MODERN EDITING
What Matters, What Doesn’t
Experts Offer Their Views on NLE Essentials
Written by James Careless DV Magazine, May 2010
AFTERSHOCK DIGITAL: DIVE INTO NEW TECHNOLOGY
Hollywood’s Aftershock Digital started with three Avid NLEs; now it has five Final Cut Pro HD suites. The company, which edits features, television programs and commercials, is also equipped to edit RED and 4K/2K video; plus handle color correction and 5.1 audio mixing.
When it comes to new equipment, Aftershock Digital owner Fritz Feick is definitely an early adopter. In fact, he sees the willingness to take risks on new formats as a key to his success. “Allow yourself to embrace the newest technologies, the newest software,” he advises. “The guys I like to work with — in terms of assistants or other editors— they may not have a clue what to do when they first start out. But if they throw themselves at it, read a manual and apply themselves, they can do anything.”
As for must-have new skills? Although Feick agrees that it is necessary to master the manuals, he says the real imperative is to connect your inner talents with whatever technology you’re using; old or new.
“I wouldn’t exactly say that you need to learn new skills as much as learn to use and apply the devices that bring your skills to life,” he explains. “When you’re creating, you use the tools you can. If all you’ve got is a pencil, well you had better, at the very least, keep it sharp. The same is true for edit systems.”
This said, Fritz Feick is more than happy to try out whatever’s new and cutting edge. “I love the changes in codecs and improvements in hardware and software that have occurred over the years,” he says. “I have met many editors reluctant to change, reluctant to embrace what is new: Get over it.”
On a larger scale, Feick argues that new technology enhances the creativity of those editors who embrace it. “I mean, I’ve cut thousands of spots on a cheap 19-inch $99.00 TV set. Now, I’ve got a bitchin’ Flanders Scientific that clocks in at around 5K. Guess which looks better?” he says. “Does it affect the work? You bet it does, because the color is now sensational, and you’ve got everything at your fingertips to change it to just the way you like it, now … I look forward to doing more high-end visual effects work in-house, and burning Blu-Ray print masters with 7.1 surround sound.”
Fritz Feick’s only pet peeve? “Everyone is an E D I T O R,” he declares; taking care to stress the necessity of using capital, spaced letters in print to make his point. In other words, people think that the ability to slap together clips in sequential order is all an editor needs to do. Feick finds this attitude frustrating, because he sees video editing as storytelling, and “good storytelling is a gift. It is something that can be learned, but basically you have it or you don’t. If you can’t tell a story around a campfire, then maybe editing isn’t for you. Or at least you better have some intriguing music and some clever fire SFX if you want to keep an audience’s interest.” Unfortunately, lack of editing talent is something that no technology can fix; either today or in the future!
See full article here:
