How much gear do you need to edit a movie in real time?

[Oliver Peters]

Pretty misleading title and not very informative. Here’s the full detail for folks who don’t know:

https://digitalfilms.wordpress.com/2017/06/24/baby-driver/

– Oliver

Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com

[Jeremy Garchow]

I don’t know how much more real time than editing the scene on the front of a process trailer can get!

[Andy Patterson]

[Jeremy Garchow] “I don’t know how much more real time than editing the scene on the back of a process trailer can get!”

A live broadcast perhaps?

You can edit using laptop with most NLE. If you want to edit Red One R3D files at full 4K resolution a laptop might not work.

[Jeremy Garchow]

This forum used to be fun.

🙁

[Herb Sevush]

But wait, you mean he cut this on Avid? How was that possible? We all know that Avid is slow and pre-historic, I thought it was positively illegal to use Avid on a laptop, like the “coolness” values of Avid were too low to for a macbook pro to work with, and it would spit out the software like it had eaten a bad burrito. There must be some mistake, he must have been cutting this on X without realizing it.

Herb Sevush
Zebra Productions
—————————
nothin\’ attached to nothin\’
\”Deciding the spine is the process of editing\” F. Bieberkopf

[Jeremy Garchow]

[Herb Sevush] “There must be some mistake, he must have been cutting this on X without realizing it.”

Now we are getting somewhere!

☺

Despite the platform, I thought this was really cool, informative, and telling of what is happening, and not misleading. They are editing in real time, editing the footage against a storyboard, and then and only then, will they wrap. Process trailer work is tiring. Editing on the truck to make sure that you can complete primary shooting while your computer is strapped to an apple box is an entirely different matter.

[Joe Marler]

[Oliver Peters] “Here’s the full detail for folks who don’t know:

https://digitalfilms.wordpress.com/2017/06/24/baby-driver/“

https://www.panavision.com/bill-popes-cinematography-baby-driver-has-panavision-under-hood

It appears this movie was shot on film, not digital. The Panaflex Millennium XL2 camera has a video tap which was run through an In2Core QTake encoder, apparently producing 2k ProRes output for editing on Avid: https://qtakehd.com/

[Oliver Peters]

If you read my article, Paul clearly states he was networked into the video assist operator’s storage. He AMA-linked those media files. Not the live feed from a camera. Then, in down time, he background-transcoded Avid media from these linked files in order to create his own store of Avid media independent of the video assist storage. He tested those takes to make sure that the action properly coincided with the music, which is an integral part of the story and how the film was produced. Plus, of course, best performance.

– Oliver

Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com

[Oliver Peters]

[Jeremy Garchow] “and not misleading. They are editing in real time, “

It’s the “real time” part that’s misleading. A take was edited into the sequence after it was shot. Then the crew waited until Paul confirmed it was a good take. Where’s the “real time” part?

– Oliver

Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com

[Misha Aranyshev]

I did it 16 years ago on a Pismo PowerBook feeding camera video tap into it through a DV converter. It was clear back then on-set editing is just a gimmick. Everything you edit on the set ends up on the floor. I had half a dozen of features since them brought to me to conform from such cuts just to scrap it and start from scratch. The set is just not the right environment.