Dave Cerf”s accomplishments are varied and vast. To name a few: He has composed music for Sam Green’s Academy Award nominated The Weather Underground. He has written manuals for legacy versions of Final Cut Pro. He assisted editor Walter Murch on two feature films, Hemingway and Gellhorn (HBO) and Brad Bird’s Tomorrowland (Disney), and he volunteered at the Dalai Lama’s video archive in India. He recently completed scoring, editing, and post-production for Mexican filmmaker Natalia Almada’s award-winning fourth feature film, Todo Lo Demás, starring Academy Award nominee Adriana Barraza.
In my interview with Dave, I was impressed by the depth of his experience. Dave talks about his creative process—rhythms of sounds and music, experimenting with picture edits, and sonic choices—right alongside technical aspects, such as Python scripts, Filemaker Pro databases, and the power and possibilities of XML.
“Final Cut Pro X allows for a great deal of mastery thanks to a deep feature set and a responsive user interface.” – Dave Cerf, Editor
MM: Did the director have input on how the editing was done? Did she care?
DC: Technically speaking, not much. Natalia edited her previous three documentaries using Final Cut Pro “Classic,” but the scale of this project required a more modern NLE. Premiere Pro was considered briefly, but the imminent release of Focus made Final Cut Pro X a viable option (thanks Mike!). Simplemente (who also provided the RED camera and Quanum storage) and FCPWorks consulted with us and connected any workflow dots we were concerned about.
Like many people, Natalia experienced the infamous 1–2-week Final Cut Pro X adjustment period, but after that it was pretty smooth sailing.
MM: How did Natalia’s documentary experience relate in Final Cut Pro X? In what ways did she adopt that workflow? Was there any one thing (or more) in particular that stood → continue…
From:: Pro Video Coalition