Saturday, July 13, 2013

Re: [Avid-L2] Giving away too much?

 

Way I work these things is I pay the assistant. It's better for everyone.

There's a package price.

It's in my best interests to get the assistant as well trained as he can be.

It's on his best interest to work with someone who transfers skills and knowledge.

They get the best show as I supervise.

Best regards

Mike

On 14 Jul, 2013, at 12:00 PM, John Moore <bigfish@pacbell.net> wrote:

> Just wanted to run something up the flag pole. On a series I work on the decision was made to have the AEs start doing the blurring. Not to blow my own horn but over the years I've refined my Avid blurring and can do a reasonable job in a reasonable time. No one asked me if I minded having the AEs do the blurs and so it goes. I liken it to telling the carpenter working on your home that he can do the main build but when it comes to the final trim and finish carpentry we're going to bring in somebody with less experience and works cheaper. Now I do resent that my name is listed as the online/colorist and the show now has what are in my opinion sub par blurs etc... Of course it's a money decision made by people who don't pride themselves in the actual look of the show but rather in the bottom line costs.
>
> A recent episode was very blur intensive and the AE spent 3 days blurring the show. When we screened it I warned the producers there may be some blur tweaking needed. When we watched it down the Post Super asked if the AE's blurring had gone downhill and then he asked if I would mind teaching him how to do blurs. Well I didn't really respond to that question but I'm curious how other list members handle these types of situations. In essence I'm being asked to train someone to do my job and take money out of my own pocket. The reality is you get what you pay for and after having an AE spend 3 days on work that I had to completely redo, which took me a day to do, the math seems obvious to me but then I have a vested interest. I have always tried to share knowledge with co workers but to be asked by a Post Supervisor to train someone to do the work for less money just rubs me the wrong way. Am I being too sensitive here or perhaps too
> realistic? I see this trend extending way beyond my specific situation and it is a sorry state of the current climate in Post Production.
>
> I'm not slamming my AE but he's put in a situation where he's never been trained and is expected to do a task that despite what management thinks is pretty difficult to do right. Of course lowering the standards along the way to save money is the reality of today's world and I don't see that slowing down. Too bad I gave up drinking now might be a good time. ;-)
>
>
>
> John Moore
> Barking Trout Productions
> Studio City, CA
> bigfish@pacbell.net
>
> [Non-text portions of this message have been removed]
>
>

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Re: [Avid-L2] crowdsourcing an answer

 

How's it Avids fault? I don't email then with a list of projects I use it for :)

Mike

On 14 Jul, 2013, at 5:16 AM, Dennis Degan <DennyD1@verizon.net> wrote:

>
> On Jul 13, 2013, at 4:29 PM, Steve Pang wrote:
>
> > BTW it is utterly pathetic that Avid 'has no idea' how many of these were Avid-edited, if true. They need to be all over this and publicising high profile use of their product as much as they can. Very silly not to.
>
> I think:
>
> Actually the way I read it, it shows how pervasive Avid edited projects have become. It's such an embarrassment of riches that they can't keep track of them all!
>
> Dennis Degan, Video Editor-Consultant-Knowledge Bank
> NBC Today Show, New York
>
> [Non-text portions of this message have been removed]
>
>

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[Avid-L2] Giving away too much?

 

Just wanted to run something up the flag pole.  On a series I work on the decision was made to have the AEs start doing the blurring.  Not to blow my own horn but over the years I've refined my Avid blurring and can do a reasonable job in a reasonable time.  No one asked me if I minded having the AEs do the blurs and so it goes.  I liken it to telling the carpenter working on your home that he can do the main build but when it comes to the final trim and finish carpentry we're going to bring in somebody with less experience and works cheaper.  Now I do resent that my name is listed as the online/colorist and the show now has what are in my opinion sub par blurs etc...  Of course it's a money decision made by people who don't pride themselves in the actual look of the show but rather in the bottom line costs. 

A recent episode was very blur intensive and the AE spent 3 days blurring the show.  When we screened it I warned the producers there may be some blur tweaking needed.  When we watched it down the Post Super asked if the AE's blurring had gone downhill and then he asked if I would mind teaching him how to do blurs.  Well I didn't really respond to that question but I'm curious how other list members handle these types of situations.  In essence I'm being asked to train someone to do my job and take money out of my own pocket.  The reality is you get what you pay for and after having an AE spend 3 days on work that I had to completely redo, which took me a day to do, the math seems obvious to me but then I have a vested interest.  I have always tried to share knowledge with co workers but to be asked by a Post Supervisor to train someone to do the work for less money just rubs me the wrong way.  Am I being too sensitive here or perhaps too
realistic?  I see this trend extending way beyond my specific situation and it is a sorry state of the current climate in Post Production.

