Avid Studio Review: Editing Software

As part of my continually progressing edit studio upgrade, this week I purchased the newly released Avid Studio.  For years I've done the bulk of my editing work on Pinnacle, this is also an Avid product, and although both Pinnacle and Avid Studio are based in the consumer to prosumer series of editing products they're both able to produce professional level results.  I consider this to be the best of both worlds. 

Pinnacle, and now the new Avid Studio, continue on with a tradition of user friendly functions and a wide range of custom options for the more advanced editor.  The long and short of it is that if you've enjoyed Pinnacle, you'll enjoy the refined features (and more ambitious layout) that Avid Studio provides. 
The basic rundown of features looks like this: 

• Sophisticated movie editing tools, including markers and keyframes
• Powerful media management library to organize videos, photos, and audio
• Media editor to apply corrections or effects to videos, photos, and audio
• Unlimited timeline tracks for advanced editing and compositing
• Professional add-ons and plug-ins (valued at over $2,000):
  • Red Giant Plug-in package
  • Complete Avid content package
  • 100 additional HD video transitions
• Comprehensive collection of how-to videos from Class on Demand™
• Motion Titler for adding animated graphics and text
• Audio tools for professional sound quality
• 5.1 surround sound import/export functionality
• AVCHD burning; DVD and Blu-ray disc authoring and burning tools 

The editing I do is largely promotional, largely web-based in HD, and the software I use needs to provide an ample amount of flexibility and user-friendliness to ensure that I can meet the varied requirements of both corporate clients and myself.  The biggest upgrade in jumping from Pinnacle 15 to Avid Studio is being able to carry over the filter features from Pinnacle into the unlimited timeline tracks of Avid Studio.  For more advanced edits, the 3 video and 3 audio tracks in Pinnacle simply aren't enough.  That was a big limitation, and Avid Studio's unlimited tracks are by far the most noticeable and welcome addition.

Avid Studio comes with an ambitious collection of new transitions and filter options, however at least half of them you'll never use because they look like they came from community TV in the mid-90's. I guess this is always the case if you're looking to work off of presets. There are some great effects though, that when tweaked, allow for some very unique looks and titles that you can preview on your clips in real-time.

Capturing video is also made easier as the software will catalogue your individual shots as it imports instead of just showing one lump sum of video.  This makes scrolling your library a breeze, and makes picking and choosing the clips you want simple.

In general, Avid Studio adds a bit more polish to where Pinnacle leaves off.  A more structured (and in some ways, technical) timeline is helpful for larger, more intensive edits, where coordinating specific shots requires the space and markers to do so.  All this is achieved while still maintaining a clean and efficient layout, that even a novice editor could pick up without too much effort. 

As someone who edits on a day to day basis, the strength of this software is in its obvious interface that takes the pompousness out of other programs.  I found it easy to organize and layout numerous tracks of footage, cut between them, and make precision edits.         

I look forward to experimenting and using Avid Studio in combination with my other editing software as I move forward.  I think it's yet another amazing example of just how affordable it's becoming to produce diverse and high-end video on a smaller (and often) individual scale.  If you're passionate and educated about editing, I think you'll find that no one will notice you're using a relatively affordable piece of software - in fact, you'll have others who screen your work asking how you did that and what you were using.  

With so many options, it's a good time to be an editor.


For more info, check out the follow up post I wrote that highlights some of the problems I've come across with Avid Studio and where it could use improvement - CLICK HERE.

Wireless Weekend

It all started with a Netflix account.

Early last week I took the plunge and signed up for Netflix to check out some of the documentaries they had available.  As a guy who hasn't bothered to get cable, Netflix seemed like an affordable and diverse enough option that would actually save me money by curbing my DVD purchases when I'm looking for something new to watch.  So far so good.

On Friday I decided that it was time to go pick up a wireless router as it had become cumbersome trying to curl up in front of the computer to watch videos.  This was a relatively inexpensive upgrade that started the snowball rolling.  

With the wireless installed I quickly added Netflix to my Wii to sit back and enjoy.  *Sigh.  I'm not the kind of guy who needs to see everything in Blu ray quality and I'm not quick to adapt to trends that don't suit my needs (it took this long to get wireless after all) however, the quality of Netflix on the Wii sucks.  It's essentially like taking a YouTube video and blowing it up to your full screen.  Don't get me wrong, I love the Wii for gaming and wasting an hour with friends, but it was certainly no consolation for taking the cable-less route.

Saturday came along and I knew what I had to do.  I was off to the store and picked up a fancy new Blu ray player with built-in wifi and a 320GB PS3, because well . . . sometimes it just feels good to reward yourself - and after wrapping a 6 month stretch of balancing numerous edits between two jobs and putting a good chunk of change into a retirement fund, I felt I had lots of justification to buy a few toys.

