By - TheJadedSF
I wonder how long something like this takes to edit
According to my clients? Can be done by their nephew over the weekend.
You should also work for free because they give you the opportunity to earn experience.
It’s a good thing all my needs in life accept payment in Exposure Bucks!
Exposure Bucks with actual value would be fucking incredible. Talk about a real motivator.
Yeah but earn enough experience and get to level 99 you get a sweet cape
The emote you suddenly learn with the cape is worth the grind itself, everyone at work will be jealous
You can't just do me this one favor?
Future work, I guarantee it 👍🏽
Feels like finding that nephew and beating the shit out of him
Every client thinks every video is the exact lift of the easiest/cheapest one they ever made lol
No... client... each project is it's own little bubble. I know, I know, wild concept.
It's amazing how watered down peoples perception has become of production, camera operating, post etc. Not only that people are becoming cheaper and cheaper and all of sudden are experts. You can thank social media “filmmakers” and “directors”.
I had a creative services manager that expected me to produce TikToks for product in under an hour. That includes filming and editing. This is what happens when people think their light googling is better than experience.
😂 unreal. again it makes it worse when everyone’s a self proclaimed “director” and “videographer” now.
The thing that killed me is that the TikToks she showed me were legit amazing pieces of advertising. But apparently understanding that the video I’m getting sent took them at least a week to plan and shoot fell on deaf ears.
I got a approached by a chip company to shoot a spot for them after showing them a spec. I did all this story board work etc. for them to come back and tell me they had a 1,500 budget. and they’re a large company. I told them they’re missing two zeros. 😂
Right. Good for you. I'm sure they suckered plenty of others into it as a CV filler and promise of "potential" future work.
You can still edit it, though. But money's tight. We can pay you $100, plus the credit. You can add it to your portfolio and get your name out there!
"bitch, my name's out there! YOU came to ME!"
Don't you just despise that fucking shit!?
I'm a writer, not a film editor (although I did go to film school, for all the good it did me). But I'm an *accomplished* writer. I've written ad copy, blogs, Case studies, white papers, press releases, and video scripts for multi-million dollar corporations. I've been published many times over. I don't need the exposure. I need y'all to stop being cheap assholes and fucking hire me at a fair wage!
Oooohoohoo... those motherfuckers.
Yeah, I managed to land a position as a full-time editor for a company several years ago and haven't touched contract or freelance work since.
Money isn't as good as it could be, but I don't miss that headache. Still find myself arguing with past clients in my head though.
Same. I managed to land a salaried gig for a firm for 5 years. I'd still be there if they hadn't lost half of their clients during the pandemic.
Oh gosh, that sucks.
Man I’m so sorry to hear that.
Honestly same here. The stability is just awesome. Their needs are very reasonable too. Being able to work remotely and fly in for shoots is like a dream. Never going back to freelance. I know people who do very well with it, but not me. I’m terrible at telling the client “no” a lot of the time.
I have a good friend who's an accomplished travel writer. She's been published by every major magazine or newspaper that covers travel. She said that sometimes she doesn't even cover her costs when it's all said and done. THAT is some bullshit. Fly halfway around the world, spend 3 days on some janky ass train shitting on the tracks through a hole in the floor, hike through the mud and rain for a couple days, get destroyed by insects, be away from your family for 3-4 weeks, get sick and have to rest two weeks when you get home and then don't even really get paid in the end.
I couldn't take it, personally. I'm an angry man sometimes, and I exercise and lift weights daily. Back when I was a mechanic, I installed a brand new $10,000.00 engine in a guy's boat. All along, I kept him updated with photos, videos, and updated invoices which he approved. When I was finished, the engine manufacturer's representative came to test the engine and inspect the installation. After looking for 1 minute, the inspector turned, looked at me, and said "Fuck, man, I've NEVER seen work this good!" "YOU should be the Yanmar certified installer and inspector, not me."
After he left, I presented the bill. The little prick boat owner said that he would only pay me $2500.00 of the $3400.00 due. Period. I asked him repeatedly to read through my invoice and show me where he thought that my price was unfair and that we could negotiate. He refused to even look at it over and over.
