. Even a seasoned editor, who knows better than anyone else what the editorial process involves, may not be able to recognize a brilliant feat of editing without a glimpse of what was left on the cutting room floor. The audience has no realistic way of knowing what compromises in performance the editor had to make in order to elucidate a specific plot point or which amazing shots couldnРІР‚в„ўt be used simply because they presented an inconsistency in story or character. With editing, however, aptly called РІР‚СљThe Invisible ArtРІР‚Сњ of cinema, whatРІР‚в„ўs been left out is just as important as what ends up in the final cut. With РІР‚СљBest Cinematography,РІР‚Сњ РІР‚СљBest Art Direction,РІР‚Сњ and РІР‚СљBest Costume Design,РІР‚Сњ for instance, you can clearly see how each nominee demonstrated a mastery of their craft and set themselves apart from their peers. Compared to many of the other Oscar categories, РІР‚СљBest Film EditingРІР‚Сњ is often a tough one to predict.

The cutting room floor podcast