Netflix has since been hooked up through the PS3, which is sharp and with it's 1080p looks noticeably better than what the Wii is capable of.  The Blu ray is also nice for checking out YouTube now, however, I have my fingers crossed that they'll be releasing the app for Netflix through Samsung in Canada soon enough that I can have it playing through my existing surround sound setup.

For now both toys will undoubtedly continue to get a lot of use, and my Netflix subscription has already paid for itself with amount I've watched. In short, the wireless weekend was a blast!

Upgrading Your Personal Edit Studio

After over six months of juggling several different corporate editing projects, I've finally found some down time.  The pressure that my editing suite was under became apparent when the delays on existing edits started but the projects didn't stop coming in.  What's a guy to do? Space, organization, and flexibility are key to keeping the ball rolling - time for upgrades!

The bones of my existing PC are great.  Two large 23 inch monitors, a powerful video card, and a diverse range of custom editing tools through Pinnacle, Photoshop, and Premiere provide a sturdy backbone.  It seems there's never enough space for video though.  My solution to this was a USB hub and new hard drives to divide various elements.

This is how my edit suite stacks up after upgrades:

My main drive is now treated just like a home page - main operating functions, final edits awaiting delivery, main software, and several personal details.  My secondary drive is now a personal extension - iTunes library, financial backups, and lots of free space for games, personal edit space, photos, etc.  In addition to this: 

• One hard drive for personal video editing - general archiving.
• One hard drive purely for Flip video storage and backup / homevideo.
• Two hard drives strictly for corporate edits, backup, and archiving.

This provides me with 6 different drives, roughly 5TB of current working space, and a very structured layout of how the drives are used and organized.  The biggest difference here is that I won't have to stretch projects across different drives anymore (with the exception of key backups) and this makes the raw elements easier to catalogue and store.   Not to mention, it's also easier to have more projects on the go and as things progress, dedicate large projects to their own drives.

My focus has always been on the creative end of editing.  What I mean by this is that I'm not always swayed by the most expensive technical tool, but instead by how I can achieve a certain look or effect. My edit studio is far from the most expensive, but it is versatile and modern enough to tackle most of what I want and need to be able to do at this point.

My current setup has probably been about a $3000-$4000 investment over the last three years, and that seems minor when considering the amount of projects, both personal and corporate, that I've completed in that time.  It's kind of amazing how accessible the technology has become actually. 

Next on my list - software.

Flip Cam Test - Jaguar XJ8 Winter Drive

An experiment, a Flip camera demo, a glamour shot of my Jaguar - this edit is all of those things.  I'm starting to feel energized about the idea of producing a more ambitious, stylized, narrative short film.  Meaning that a years worth of work could easily go into a single project and allow me to draw on the variety of creative and technical experiences that I've had in just the last several years.

What I did here with this winter drive test was actually play with the way I could mount my Flip Ultra HD to various points on my car. This included the dash, along the edge of my wheel well, and to the front of the grill.

I decided to cut together a short edit from this footage just because I was impressed with how well some of it turned out.  I see a lot of potential in mixing both the lightweight and maneuverable benefits of my Flip cam with the more cinematic and rich footage of my HDR-FX1 in an upcoming future project.  

For now, I find it encouraging just to see what I can do using my own resources.  Tests like these are really just ways to find inspiration and push myself to tackle even more ambitious and creative shooting techniques that just weren't possible for the low budget indie filmmaker 5 years ago.  I love the idea of merging a professional look with the spirit of an amateur shoot.  

Flip Ultra HD Review

Small, pocket-sized HD cameras are becoming increasingly common and affordable.  For less than $200 the options are surprising as the market for web-based video expands.  Vloggers, first-time movie makers, and anyone who wants to capture everyday life and share it in HD need only find a camera that suits their tastes - for me, this was the Flip Ultra HD.

As the 4th video camera in my current collection, what drew me to the Flip in the first place was that I was eager to shoot home videos.  You might expect that with three other cameras this wouldn't be such an issue, but the truth is that it's tough to be spontaneous when carrying a full-sized camera around actually requires some pre-planned dedication.  Portability is everything in this case.

Flip Ultra HD - Front View

The video quality here is impressive given the size and price of the unit, although the Flip Ultra HD shoots 720p at 30fps (1280x720 widescreen) as opposed to the full 1080p.  It comes with a rechargeable battery pack that can also be switched out with two AA batteries, and is otherwise charged through the USB port that pops out of the side of the camera.