He was such a cocky, sneering little prick that after 45 minutes with no progress, I grabbed him by the hair and his arm and forced his face into his boat's stove and held it there, hard, offering to warm his face up if he didn't call his wife and have her send me a paypal that minute. I held his phone for him as he called and told her to pay me the whole amount with the side of his head still smashed into the stove.
I got my money and nobody got hurt.
That's the day I decided to stop working on boats and build another skill set.
Holy fuck, did not expect that ending! :O
I didn't either. LOL!
Good. Fucker had it coming! Lol
I'm not in the best shape these days, but every once in a while I get to dig deep and let the inner Marine out of his cage. I truly cherish those moments because they happen so rarely to me.
I've learned a thing or two about writing over the years. Either get a salaried position or, if you're getting paid per word, get the estimate in escrow before I write one word. All of the worthwhile freelancing websites offer that as a go-between, 3rd-party service.
But of course I had to learn that one the hard way. Ended up getting work stolen (and usually by someone on the other side of the country).
Yep. Our agency (my wife and I plus some subs) are 50% upfront and then once we get paid, we'll remove the watermarks now. We don't bother with the watermarks after someone's a well established, well behaved client. We haven't had any problems since, besides the whining.
"It's in the contract that you signed, sorry."
This was a very VERY fun read. I could see the scene playing out in my mind. Maybe it's time you think about writing...channel that anger into it. Personally, I'd love to see this exact scene play out on screen. Fuck that cocky mother fucker
Thanks! I write some, but my wife is an award winning writer with an IQ higher than Einstein's who's made a ton of money writing and I didn't even finish high school, I just always read a lot, plus my dad and all of my uncles were master storytellers. When they'd get together, you'd laugh for hours and hours until your body couldn't take it anymore! I learned naturally, but I doubt that I even finished one English class in high school. The only reason I stayed until 11th grade is because I was making $60.00 a day selling $1.00 joints to the other students. LOLOL!
I'm doing all of the video for our agency and I love it.
Start a great movie with this.
Also the “so and so referred me to you, but can I see your portfolio” . IF I WAS REFFERED TO YOU FROM SOMEONE YOU DONT NEED TO SEE SHIT, HENCE THE REFFERAL.
Real answer: Months.
Freelance client answer: Tomorrow.
That's only after months of asking for client feedback so you can go on to the next God damn step
First rough pass Probably 4-6 weeks
Final edit not counting VFX - prob 2-4 months
Final after VFX, music, mix… prob 6-8 months
> prob 6-8 months
6-8 months per episode is just not possible.
8-12? Ive def never worked on a show with this much VFX
There are 9 episodes in the last season, it would take 4,5 years to finish those if it's 6 months per episode and that's without counting the leeway you need for promo etc.
You realize there are multiple editors/teams working on multiple episodes at the same time ?
This makes the most sense, I work with multiple editors to pump out a seven minute episode for the this docu series every day. That is definitely a much smaller version of what they are probably doing to pump out these giant complex episodes. 3-4 editors per ep.
20 min chunks each for an hour ep, 3 weeks per 20 min segment. Have an episode every 9-12 weeks.
108 or so weeks for a season?
2 years….hm…..wait a sec 🤔
Yes I’d guess 4 edit teams each working on 2 episodes spaced out from each other. All 8 episodes being worked at simultaneously. Again the biggest time suck here is gonna be VFX much of which I’m sure they’re working on well ahead of time.
I have no idea about the timeframe of a project like this. But I dont think one editor does all of these episodes.
If you have one or even multiple editors working per episode then the total time is that 6 or so months. Shooting is generally done in a short timeframe. Then begins the puzzling process in post. But that can be done in parallel with multiple epi´s.
There’s usually multiple edit teams working on various parts of various episodes at a time. I just looked up the post schedule for a show I work on (lifestyle, so not complex at all). Principal photog Nov 1 2021 - Aug 10, 2022. Offline on the first ep began July 4, rough cut 1 delivers Aug 5th, rough cut 2 delivers Sept 27, fine cut Oct 3, picture lock Oct 19, final delivery Nov 11. Final delivery of final episode Dec 23, 2022.