I'm not slamming my AE but he's put in a situation where he's never been trained and is expected to do a task that despite what management thinks is pretty difficult to do right.  Of course lowering the standards along the way to save money is the reality of today's world and I don't see that slowing down.  Too bad I gave up drinking now might be a good time.  ;-)

 

John Moore
Barking Trout Productions
Studio City, CA
bigfish@pacbell.net

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[Avid-L2] Re: crowdsourcing an answer

 

Avid does it's own bad slomo/fastmo matchframe. When there is a sped up clip cut into the clip in normal speed quite often the second field of the fastmo goes beyond the next frame of the regular speed clip and requires a trim back of 1 frame of the edit point. That's just like a lot of the pre preread motion mismatched frames we dealt with. No need to be nostalgic I see it every day and the offline guys aren't working in single field resolutions any more so they should be catching it too.

--- In Avid-L2@yahoogroups.com, "SP" <sppomerantz@...> wrote:
>
> I'd like Avid to add a "bad slow-mo matchframe" effect to the palatte. It would make me feel so nostalgic!
>
> Steve Pomerantz
> www.stevepomerantzeditorial.com
>
>
> --- In Avid-L2@yahoogroups.com, "Terence Curren" <tcurren@> wrote:
> >
> > Ahh yes, the "real men don't preview" days. Of course the actual edit could be frames off from the preview anyway.
> >
> > --- In Avid-L2@yahoogroups.com, "Mikeparsons.tv" <mikeparsons.tv@> wrote:
> >
> >
> > <<Depends on what kind of 3/4 a couple of low band type 5s and an rm440 is a pretty different experience to 8 bvu820s and a cmx.>>
> >
>

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Re: [Avid-L2] Re: crowdsourcing an answer

 

There's only two kinds of editors - cranky old ones and cranky young ones. We are the George Carlin's of the industry.

At least it's expected when you're old...

Mike

On 14 Jul, 2013, at 7:10 AM, Scott Smith <scottesmith1@gmail.com> wrote:

> Sounds like I hit a nerve. I did not mean to " high jack" any brilliant posts, especially the old, nostalgic ones. And "H shifts" we're only problems to to those who didn't understand colour framing.
>
> -Scott
>
> Sent from my iPa
>
>

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[Avid-L2] Re: crowdsourcing an answer

 

As an old timer with hair (relevance soon), it's amazing the prejudices and insecurities that can come up, Steve. We're here to tell story. The tools change, but the job doesn't.

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[Avid-L2] Re: Protools Samsung TV Monitor won't show 1 frame sync flash with Intensity Card?

 

That might be an answer. Maybe if I used 40 percent grey and 100 percent white blips. The only problem might be that the photosensor will be already triggered by the 40 percent grey. There is a sensitivity button to help with this but that might not be enough. Maybe some ND jell over the photosensor
If the monitor starts to behave with a 40 percent background.

--- In Avid-L2@yahoogroups.com, "Jeff Kreines @ Kinetta" <jeff@...> wrote:
>
> Make a loop of academy leader or something that doesn't have a black background. Or just gray with an x at the beeps. Something that won't fool the monitor.
>
> Jeff Kreines
> Kinetta
> jeff@...
> kinetta.com
>
> On Jul 13, 2013, at 4:55 AM, "Job ter Burg (L2B)" <Job_L2@...> wrote:
>
> >
> > Auto-black. Basically turns off all signals to the screen in order to get a fully unlit black screen. As soon as any non-black comes in, the monitor has to switch on.
> >
> > You can easily tell when you make a title that is white text on a black BG, then cut from black to the title to black again and see what the monitor does.
> >
> > On 13 jul. 2013, at 05:49, John Moore <bigfish@...> wrote:
> >
> >> Curious what might be going on in the monitor that effectively blocks a 1 frame
> >
> >
> >
> > ------------------------------------
> >
> > Search the official Complete Avid-L archives at: http://archives.bengrosser.com/avid/
> > Yahoo! Groups Links
> >
> >
> >
>

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[Avid-L2] Re: Protools Samsung TV Monitor won't show 1 frame sync flash with Intensity Card?

