All language subtitles for Module 09

When I'm editing a

film, I like to edit on the avid
media composer.

I like to have in me a composer
because it's a very robust system

and it's great with sharing.

So generally on a feature film,
you find yourself working with a big crew,

a crew of visual effects
editors, in some cases, stereo

3D editors, assistant editors, apprentice
editors.

It's, it's, it's, it's

a scenario where it's

very important to be able to share beans
and share sequences

and share reels
with all of those different people.

And Avid does that so well.

Avid is built in such a way, designed
in such a way that you can share

all of those things very easily.

And I should also preface this
by saying that I have worked

almost exclusively

on avid media composer
ever since the nineties,

ever since I started
as an assistant editor in commercials.

And so that is the system that I used.

And I think that it's
a very personal choice.

I think that I think
you can cut great movies on Premiere.

I've never done it.

You can cut great movies on Final Cut Pro.

Great movies
have been made on all of those formats.

So I don't think in a way,
I don't think it matters.

Great movies have been cut on film.

My experience has been
with avid media composer,

and what I have found with the other
editors I know and the other assistants

is that avid media composer is very robust
in terms of sharing

a project and sharing different files .

It rarely crashes.

And when you work in a big movie,

when you work on a Hollywood movie
like First Man, I have myself editing.

I had two additional editors
helping me cut things.

I had two other assistant editors.

I had two visual effects editors

who were focusing mainly on visual
effects shots coming in.

And and you might have any
additional assistants coming in.

You have a lot of crew, and they all work
on avid visual effects editors.

They might do a little

if they're doing some actual
creative visual effects work, they may do

a little stuff in after effects,
but it always comes back into the of

it has to come back.

And so they have Avid as well.

Where I'm headed with this is that

the system

needs to be able to accommodate
many people on a Hollywood movie.

It needs to be able to accommodate
a lot of different people who are going

to be sharing the project
and sharing bins back and forth and cuts.

So that's where Avatar is, is
is really good.

Avatar is very robust that way.

You know, the work that I do with
the directors is to create

as polished a blueprint as possible

with the knowledge that later

you're going to take the original files,
whether they're to K or 4K

and you're going to color them perfectly,
and then you're going to take your

original sound and you're going to mix
that into Dolby Atmos

or into IMAX sound.

So in terms of the resolution,
I don't work in 4K.

Hollywood workflow may move more
in that direction if it becomes easier.

Part of what is great
about the Avatar resolution

is that the files are compressed,
but they still look very good.

They'll still you can still
take your avid cut and this is what we do.

We can actually put it, screen it through
very good projectors.

We can screen it
for audiences on a big screen.

We'll project it and it still looks great.
That's key.

Just knowing that you don't
always have to work with 4K,

you can work with a compressed,
avid resolution.

It doesn't take up that much space.