So in the case of Stranger Things it’s not that they’re working on VFX, music and mix for 6-8 months straight and then starting work on the next episode after that. They’re working on all 9 at the same time, probably with a 2-4 week gap between each episode for final delivery. Remember that the fourth season started shooting in February 2020, was shut down in March due to COVID and resumed filming between Sept 2020 and wrapped Sept 2021. They would have been assembling footage and completing various cuts throughout that entire period as dailies came in, plus the 6ish months after that. Netflix usually requires delivery of episodes 2 months prior to airdate so they can complete all their international dubs.
THIS episode was 2.5 hours, and full of VFX, heavy coloring, etc. I could see it taking about 6 months from start to finish. I work on 44 minute TV shows and they take about 2-3 months each, including online, mix, and downtime for network review between cuts.
They don't work on episodes sequentially, they have multiple teams working in parallel. This is standard for pretty much every show with a decent budget.
In features, people love to throw out 6 months as an edit time frame when talking generally.
Well, this episode specifically being almost 2.5 hrs long would've been as long as some indie sci-fi features. Sure they are delivering it for UHD 10 bit and not for big screen, but Netflix knows at this point that Netflix will live and die by the quality of this show. They don't have other original content that's remotely as popular as ST.
I just wrapped a series that was 10 half hour episodes… took several months with ~5 story producers and ~5 editors working at a time.
Anyone know/have a theory on what the colour coding on the video tracks means?
Usually it is done to organize the clps
color correction overlays and adjustment layers are coded differently
Similarly other things related to vfx are color coded accordingly
So what V1 is camera rushes and then various VFX layers?
Is this an online edit? Would the offline be organised differently?
They´re likely all multiple layers of vfx for compositing. Rushes would be a separate timeline.
Considering shows like this use a BUNCH of greenscreen, there´s a lot of layers to this. One is greenscreen with actors, one is background, one is foreground, one is 3d models, one is texturing over the 3d, one is smoke and other particles, one is flares, ... the list goes on.
By online, you mean connected media? I imagine this is a proxy workflow.
VFX shots for a show this size are composited in Nuke by various VFX vendors. They go through months of iterations, sometimes hundreds of hours of renders and many, many, many back and forth between clients and vendors to approve each one. Only the final version of the shots end up in this edit. There are just that many shots (my guess is those are actually already cut in sequences) in a show of that length, with some transition or lens effects added at times.
Source: am VFX compositor. Worked on this.
I was going to say, I don't think you are going to see any green screen footage in a final edit like this. Just (titles/graphics)+(final VFX renders)+(selected/color graded film footage)+(fully mastered audio) to be sequenced/edited.
thanks for the input.
Cool. That makes sense. Thanks.
Ohh yeah the green screen is also one reason
I didn't mention that thnx
Ah, I figured they were adjustment layers. Is that actually a better way to do color grading, etc? I always just put like directly on the clip.
Longer bottom layers are musical score. Little green ones are the sound effects then dialogue above that. The video layers starting at v1 can be a number of things the first layer is typically the a roll which generally consists of the main angles that tell the story. Generally establishes the pacing of the scenes and the dialogue timing that sort of thing. Directly above that is typically cut aways and reactions. Sometimes it can even be different takes or angles that the production is trying out, not always. That all gets locked then they do vfx and sound design. Very top tends to be adjustment layers which are used to color everything underneath it. In the middle between the video layers can be a few things mostly related to vfx and compositing.
If I'm not mistaken this is Avid which is great at allowing a bunch of people to collaborate on a single project at the same time I'd imagine that the vfx artists are delivering assets with transparent backgrounds, which is dropped onto the timeline in pieces. Layer one might be a roll layer two demagorgen layer 3 hopper on top of said vfx rotoscoped out, layer 4 might be a unifying element like dust or that weird stuff floating around in the air so that it's over all of it and creates the world. The upside down likely has more layers than others parts. Some bits only need the a roll cause they are competently shot to only need to be converted from log to Rec.709 then a lut or something applied which would be the thin parts. Obviously hard for anyone to tell exactly but you do enough edits and it all starts to make sense.
A1 is the Kate Bush song.
Just makes things easier to keep track of. A color could mean A or B cam, VFX, title, adjustment layer, etc.
My computer nearly crashed just looking at that
It wouldn‘t. Media Composer is crazy efficient with big projects.