 

I can see how that would measure the processing delay of the monitor relative to the Crt virtual no processing but it wouldn't be judging the audio tone blip relative to the video blip. That had been set to approx 6 frames for the old computer and Protools. I like the idea in theory but needing to judge audio and video sync I'll have to experiment with different duration blips and monitor setting. The mixer had it close I just wanted to take advantage of having the sync check box. It is potentially disconcerting that different codecs might have different delays through the Intensity card anybody know if this is true?
--- In Avid-L2@yahoogroups.com, "Terence Curren" <tcurren@...> wrote:
>
> Use the poor man's sync check. Put a huge TC window in the center of the frame. Put the monitor in visual alignment with a CRT displaying the same thing or your edit display with the TC window up. Then take a picture with the two windows in the same shot. Compare TC numbers.
>
> --- In Avid-L2@yahoogroups.com, John Moore <bigfish@> wrote:
>

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[Avid-L2] Re: crowdsourcing an answer

 

Sounds like I hit a nerve. I did not mean to " high jack" any brilliant posts, especially the old, nostalgic ones. And "H shifts" we're only problems to to those who didn't understand colour framing.

-Scott

Sent from my iPa

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Re: [Avid-L2] crowdsourcing an answer

 


On Jul 13, 2013, at 4:29 PM, Steve Pang wrote:

> BTW it is utterly pathetic that Avid 'has no idea' how many of these were Avid-edited, if true. They need to be all over this and publicising high profile use of their product as much as they can. Very silly not to.

I think:

Actually the way I read it, it shows how pervasive Avid edited projects have become. It's such an embarrassment of riches that they can't keep track of them all!

Dennis Degan, Video Editor-Consultant-Knowledge Bank
NBC Today Show, New York

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Re: [Avid-L2] Re: making a demo reel

Great!. Thanks Mike. Maybe because of the variety of my work, I need more
than one reel.


On Sat, Jul 13, 2013 at 5:07 PM, Mikeparsons.tv <mikeparsons.tv@gmail.com>wrote:

> **
>
>
> Lead with your best stuff don't 'build' people hit stop real fast.
>
> Have more than one reel
> I have a generic tvc one
> An automotive reel
> A graphics reel
> A hair and beauty reel
>
> I don't have a features and long form reel just a list if movies - they
> should take the time to watch the whole damn thing if they want to see what
> I did.
>
> Mike
>
> On 14 Jul, 2013, at 12:44 AM, David Dodson <davidadodson@sbcglobal.net>
> wrote:
>
> >
> > You know, I myself have never fully understood what the answer to that
> question is.
> >
> > Except... that many times the people who are looking at your reel DON'T
> KNOW that you can almost never tell what an editor did by looking at their
> reel. They see the reel, make assumptions, and viola! you're hired! Then
> it's just up to you to not screw it up!
> >
> > David
> >
> >
> >
> > On Jul 13, 2013, at 10:10 AM, Dario Caamaño <dario.caamano@gmail.com>
> wrote:
> >
> >> Ok, but with this point of view, how can I sell myself as a video
> editor?
> >> Thats the right question then
> >>
> >> On Sat, Jul 13, 2013 at 1:28 PM, David Dodson <
> davidadodson@sbcglobal.net>wrote:
> >>
> >>>
> >>> Exactly exactly exactly exactly right. You have have absolutely no idea
> >>> what the editor was up against. Maybe that Oscar-winning movie took
> all the
> >>> powers of the editor plus the channeled ghosts of Verna Fields, Dede
> Allen,
> >>> and Sergei Eisenstein. Or maybe the footage just came in already with a
> >>> built-in logic, and ready for a spit-shine. Unless you were there and
> >>> actually part of it (or privy to reliable anecdotal information), you
> have
> >>> no way of knowing.
> >>>
> >>> Also, more than once have I found stuff I cut on another person's demo
> >>> reel.
> >>>
> >>> David
> >>>
> >>>
> >>> On Jul 13, 2013, at 9:14 AM, "Terence Curren" <tcurren@aol.com> wrote:
> >>>
> >>>> I never look at demo reels. You can't tell what an editor actually did
> >>> from them for one, and you can't tell if they are a mediocre editor
> who had
> >>> great footage from a great director, or they are an Einstein of
> editors who
> >>> made a viewable project from horsesh!t.
> >>>>
> >>>> --- In Avid-L2@yahoogroups.com, "caamada" <dario.caamano@...> wrote:
> >>>>>
> >>>>> HI.
> >>>>> I would like to receive your experience making demo reels or show
> >>> reels (I don't know if there's a difference).
> >>>>> I been working as an editor for 5 years in a tv educational channel,
> >>> making documentaries and some general interest shows.
> >>>>> I had work also in little comercials and some fictionals and artistic
> >>> videos.
> >>>>> I dont know how can I mix all this in a good demo reel that show what
> >>> I do. I never do a demo reel of this kind.
> >>>>>
> >>>>> I saw a lot of demo reels in vimeo, but I would like to receive
> advice
> >>> or a demo reel of yours to see whats a good direction to take.
> >>>>>
> >>>>> Thanks and my english is not good, I know!
> >>>>>
> >>>>> Dario from Argentina
> >>>
> >>> David Dodson
> >>> davidadodson@sbcglobal.net
> >>>
> >>>
> >>>
> >>>
> >>>
> >>> [Non-text portions of this message have been removed]
> >>>
> >>>
> >>>
> >>> ------------------------------------
> >>>
> >>> Search the official Complete Avid-L archives at:
> >>> http://archives.bengrosser.com/avid/
> >>> Yahoo! Groups Links
> >>
> >> --
> >> Dario Caamaño
> >> -----------------------
> >> : http://vimeo.com/caamada
> >> : http://www.flickr.com/photos/caamada/
> >>
> >> [Non-text portions of this message have been removed]
> >
> > David Dodson
> > davidadodson@sbcglobal.net
> >
> >
> >
> >
> >
> > [Non-text portions of this message have been removed]
> >
> >
> >
> > ------------------------------------
> >
> > Search the official Complete Avid-L archives at:
> http://archives.bengrosser.com/avid/
> > Yahoo! Groups Links
> >
> >
> >
>
>