Shooting is kept simple and straightforward.  The red button on the back starts and stops recording, and your videos are automatically kept track of given the time and date.  There is a small zoom function, and basic navigation that lets you scroll your videos on the camera.  You can also preview your recordings as you go on the 2 inch screen, which I actually found quite comfortable.

Uploading is equally easy.  Pre-loaded software helps catalogue your footage into folders by the month it was shot in, where you can then organize and export your footage as you please from your computer.  Existing footage on the camera is then removed after capture to free up space for your next outing.

Flip Ultra HD - Back View

Things to keep in mind during shooting is that given the small size of the camera, you'll experience a lot of shaking if you're moving around too much.  Even with an image stabilizer, this is unavoidable with a small unit and you might want to consider using a tripod - there is a mount on the bottom of the camera.  

The Flip Ultra HD should be looked at as an entry level camera (and not an alternative to the full-sized cameras) as there really isn't any way to upgrade it.  There's no mic jack (although it does record audio), no additional space for a memory card, and shooting features are at a bare minimum.  

Still, it's an agile and fun little video camera that makes shooting simple and spontaneous.  Not to mention, it's still a huge step up from what most cell phones are capable of.  You'll find yourself more willing to take it out because you can hide it in your back pocket, and for the sake of sharing more with friends and family this is a definite plus. 

This concise unit is sure to make you rethink the way you shoot video or maybe even give you the courage to start doing it more often.  Throw the Flip HD in your pocket and have fun capturing your everyday adventures!

Below is a Flip cam test that I shot while experimenting with how I could mount the small camera to various points on my Jaguar.  The border around the video was added in post - more on this Flip HD test here. 
 

What Kind of Equipment Do You Use?

One of the most common questions I receive via my YouTube account is 'what kind of equipment do you use'? I always take this as a compliment, however indirect, because it means that someone liked what they saw and now wants to know how to do it for themselves. I also have to take pride in this because I've never considered myself overly technical about filmmaking - instead I approach things from the creative side, concepts and such.

My use of equipment has thus been fairly diverse and made up of what ever was easiest at the time. Starting back in late 2001 I experimented for the first time with digital editing software on the computer, but I had already put in ample time with VCR editing and even had a few cracks at professional dubbing and studio editing equipment thanks to communication technology classes in high school. It makes me feel old to think that I was just starting out on the cusp of what has now become the digital revolution - hello YouTube.

In any case, the equipment I use to day is a personal mix, a hybrid of programs that help me achieve an idea that I often already have in my head. For editing software I bounce between Pinnacle (an Avid program) and Adobe Premiere and Photoshop and shoot with either my small Samsung MiniDV or my larger Sony HDR-FX1 HDV cam. Pinnacle, along with my small Samsung camera, are both inexpensive and versatile tools that allow me to push the boundaries with their user friendly options. Pinnacle especially has been a convincing addition to my arsenal with a long list of customizable options and upgrades that rival the far more pricey pieces of software.

Ultimately I've always believed that it's not so much the equipment you use as it is the story you want to tell. Some of my best projects were shot on D8, a lesser digital format, but it really had no bearing on how the movies were received. Weaknesses can also be strengths when framed correctly - take the Blair Witch Project as an obvious example of getting the most out of very little (from a Hollywood perspective anyway).

I've used the adage many times that anyone can buy a pen and paper but that doesn't mean they'll write a great novel - the same is becoming true for videos. The equipment is becoming more and more affordable, but high resolution doesn't hide a lack of story or concept. Find out what you want to do and find the equipment to match. Part of the challenge is figuring out how to make due - even the big time directors have to learn this lesson.

All this in mind, take advantage of the low cost options available. Like I said, if you've got a great concept or story to tell you can attract just as many interested viewers whether your camera cost $500 or $5000.

My Video Cameras: Part 2

Camera #3: Samsung SC-D453 (2005-present)
MiniDV Camcorder

It was just after Christmas in 2005 that I decided to spring for a MiniDV camera. I'd been shooting several projects in film school on MiniDV and after collecting a small collection of tapes I thought I would benefit from having a DVcam of my own.

There was nothing complicated about my choice. I picked this little Samsung because it was compact, no bigger than my hand, and it seemed ideal for traveling with. Truthfully, I didn't feel I needed a major quality upgrade so much as I needed a format upgrade to output my video to the new MiniDV standard. Plus, for homevideo sake and after carrying around my Sony in LA and Vegas, it was nice to have something a lot lighter.

The first thing I did with this camera was a project titled, A Chill in the Air in January 2006. It opened a lot of doors for me, and was directly involved in my next camera upgrade that spring. To this day I still use this camera for casual shooting and experiments. I took with me to Vegas again, and use it mainly to capture homevideos. It's still a sleek and easy to use little piece of equipment.