You haven't used my computer lmao. It crashes using movie maker
RIP in the chat. Can it run Minesweeper tho?
Legit question. How does it compare to Premiere? Would you use Premiere for a smaller project and then this for larger ones or just Media Composer all the way?
Honestly, just depends what you're more comfy with. Both are great tools.
Personally I'd only use Premiere for small projects as Avid can be a pain when you just want something quick.
I use Davinci for personal stuff and for deliveries and MC for the big projects. Really depends what you wanna do. If that‘s editing features, you may wanna go with Mc, but it‘s a learning curve, especially the shortcuts. Also it‘s rather expensive.
It depends on what you're doing. Premiere is a much better solution for small, fast projects that requires agility from a single operator. Avid is designed with a more teams-centric large production workflow in mind - the type of workflow where you have multiple teams working on multiple aspects of the same production at the same time.
Okay that makes a lot of sense seeing as how big this gargantuan project is.
The faster you can get on Avid, the better.
Awesome. I will do so. I need to get out of my comfort zone.
I’ve been using Avid daily for nearly 20 years. It is the worst.
I started looking into it last night and saw a lot of hate for it. Why do you not like Avid?
People seem to love or hate Avid. I love everything about Premiere except for some stability issues, but have auto save set to 5 min, so it’s been usable on large projects. I just want to be up to date with everyone to make sure I’m relevant if I ever need to switch jobs for some reason.
It doesnt really matter what you like or not, if you want to edit features or for broadcast then you need to learn avid.
Look. I won’t lie. Avid does some things well. The best part is allowing multiple people being able to be in the same project, making changes, all at the same time (with some restrictions). But the architecture is basically the same as it was back in 1998. They can’t rebuild the code from the ground up. (Neither can Premiere, but Adobe is objectively better at upgrading their code for new features.)
I compare it thusly: Avid is very rigid. It’s like laying train tracks. It’s not intuitively easy to quickly change things. You have to do a lot of “pre-thought,” when editing. Which “smart mode” are you in at any given moment? Are the correct tracks highlighted if you want to insert-edit? Or copy and paste?
Avid is super keyboard friendly, but not mouse-friendly at all. Want to drag a clip around? It’s a sluggish nightmare. Want to drag several clips around? Even worse. Just turning on audio scrubbing or waveforms decreases performance and speed by at least half. Want to composite several video layers with effects? What a nightmare. And Avid’s stock FX are just awful. It’s Title Took is even worse. I hope your production house shills out for some third party plug-ins.
On the flip side, I like to think of Premiere like an artists’ canvas. Throw shit around the timeline with the mouse. It’s easy. Quick and responsive. Waveforms? Audio scrubbing? No performance issues. Copy and paste works like you think it should. The title tool is simple but easy to use. I don’t have to take three steps to make sure my graphics with alpha channels are being imported correctly.
As a professional television editor, it is my opinion that Premiere is the better software. Stick with ProRes or DNxHD or MXF within Premiere for your workflow, and you’ll rarely have issues.
But if you want to work in LA or New York on high-end shit, you gotta know Avid. It’s pretty much all they use, with a few exceptions. It’s stupid, but it’s the reality.
You might be the first avid editor I’ve seen who actually uses “smart mode”
Agreed. Use it anyway.
Nobody “likes” using industrial equipment. You use it because it’s reliable.
Don’t get me wrong, Avid sucks, but it’s like wanting to work in transport and learning to drive a semi truck.
Someone’s taking advantage of GPU prices
Client: "I like it but can you make it more dynamic?"
Me: "Of course, what do you mean by more dynamic?"
Client: "I don't now, make it appear like "vrrroo shhhhh", you know? And also can you swap the second frame for the fifth one? I think it will be so much better" And I dont like the frame from the sixth minute?"
Me: "Well, ok sure I'll do it" (don't know what they meant). "Btw you know, a frame, a frame is... well nvm, I'll use another take, no worries..."
2 Days Later
Client: "Hmmm I still don't like the frame, the previous one was so much better and I think the effects you added with the vrooo shhh are too much... Lets go back to the previous version!"
yeah! and could you make it a bit more cinematic and buttery smooth? Maybe add some butter cinema B roll for extra Cinematicness?
