By SCOTT WILLIAMS
IN THIS INDUSTRY OF OURS, technology has always played a key role. As technology advances at mind boggling rates, it changes the way we do things. However, it is not every day that it redefines our world dramatically. In the realm of editorial, the last huge advance of universal impact was probably the introduction of non-linear editing devices.
One of todays trends is that an increasing number of editorial/post houses are handling both online and offline with single finishing systems such as Quantels Editbox and Discreet Logics Smoke.
When non-linear editing tools, particularly Avids Media Composer, became readily available, they redefined the way spots were cut. Not only did they provide a more effective way of editing, but they actually reshaped the way we think of editing, the approach that we take to it. Back in the days of machine to machine editing we were not allowed to be nearly as loose in our creative thought process. It was so much more difficult to make changes to a cut that we often made certain creative compromises. The flexibility of nonlinear opened up worlds of possibilities. The speed and ease with which changes can now be made have allowed creatives to take a different approach. Now, creative impulses can easily be explored and adapted or discarded. Different versions of a cut can quickly be created, saved and revisited.
As nonlinear changed editorial, nonlinear finishing systems may now change the entire domain of postproduction, streamlining the process and adding a new degree of creativity. Technology has once again reached that pivotal point which will enable us to think differently about how we do our jobs. These finishing systems were designed for editorial as well as finishing (with color correctors, keyers, text tools, DVEs, etc.).
No longer do we have to accept a low-resolution rough cut. No longer do we have to put off the incorporation of type design and effects. Issues that were formally addressed after the fact now can be implemented, more appropriately, during the creative editorial process. In short, all creative decisions can be addressed at the same stage. What creative editor would not love to have their palette expanded to include all of these tools?
Not only does this innovative approach benefit creatives, but producers and clients benefit as well. Keeping everything under one roof dramatically reduces administrative hassles. Transporting and tracking various elements all over town from session to session becomes a thing of the past. Instead of many artist/operators working on various aspects of the project, they will all be in the hands of one capable individual. Agencies clients will no longer have their imaginations tested by place-holder graphics and effects and low resolution layoffs.
I believe it is only a matter of time before everyone does post this way.
“Memoir of a Snail” Takes Top Prize At London Film Festival
The Official Competition jury said: “Our jury was incredibly moved by Adam Elliot’s Memoir of a Snail, which is a singular achievement in filmmaking. Emotionally resonant and constantly surprising, Memoir tackles pertinent issues such as bullying, loneliness and grief head-on, creating a crucial and universal dialogue in a way that only animation can. The jury is delighted to recognize an animated film alongside its live-action peers.”
Rounding out the winners of this year’s films screening In Competition are:
- Winner of the Sutherland Award in the First Feature Competition – On Falling (Dir. Laura Carreira)
- Winner of the Grierson Award in the Documentary Competition – Mother Vera (Dirs. Cécile Embleton, Alys Tomlinson)
- Winner of the Short Film Award in the Short Film Competition – Vibrations from Gaza (Dir. Rehab Nazzal)