This past January I was interviewed about my work on Dig, the short film directed by Toby Halbrooks. In it, I described how I used Adobe Premiere to help improve my workflows and simplify many of the steps in the editorial process. Check it out!
In my travels, I’ve had to do a fair number of Automatic Duck project conversions. While I was learning this process, I found that there wasn’t much good information containing tips and tricks about making this process smooth. Especially now with the exodus from Apple because of FCPX, streamlining this process is more essential now than ever. I don’t propose to know all the answers, but I thought it was high time somebody started putting down their experiences so that we can start working towards some kind of a “Best Practices” document. I’m humble about my experience here, but I will say that I’ve done it a fair amount and I think my tips are good. I’d love to hear what you think. Please leave a note in the Comments section and tell me what I got right or wrong.
Quick note: What I’ll talk about here is transferring between Avid and Final Cut Pro, because that’s what I have experience doing. However, since Adobe After Effects workflows are prevalent nowadays as well, I’d love to hear about your experiences there. Please, leave comments.
Automatic Duck is shorthand for a number of programs developed by Wes Plate as a way to move editor sequences between Avid/Apple/Adobe products. Now that Wes has joined Adobe, his programs are now thankfully free to download. The apps are basically plugins for Final Cut Pro 7 and Adobe After Effects, so you’ll need one of these apps (as well as Avid Media Composer, if that’s part of your workflow) in order to transfer your footage.
A quick note to update everyone on a “transmedia experience” I edited last month. The project is an interactive video that includes you in the story through emails, phone calls, and texts. It was a collaboration with fellow Emerson alums Landon Zakheim and Justin Gurnari the great crew at Fourth Wall Studios. It was a blast to work on and a lot of fun to experiment with the medium.
Check out this LA Times article written about the company.
Click this screenshot to take you to the site.
If you want to check out the trailer for their other project Dirty Work, you can watch it below.
When I was in New York in September, I met with the amazing people at Dig For Fire. I’ve admired their work for years, from the fantastic live in-store performances they shoot at Other Music to an awesome Band Of Horses video and now to their relationship with Spotify. I have been wanting to work for them for a long time. Finally I had the chance.
They had just gone into the studio with Iron & Wine to film the re-recording of his classic tune “Flightless Bird, American Mouth” for the new Twilight: Breaking Dawn soundtrack. To add to it, Marketa Irglova from The Swell Season came in to sing harmony on the the track. They asked if I thought I could cut the video in the two weeks I was in town. I said ABSOLUTELY!
Currenlty, WordPress.com doesn’t support VH1 embeds. So if you wanna see it there here it is. The VH1 link has over 70,000 views already!