[Alan E. bell]

I started in a cutting room before Avid even existed. I assisted on my first feature when the media composer was at version 4 at that time there was no media sharing. I’ve cut five features on Avid and 6 features on FCP. I just started a show on Avid recently after the last six being FCP. And I am shocked to find that other than the media codec which we are using, it’s basically exactly the same as it ever was. No positive changes at all. Same ol bugs and plenty of new ones too.

I personally think most of the feature editors out there who insist on Avid over essentially any other piece of software are doing so because they don’t want to learn a new system. For a group of people who speed all day making changes, they are some of the most resistant to change themselves. But that’s just my opinion.

Many editors call me for help transitioning into FCP and I do my best to support them. I get the same statement from the resistant ones. “Well it takes me three mouse clicks to do this on FCP when I can do it in two on Avid” In some cases that is a true statement and in others it’s just a biased opinion that when looked at objectively works in reverse as well. Each system is different.

This thread has peaked my interest in Premiere. I used it quite a bit in the early 90’s and it didn’t work too well for me then. I will have to check it out to seen how it’s improved.

Alan Bell
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Discreet Combustion Co-Host
LA Combustion Users Group Co-Host

[Alan E. bell]

It’s a matter of taste really. I think each and every film is different, and to hold yourself down with rules is a mistake. Some films the editing should be invisible, others editing can act as another character in the movie. We can take the viewer from scene to scene smoothly or slap them across the face if we want.

I use pip when I want to get multiple ideas or geographies across in a short amount of time. Or I want the viewer to see something that’s happening physically at the same time. I also do it invisibly on a regular basis now more and more in order to get the best performance out of the actors. The last movie I cut which comes out this July has over 30 split screens you will never know where there. Every single one was for a performance reason.

Alan Bell

Alan Bell
—————
Discreet Combustion Co-Host
LA Combustion Users Group Co-Host

[Alan E. bell]

Why is everyone so down on LA? Sheesh! I’ve been working here in editing for over 20 years.

I think what the issue is here, is the all too common expectation that many young folks have, after going to school and spending a bunch of money, that somehow they are going land a great job. I can’t speak for the rest of the world (commercials, wedding videos, reality Tv, corporate etc) but in features there are two things that count. What you did before and what you are like as a person. The people who are going to hire you are thinking hmm can I stand being in a room with this person for the next 3-6 months? How good was there last film? When you don’t have a last film for them to think about you better plan on working for nothing or next too it. That’s called on the job training as far as I am concerned.

I don’t have a reel for features and nobody ever asks. If they want to see a 5 or 10 minute representation of what I do when I’m cutting a feature then I don’t want to work for them. They can watch one of my films.

It’s takes a long time to get good at the craft of editing narrative. Maybe you should try getting a job as an assistant. You think you are a good editor and should be paid accordingly, but why should anyone else think so? Are you sure it’s not your attitude? I’ve been working on feature films for a long time. I’ve only been an editor for about 10 of those years. I learn something new about the craft on every single film.

If your life isn’t going the way you planned I suggest taking a look at the responsibility you may have in that? Maybe I’m wrong here but I think that your expectations are not inline with the reality of the your situation. It also doesn’t help that at the moment in Los Angeles, I know many many A list editor’s that have been out of work for some time.
Life is a series of opportunities, recognizing them, capitalizing on them, and coming to erms with the reality that you bear responsibility for a large part of what happens to you is part of maturing as a professional. Take a deep breath and hard long look at why you are so mad. Maybe you expect too much out of yourself and everyone else.

Good luck to you.

Alan Bell

Alan Bell
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Discreet Combustion Co-Host
LA Combustion Users Group Co-Host

[Alan E. bell]

Jane,

As someone who has cut 4 feature films on FCP I can tell you that cut and paste is your friend. If you are having trouble getting the pastes to land on the right track I suggest that you use the Auto selectors.

Remember you can have as many sequences open as you need in FCP as opossed to the avid.

They are different beasts and trying to work the same way in both app will lead to major headaches. Once you pass what I call the two week frustration period during you transition I think you will find Final Cut Pro to have many features you will certainly miss when you go back to avid.

Regards
Alan Edward Bell

Alan Bell
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Discreet Combustion Co-Host
LA Combustion Users Group Co-Host

[Alan E. bell]

Hey Jane,

As someone who has cut five feature films using FCP I can tell you this is one of the biggest drawbacks to using FCP over Avid. Fortunately after cutting with FCP I am sure you will agree that there are so many other wonderful aspects to this program that it out weighs the fact that you need to change your workflow to use the tool.

I have learned to Cut and paste and frankly it works just fine. I also will park at the point of the selected clip and use a match frame. Then make the out mark and cut it in.

Wait until you go back to Avid after this project. If you are like me you will miss so many FCP features.

Regards
Alan Bell

Alan Bell
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Discreet Combustion Co-Host
LA Combustion Users Group Co-Host

[Alan E. bell]

Where are you located. I may be able to help you.

Alan Edward Bell
Editor

[Alan E. bell]

Tech support set me straight.

The scale of the object was so small that the camera clipped it.

Regards
Alan Bell

[Alan E. bell]

My recommendation would be to do only one job at a time. It’s hard enough to do that so why make it difficult on yourself. Frankly I wouldn’t even consider highering an assistant that had a second job it’s just too much.

Regards
Alan Bell

[Alan E. bell]

I personally enjoyed “In the Blink of an Eye” but I don’t really think it’s done much for my editing. Frankly I get my inspiration from the footage I am working with and the rest of my life.

It’s all a matter of taste anyway. There is no right or wrong of it.

Alan

[Alan E. bell]

I really couldn’t say if it would help in a smaller market.

It’s more necasary in hollywood because of the competition, everyone has an agent so everyone needs an agent. It used to be (before my time here as an editor) that few editors had agents and we sort of networked to find jobs. Now days that has changed. Agents rule the roost. You go on an interview and it’s because your agent got your resume out and generated interest in you, then if they want to meet you get the script read it and decide if it’s something you should meet on. The rest is up to you until they decide to hire you. Then your agent takes it from there.

There is a diffenat system in hollywood that works where agents, producer and studio executives constantly talk about clients and jobs. In a small market that scenario may not work as well.

I give my agent 10% of all my work. It’s no small chunk of change.

Regards
Alan Bell