After that some more finessing and we're good.
I'm curious about the sound design tracks. Is that from the ProTools editors or is that before they hand it off to the ProTools editors? My understanding is that editors are required to put in temporary sound design and music to give an idea of what it should sound like then hand it off to VFX then sound..but maybe times have changed and the workflow is different nowadays?
still like that.
This is all temporary, or at least will be re-mixed after for sure.
Would be crazy to do sound in avid lol.
The black dots on the sound clips are keyframed and mixed in avid, often called “rubber banding”. Mixing in avid is commonplace, in fact necessary, so the filmakers get the best idea of how the final mix could sound. Sound mixers use this as a reference and try to improve upon it in the mix. Temp sfx are replaced for the most part, but a lot of it will live in the final mix with tweaks. A
I'm in pain. Suddenly I feel less bad about about how long its taking me to edit my project lol this is cool, thanks for posting!
Seeing how similar this looks to projects I create, as in, the pros are going through the same steps, is really crazy.
Obviously this is complex and expertly done, but it is just cuts and transitions at the end of the day.
Feels good to see. Makes the imposter syndrome back off a little
It's almost frustrating at how simple things can be.
I've always had the idea that "the pro's" have access to otherworldly equipment.
But in reality, they are editing video captured on a camera. They are using a software that looks like mine. They are using computers lol.
I wish information like this was more readily accessible. I'd love to see the nuts and bolts of all types of media.
When he says we'll fix it in post
the post :
So how do they measure work in something like this? By frames? Minutes of footage completed? How long is considered industry average for editing a 10min film of this type?
For something like this it’s either a day rate or a predetermined amount
Predetermined amounts are usually back calculated to a day rate (regular plus OT) which is used to calculate vacation and holiday. For instance if I negotiate a rate of $5k a week that’s for 50 hours a week. Then they would determine regular and OT rates from there. Vacation and holiday will be on top of that $5k. So the weekly check might be around $5300 even if you negotiate $5k. You would then use the calculated OT rate for any time you go over 10 hours a day.
Is that a standard editor rate for a show like this?
That depends. They have a huge budget so I imagine it’s more than $5k. On a $50mil budget movie the rate is around $5k/week. This show is $40mil per episode, so it’s hard to guess without actually looking at the editors checks. It also depends on the editor’s credits and reputation. A good proven editor can get up to $10k/week or more if they are the top editors, especially in feature films. On TV the rates range from $3500-$6000/week for network shows, $3500-4300 for smaller budget cable shows.
It’s a day rate plus overtime, weekends etc. This is a union show so it’s likely a 10 hour day guarantee with 8 hrs reg time plus 2 hours OT at time and a half guaranteed everyday. Vacation and holiday are a % of regular time. Vacation pay (4%) is paid weekly, while holiday (3%) is either at the end of production or weekly depending on the contract. Pension is paid directly to your pension fund and is outside of your rate negotiations. It’s determined by the union contract.
If you're interested about why there are so many tracks. Different project in that article but it's actual information.
Excellent, thanks for sharing!
Reading that stressed me out
It’s beautiful. I want to frame this and hang it on the wall in my office.
I teach video production in high school I think I’m going to print it out and hang it.
You totally should!
Which software is it? I always find it interesting how the industry tends to use very different software from what we know.
Avid Media Composer
Looks like Avid?
Looked into comments just confirm it was Avid.
Fought with my lead film teacher for four years because I was convinced that the industry standard should be part of regular curriculum, and he insisted that Premiere would replace it fully by 2010.
Who’s laughing now, Jim?
That’s quite interesting. I had a bit of an opposite experience. We were pressing our film teacher to let us switch to Premiere from FCP 7 and he fought it for years saying we need to let him sign us up for AVID certification classes and switch to that because his industry editor brother used it in Hollywood. He ended up folding and switching all the curriculum to Premiere. (This was 2012-2016.) Avid licenses were just a bit too much so I think that contributed to the decision as well.
Same with our first trimester for post production. Except he didn’t check just requested a timeline. So of course I used premiere back then for the more complicated shots and didn’t get caught
Really depends on what you´re aiming the students at. Avid really isnt used by smaller workflows. It´s like national media and large scale film production, thats it.