--
Dario Caamaño
-----------------------
: http://vimeo.com/caamada
: http://www.flickr.com/photos/caamada/


[Non-text portions of this message have been removed]



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Re: [Avid-L2] crowdsourcing an answer

 

To be honest the show count of systems is as old and lame as any nostalgia thread. Simple reality these days is from an editorial perspective all the main systems are on par.

You can argue about unity v edit share and background tasks but as you saw on Hugo the desired editor used what they want and production sorts the tech. And that's exactly as it should be.

There was a time where I would argue about the relative merits of systems but i stopped long ago. I can edit in most things and I've comped features on dozens of different systems. Sure nuke is more fun than silicon grail and a lot more powerful but for the most part the results are the same.

I doubt there's one editor here who will say his output is 'colored' by the software he used. So a list of what was used for what whilst useful for Avids marketing diesnt tell us anything except that the guys on the top features, or the older guys with most experience, unsurprisingly use the older avid and lightworks systems they grew up with. You don't a survey or research to know that to be the case.

Same with commercials. Nuke is more powerful and flexible than flame but when it comes to award time in tvc land it's all flame. Simply because all us old guys with the most experience and who clients trust are flame artists.

Best regards

Mike

On 14 Jul, 2013, at 12:05 AM, Steve Hullfish <steve4lists@veralith.com> wrote:

> How did my thread get hijacked into the incredibly TIRED and LAME - "Remember how bad things used to be for us old farts?" thread?
>
> Anybody care to do a little research on which of the listed movies and TV shows were cut on Avid?
>
> If you are old and you long for the days of horizontal shifts at edit points, please start a new thread called "I wish I was 20 again and still had my hair."
>
> Steve
>
> On Jul 13, 2013, at 11:43 AM, Scott Smith <scottesmith1@gmail.com> wrote:
>
>> Since we're all getting so nostalgic, name your favourite linear edit controllers and vision mixers! From CMX 3600 thru Omni, to GVG, and Axial, I liked GVG, and for vision mixers, Abekas A82 (with disk recorders), and GVG 4000.
>> And your favourites?
>>
>> Cheers, Scott
>> Sent from my iPad
>
>
>
> [Non-text portions of this message have been removed]
>
>
>
> ------------------------------------
>
> Search the official Complete Avid-L archives at: http://archives.bengrosser.com/avid/
> Yahoo! Groups Links
>
>
>

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Re: [Avid-L2] crowdsourcing an answer

> 2003 The Lord of the Rings: The Return of the King˜Jamie Selkirk -

Cut on Avid (I worked on it) and I'm 99.9% certain the rest of the trilogy was as some of the legacy bins were still in the third film's project!

