Audio editing can sometimes feel like a forgotten aspect of filmmaking and production. Yet, as a twenty-year veteran camera operator, I learned the visuals I shoot are only as good as the sound design and sound effects accompanying it.
What is the audio editing barrier for some? For me, it’s the time needed to find the right sound effect or the right track of music. Audio Design Desk is a program built specifically to make the audio process of editing easier. Check it out.
Audio Design Desk
Audio Design Desk comes with over 20,000 sounds embedded with patent-pending “sonic intelligence,” redefining how we interact with audio. So, all the time lost finding the right music track, may now take a few minutes. Audio Design Desk is for sound effects too. For example, placing footsteps can now be performed while watching your clip of the video. If you want to replace those footsteps with an alternate, you can do that instantly without losing sync. In the video, we show a great example of the feature found in Audio Design Desk.
Finding and creating music is more accessible within Audio Design Desk too. Opening up iTunes and QuickTime to match a piece of music to a completed edit is not the fastest way to work. In Audio Design Desk, you can audition, refine, and replace music while watching the video.
Audio Design Desk has a little AI behind the software, allowing it to learn what you like. The more you use Audio Design Desk, the more it feeds you the kinds of sounds you tend to like. You can try Audio Design Desk free at www.add.app
Tamron’s new 70-180mm f/2.8 Di III VXD lens undercuts the Sony FE 70-200mm f/2.8 GM OSS by over a thousand dollars, making it a fantastic alternative for photographers if it can provide similar performance and image quality to its counterpart. This great video review takes a look at the two lenses to help you decide which one is right for you.
Lighting is absolutely crucial to creating a successful portrait, doing more than simply illuminating your subject, but also communicating, mood, intention, and much more. This fantastic video will show you nine different portrait lighting setups you should know.
Color grading is one of the best places to have fun stylizing a photo and to add a recognizable personal touch to your images. This fantastic video will show you a quick, powerful, and versatile method for color grading your photos by using gradient maps in Photoshop.
The Art of the Cut podcast brings the fantastic conversations that Steve Hullfish has with world renowned editors into your car, living room, editing suite and beyond. In each episode, Steve talks with editors ranging from emerging stars to Oscar and Emmy winners. Hear from the top editors of today about their careers, editing workflows and about their work on some of the biggest films and TV shows of the year.
On todays episode of the Art of the Cut Podcast, Steve talks with Chad Beck, ACE, Devin Concannon, Abhay Sofsky & Ben Sozanski, ACE about editing the 10 part Chicago Bulls docu-series “The Last Dance.” Chad Beck has worked on series such as “Inside Job” & “Rest in Power: The Trayvon Martin Story.” Devin Concannon edited the 2019 Hulu documentary “Fyre Fraud” and worked with Chad on “Rest in Power: The Trayvon Martin Story.” Abhay Sofsky was an editor for the College Humor series “Hardly Working.” Ben Sozanski edited the 2017 documentary “Rolling Stone: Stories from the Edge” and won an Emmy for his editing work on “O.J: Made in America.” Enjoy the episode!
You can read Steves interview with the team here. In his article there are also some behind the scenes photos and some edit timeline shots from different episodes!
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It is unfortunately common practice nowadays for news organizations to source free content from photos and video posted on social media, but the AP’s approach is coming under particular criticism for terms that have been deemed “abusive across the board.”
Pastiche and How Great Artists Steal…PERIOD! A wise man once described Film as the newest form of art of the 20th century which can also be defined as a series of images projected on a screen. And the succession of images creates ideas which, in turn, generate emotions. Pastiche, which is a term used in…
Feast your eyes on the new edition of British Cinematographer magazine – digitally* via our website, or in print**, from 22nd May 2020 onwards.
On the Cover
Rob Hardy BSC ON DEVS
In our cover story special, Ron Prince catches up with Rob Hardy BSC to discuss his time lensing Devs. The show – which centres on computer engineer Lily Chan (Sonoya Mizuno) – premiered on Hulu in March before airing on the BBC.
Hardy tells us about working with Director Alex Garland, his selection of camera, lenses & aspect ratios and using ‘specially-expanded’ Anaorphic lenses.
Hélène Louvart AFC on Never Rarely Sometimes Always
Filmed on Kodak 16mm, Never Rarely Sometimes Always chronicles the journey of a teenage girl and her cousin on their journey to New York City following an unplanned pregnancy.
Hélène Louvart AFC was in charge of lensing the powerful & intimate drama. She shares her experiences capturing the look & feel of the film and working alongside writer/director Eliza Hittman.
Oona Menges On The Host
DP Oona Menges’ and her crew faced a lot of thinking on their feet working on the ultra-low budget feature The Host. She tells us all about shooting the dark & suspense-driven thriller.
Eric Gauttier AFC On The Eddy
French DP Eric Gautier AFC shot the first two episodes of Netflix’s jazz-based drama, The Eddy, entirely on Kodak Vision3 16mm film.
The man himself speaks of his time working alongside Director Damien Chazelle and flawlessly recreating Paris’ French Jazz scene.
There’s also all of this…
In his latest column, BSC President Mike Eley gives his perspective on the current global epidemic and looks at what the industry & production will look like going forward.
We also speak to Gaffer Andy Long, the talented Nick Gillespie features in our latest installment of Meet The New Wave and we meet Tyler Phillips – CEO of Matthew Studio Equipment – as the company celebrates its 50th birthday.
And that’s not mentioning the words of ASC President, Kees Van Oostrum, in his latest Letter From America as well as our comprehensive guide to which DPs are shooting who plus much, much more!
A subscription is still the only way to read the complete British Cinematographer. You can purchase your subscription to our award-winning magazine now by clicking here.
ISSUE 99: AVAILABLE ONLINE* AND IN PRINT** FROM 22ND MAY 2020 ONWARDS.
** Issue 99 will only be received in printed format by those with an active ‘Print’ or ‘Print & Digital’ subscription purchased before 10th May 2020. Any new ‘Print’ or ‘Print & Digital’ subscription purchases made from 10th March 2020 onwards will NOT receive this issue in print as part of their purchase. Eligible subscribers should expect to receive their copy within 7 days of the release date if in the UK. Overseas print and print & digital subscriptions will receive their copies of BC99 in July along with BC100 due to difficulties with delivery caused by the current global epidemic. We appreciate your understanding at the unprecedented time and apologise for any inconvenience caused.