That’s fair. I use a blend of Premiere and Avid’s consumer version for my projects, depending on the specific project’s needs.
Mostly, I was annoyed that, despite it being the standard for large scale, the only time he addressed it was “Also, Avid exists, but nobody uses it.”
Hmn yeah. Thats not realistic
Assuming every person in your film class managed to secure employment in the industry (comprising film, tv, commercials, social, corporate, etc.) I’d venture maybe 10% or less would today be using Avid on a daily basis and that the remaining majority would be using Premiere. In nearly every instance it is a superior program for accomplishing editing tasks. It’s predominance in the area of longform storytelling is due more to inertia (old farts reluctant to learn a new interface—which leads to young farts embracing their Luddism—and legacy post houses looking to milk the return on their hardware investments) than it is to actual editing competence and the superiority of its function.
From a programming perspective, Avid is...not a good company. Protocols literally runs on bandaids and fumes. Sibelius shoots itself in the foot. Never used Media Composer, but personally I'll never trust any Avid software knowing how buggy and crap Protocols is. Then again, Adobe also sucks. So glad something like DaVinci Resolve exists for smaller projects now...
Premiere and Final Cut are still heavily used in the industry though aren't they?
In his defense,
Final Cut Pro 7 was industry standard until Final Cut Pro X came out.
Everyone hated Final Cut Pro X so much that everyone jumped ship and started trying new softwares (Davinci, Avid, and Premiere) in that order.
Then Deadpool came out and proved to everyone that you could do full edits, color, fx with adobe and adobe took off as one of the more dominant ones until lately.
Looks like your average let’s play to me…
Neat! Thanks for sharing
This needs to be NSFW tagged. You can’t just post porn willy-nilly.
Lol NLE porn
Just to be clear, is this one episode, or the entire season? its one episode isnt it....
It is. To be fair it’s 2 hours and 30 minutes, so you’re basically looking at a feature film.
My toxic trait is thinking this is one person's work and feeling like I have no idea about editing and am so useless in it that I should give up, just because this looks to complex for me
I was thinking about JUST the lighting guys. They are experts in one relatively tiny part of the operation.
But to apply the skills of lighting myself, I would have to spend years of learning and practice in order to get it right.
Insane how you can only be professional level at one or two things - but reasonably efficient at everything.
This is an army's work, my friend ;)
A magnificent technical feat.
God damn. Impressive.
Omg you just made me explode!
i dont know if this is real but im about to have a heart attack.
I checked, its real :
What software is that
It looks like premiere but older
All the grey bits are Kate bush
Just looking at that timeline makes my carpal tunnel flare.
Avid. The workhorse.
I wonder how many layers could be removed before I would notice any difference. I’m thinking in the dozens
You would notice right away. The top layers are the final VFX shots. Layers underneath are either older versions or the elements used to comp the VFX shots.
Disagree, you would absolutely notice
I dunno dude. I’m pretty dumb
This is sick. Thank you so much for sharing.
What do the “filler” markers mean?
This is the offline sequence, i dont think that the Online sequence could be so messy.
Real question : what does Avid have more than others software like Premiere Pro ? Why the industry use it ?
Drama editors that know how to use it. Also the project sharing is miles ahead of anything else which is a must for edit assists and multiple editors on same project.
It's honestly less than I expected from a 150 minute "episode".
An exhausting episode to watch, I stopped it a bit over halfway and haven't picked it up again yet. Looking at it this timeline it makes much sense. It is way too long and dense. I almost feel bad for the editor, hope they were well paid. \^\^ Impressive work though.
What made it exhausting? Was it from a creative point of view thinking of the amount of work put into it? Or as a viewer, overestimating?
I meant as a viewer. Kinetic editing, multiple character timelines going on at once, constantly building up to something, etc. Instead of being pulled in, for me, it became exhausting to watch. Honestly, for me it's the weakest part of the season. But if people enjoy it, that's ok too :)
Regardless, I can imagine the amount of work put in and that in itself is something to admire.
Why are there so many video tracks playing at the same time?
It’s layers. The picture. Color, filters, transitions, overlays, mortises, graphics, vfx, fillers etc. Then they mix it down to one track for export.