BTW it is utterly pathetic that Avid 'has no idea' how many of these were Avid-edited, if true. They need to be all over this and publicising high profile use of their product as much as they can. Very silly not to.

---
Steve Pang
Visual Effects Editor
http://www.stevepang.clara.net

On 12 Jul 2013, at 20:36, Steve Hullfish wrote:

> Attached is a list of Best Editing OSCAR nominees and winners. Avid claims that the have no idea how many of these films were edited on an Avid. And by that, I mean that the PRIMARY OFF-LINE editing was done on a Media Composer, Film Composer or Symphony, not that some little piece or maybe the sound design was done in ProTools.
>
> So, who knows either 1st hand or has a published reference (like from the ACE Magazine or a reputable post magazine) which software/hardware was used to cut the following movies? Or it's web accessible interview with the actual editor and they say what they cut on.
>
> I already did the last three years using interviews directly with the editors that I found on the web (so I guess not THAT directly)...
>
> Of the twelve nominees for Best Editing Oscars for 2010, 2011 and 2012, I believe that 10 were cut on Avid and 2 were cut on Lightworks (Hugo by Schoonmaker and King's Speech by Anwar).
>
> I'd also like to get a list like this together for primetime Emmy nominated editors
>
> Steve Hullfish
>
> 1990s[edit]
> 1990 Dances with Wolves˜Neil Travis
> Ghost˜Walter Murch
> The Godfather Part III˜Barry Malkin, Lisa Fruchtman, Walter Murch
> Goodfellas˜Thelma Schoonmaker
> The Hunt for Red October˜Dennis Virkler, John Wright
> 1991 JFK˜Joe Hutshing, Pietro Scalia
> The Commitments˜Gerry Hambling
> The Silence of the Lambs˜Craig McKay
> Terminator 2: Judgment Day˜Conrad Buff, Mark Goldblatt, Richard A. Harris
> Thelma & Louise˜Thom Noble
> 1992 Unforgiven˜Joel Cox
> Basic Instinct˜Frank J. Urioste
> The Crying Game˜Kant Pan
> A Few Good Men˜Robert Leighton
> The Player˜Geraldine Peroni
> 1993 Schindler's List˜Michael Kahn
> The Fugitive˜Dennis Virkler, David Finfer, Dean Goodhill, Don Brochu, Richard Nord, Dov Hoenig
> In the Line of Fire˜Anne V. Coates
> In the Name of the Father˜Gerry Hambling
> The Piano˜Veronika Jenet
> 1994 Forrest Gump˜Arthur Schmidt
> Hoop Dreams˜Frederick Marx, Steve James, William Haugse
> Pulp Fiction˜Sally Menke
> The Shawshank Redemption˜Richard Francis-Bruce
> Speed˜John Wright
> 1995 Apollo 13˜Mike Hill, Daniel P. Hanley
> Babe˜Marcus D'Arcy, Jay Friedkin
> Braveheart˜Steven Rosenblum
> Crimson Tide˜Chris Lebenzon
> Seven˜Richard Francis-Bruce
> 1996 The English Patient˜Walter Murch
> Evita˜Gerry Hambling
> Fargo˜Ethan Coen, Joel Coen (as Roderick Jaynes)
> Jerry Maguire˜Joe Hutshing
> Shine˜Pip Karmel
> 1997 Titanic˜Conrad Buff, James Cameron, Richard A. Harris
> Air Force One˜Richard Francis-Bruce
> As Good as It Gets˜Richard Marks
> Good Will Hunting˜Pietro Scalia
> L.A. Confidential˜Peter Honess
> 1998 Saving Private Ryan˜Michael Kahn
> Out of Sight˜Anne V. Coates
> Shakespeare in Love˜David Gamble
> The Thin Red Line˜Billy Weber, Leslie Jones, Saar Klein
> Life Is Beautiful˜Simona Paggi
> With the rise of digital non-linear editing systems, the award name was changed to Best Editing in 1999.[citation needed]
> 1999 The Matrix˜Zach Staenberg
> American Beauty˜Tariq Anwar
> The Cider House Rules˜Lisa Zeno Churgin
> The Insider˜William Goldenberg, Paul Rubell, David Rosenbloom
> The Sixth Sense˜Andrew Mondshein
> 2000s[edit]
> 2000 Traffic˜Stephen Mirrione