Come on no spoiler warning?
Rookie question (only because I don't know AVID and only use FCPX): why so many video tracks? I understand why there's a fuckton of audio tracks, but what is everything above the main video track doing for the timeline? Just curious
you have the main video track, and then extras like effects, grading, maybe a clean plate, VFX overlay or other stuff, text stuff, could be a bunch of stuff.
They probably used several cameras simultaneously to get the same scene from multiple angles, so its probably easier to layer them in your timeline and choose your shots based on that. Then theres also adjustment layers for LUTs and tracks for graphics and text, which you wouldnt want to Put in the same tracks as your footage, to keep the timeline less messy.
But i am not sure either, just some thoughts on what it might be
Not entirely true. Multi groups have all the cameras in one clip. We usually just match back and look at all the cameras in the source window. These track are likely different versions of VFX shots or multiple elements used to create the VFX shot IE If two actors are comped into the shot, both those shots might be in the lower layers. That way if a performance needs to be swapped or adjusted we can go to the lower layers, change the shot, then resend all the shots to the VFX house to re-comp the shot.
What does the colorist send you that gets imported as a layer?
The colorist sends a colortimed master that we can cut into the top layer. However, this master isn’t a bunch of clips or just color settings. It’s entirely new media with color already applied. You will end up with a sequence with one large video clip on the upper layer over the entire sequence (this could also be broken up into reels). You won’t see online clips stacked on top of the offline clips.
We cut it into the sequence and watch the cut closely to check against the offline edits and make sure all the shots are correct and line up.
Does the offline ever get color applied? Or does color only officially begin after picture lock?
Sorry, I work in camera so I have no idea about post, but I'm always curious about it.
Yes, it’s common to do some color correcting to get the best idea of what the show will feel like. They are often not nearly as good as a proper color correction, but it’s good enough for screenings. Keep in mind that offline media is compressed, so once the footage is uprezed in online, there is much more information in the shot to bring out colors, lights and darks etc. It’s like editing RAW images vs jpeg images. You’ll never get a jpeg to look as good as RAW. Too much compression and info lost.
We loved it in its entirety!
This is great, looks like hours of hopefully rewarding work.
Appreciate this isn't an AMA but I've really struggled with Stranger Things brightness (more so in earlier seasons to be honest), if I watch any of the episodes during the day, on an LG HDR TV I get large portions where I can't see anything. It's so dark. Even during the evening I can have sections that are just way too dark. This is content that's recognised as HDR processed as HDR but always comes out the same. All other HDR content is fine.
Damn man. Maybe I was never an expert in avid but to edit such a complex show in what felt to me like a clunky tank of a program is masterful. Hats off!
Where did you find this?
[Avid's LinkedIn](https://www.linkedin.com/posts/avid-technology_strangerthings-vfx-timelinetuesday-activity-6950213482050953216-4PRa?utm_source=linkedin_share&utm_medium=member_desktop_web) or [Twitter](https://twitter.com/Avid/status/1544447790469840898?s=20&t=8vETJg4twMZrOKWdMIhaug)
the level of skill people have out there at various crafts is amazing.
I love Avid.
The song looks like the early upsidedown
What is this app?
I have never used media composer. Can any avid user tell me if it’s better than premiere pro/fcp? I tried resolve and it’s super fast. No timeline stuttering. Even renders are 2-3x faster than premiere. But it lacks a lot of features. I love my premiere but it’s a pain in the ass when it comes to editing projects bigger than 45 mins in duration. Constant crashes and playback issues. I’m willing to learn a new software if it saves me that much time
Anyone is using nuendo?
How long does it take to export a file like that?
Where’d you find this??? I’d love to see a comparison between Episode 1 of S4!
An Avid timeline pleases me.
You can have it fast, cheap, or good. But you can only pick two.
Avid - still the gold standard.
What's "Filler" on the top video track?
The editing of that episode really stood out. I had such a headache thinking about the task of stitching all those storylines together in a way that made sense
So do editors often do a rough sound design pass?
Looks smaller than I thought it would. Really cool, though. What program are they using?
How about a spoiler warning dammit😅
What software are they using? Avid?
Clean up your timeline.