> Almost Famous˜Joe Hutshing, Saar Klein
> Gladiator˜Pietro Scalia
> Crouching Tiger, Hidden Dragon˜Tim Squyres
> Wonder Boys˜Dede Allen
> 2001 Black Hawk Down˜Pietro Scalia
> The Lord of the Rings: The Fellowship of the Ring˜John Gilbert
> A Beautiful Mind˜Mike Hill, Daniel P. Hanley
> Memento˜Dody Dorn
> Moulin Rouge!˜Jill Bilcock
> 2002 Chicago˜Martin Walsh
> Gangs of New York˜Thelma Schoonmaker
> The Hours˜Peter Boyle
> The Lord of the Rings: The Two Towers˜Michael Horton
> The Pianist˜Hervé de Luze
> 2003 The Lord of the Rings: The Return of the King˜Jamie Selkirk
> City of God˜Daniel Rezende
> Cold Mountain˜Walter Murch
> Master and Commander: The Far Side of the World˜Lee Smith
> Seabiscuit˜William Goldenberg
> 2004 The Aviator˜Thelma Schoonmaker
> Collateral˜Jim Miller and Paul Rubell
> Finding Neverland˜Matt Chesse
> Million Dollar Baby˜Joel Cox
> Ray˜Paul Hirsch
> 2005 Crash˜Hughes Winborne
> Cinderella Man˜Mike Hill and Dan Hanley
> The Constant Gardener˜Claire Simpson
> Munich˜Michael Kahn
> Walk the Line˜Michael McCusker
> 2006 The Departed˜Thelma Schoonmaker
> Babel˜Douglas Crise, Stephen Mirrione
> Blood Diamond˜Steven Rosenblum
> Children of Men˜Alfonso Cuarón, Alex Rodríguez
> United 93˜Clare Douglas, Richard Pearson, Christopher Rouse
> 2007 The Bourne Ultimatum˜Christopher Rouse
> The Diving Bell and the Butterfly˜Juliette Welfling
> Into the Wild˜Jay Cassidy
> No Country for Old Men˜Roderick Jaynes (Jaynes is a pseudonym for the Coen brothers)
> There Will Be Blood˜Dylan Tichenor
> 2008 Slumdog Millionaire˜Chris Dickens
> The Curious Case of Benjamin Button˜Kirk Baxter and Angus Wall
> The Dark Knight˜Lee Smith
> Frost/Nixon˜Mike Hill and Dan Hanley
> Milk˜Elliot Graham
> 2009 The Hurt Locker˜Chris Innis, Bob Murawski
> Avatar˜James Cameron, John Refoua, Stephen E. Rivkin
> District 9˜Julian Clarke
> Inglourious Basterds˜Sally Menke
> Precious: Based on the Novel "Push" by Sapphire˜Joe Klotz
> 2010s[edit]
> 2010 The Social Network˜Angus Wall and Kirk Baxter
> Black Swan˜Andrew Weisblum - Avid Media Composer according to a Studio Daily interview
> 127 Hours˜Jon Harris Avid and Unity according to an interview with Oliver Peters on his blog
> The Fighter˜Pamela Martin - Avid according to an interview in Studio Daily
> The King's Speech˜Tariq Anwar - Lightworks according to EditShare's own website
> 2011 The Girl with the Dragon Tattoo˜Angus Wall and Kirk Baxter
> The Artist˜Anne-Sophie Bion and Michel Hazanavicius - Avid in an interview on Avid's website
> The Descendants˜Kevin Tent Avid Media Composers according to an interview in creativeplanet
> Hugo˜Thelma Schoonmaker - Lightworks according to EditShare's own website...
> Moneyball˜Christopher Tellefsen - Cut on Avid - Studio Daily interview
> 2012 Argo˜William Goldenberg
> Life of Pi˜Tim Squyres - Cut on Avid.
> Lincoln˜Michael Kahn - Cut on Avid.
> Silver Linings Playbook˜Jay Cassidy and Crispin Struthers Cut on Avid - Cassidy says he couldn't have worked without ScriptSync
> Zero Dark Thirty˜Dylan Tichenor and William Goldenberg CUT ON AN AVID - interview with editor on Avid website
>
>
>
> [Non-text portions of this message have been removed]
>
>
>
> ------------------------------------
>
> Search the official Complete Avid-L archives at: http://archives.bengrosser.com/avid/
> Yahoo! Groups Links
>
>
>



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Search the official Complete Avid-L archives at: http://archives.bengrosser.com/avid/
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