Camera #4: Sony HDR-FX1 (2006-present)
High Definition Video (HDV) Camera

When I was on the verge of nearly winning the National Film Board Citizenshift contest with A Chill in the Air, I got into a conversation with my parents about my camera. I had sent them an email about how I dropped and broke my picture camera, which they read as me breaking my video camera.
When I discovered I'd lost the NFB contest in the final round, my parents surprised me by saying they'd been looking at cameras for me - as an early university graduation/consolation present. After several weeks of back and forth they ordered me my new camera.

When I got home from university that spring it came in the mail - and I can't explain how awesome it was. It felt like a real step up, that all my early experience compounded to say 'you've finally earned this' - that staying determined really does payoff. It was a huge show of support from my folks, who seemed just as proud and confident that not only did I know what I wanted to do, but that I had the chops to succeed.

This camera has really marked my transition from student to independent filmmaker. From Educated Detours to my Rushmore travelog to Elliot, the Buick Series, Give it Time, Gizmo Tree and beyond, this camera has allowed me the means to truly play - and get paid.

I think it feels twice as good to have this camera after all these years because it feels like I've really worked my way up to it. Receiving it as a gift from my folks felt like I'd proved something to them and to myself - that my approach was more than just a part-time hobby, that this was the start of a career.

It's still an amazing and very flexible piece of equipment. I've used it when hired as an independent videographer, for festival submissions, for personal experiments, and most anything else I possibly can.

Equipment is all about options, and at this point I feel able to achieve the majority of what I want to do within my own personal studio. It's been a long road to feel this sufficient regarding my productions, but a step at a time has turned into quite a journey. I can't wait to see what comes next.

My Video Cameras: Part 1

Since the ripe old age of 12 I've owned my own video camera and have been shooting under the banner of my personal studio, Fandrix Productions. Now 25, I can easily say that it's been one long and exciting learning experience using a series of cameras that have each marked a new level and challenge in the development of my video work.


I've always championed that it's not solely the equipment one uses, but the drive and conviction that an artist approaches an idea with that determines how successful they'll be. A filmmaker without resourcefulness is just a dreamer. Comparatively speaking, I've never had the best or most expensive stuff, but it hasn't stopped me from producing quality work or being recognized by my peers, strangers or film festivals.

Excluding the number of film and digital cameras that I experimented with in film school, I've personally owned 4 cameras in my now 13 years of producing independent video. While they vary in price and quality, they've all served me well and have each been used for projects that I consider personally significant. Here are the first 2:


Camera #1: Sony CCD-F46 (1997-2000)
8mm (Video 8) Handycam

My first ever camera was purchased with the help of my folks, who matched the money I had saved so I could get this camera used. Like I previously mentioned, I was 12 so aside from an allowance and birthday money I didn't exactly have a lot of options.

At this point it was really about starting out in any way possible.

I felt pretty sure that I wanted to make movies, but I can't say I blame my parents for being cautious. It took over a year before I had $125 saved and when I saw an ad in the newspaper for a used camcorder in early 1997 I pounced.

Having that camera was amazing. I remember making shorts just for the sake of seeing myself on camera, finding any excuse to use it for a school assignment, capturing my first homevideos, and teaching myself the basics (along with editing on the VCR). While there wasn't much produced during this time that was meant for critical review, the one thing that I have shared on this blog from this camera was the Alaska Edits that I shot in 1998.

In 2000, having pushed myself as far as I felt I could and nearly breaking this camera several times, I decided to sell it when I finally had the money to purchase my first brand new piece of video equipment (which incidentally could still play all of the 8mm tapes I had shot).


Camera #2: Sony DCR-TRV110 (2000-present)
Digital 8 (D8) Handycam

When I turned 16 I had been working for a little less than a year, but had managed to save enough money to purchase a new camera. I suppose most kids my age were saving for a car, but my priorities were clear.

I was hired to shoot a seminar in the summer of 2000 and was asked to help select a camera to buy for the shoot. After it was complete, I was asked if I wanted to purchase the camera and I agreed - shelling out around $1200 for it (a slight discount).

What made the camera worth emptying my bank account for, was that it was digital. This was the beginning of editing on the computer, higher resolution and most importantly, more options. Having a digital camera and a decent family computer meant that for the first time I could add music, titles, and transitions to my work. I could actually edit with some accuracy! It's something that now seems so easy, but at the time it was a rush - and truthfully, my evolution in using the computer was slow going.

Through most of high school and into my first few years of university this was my camera of choice. I opted to use it on my productions in early film school courses because it seemed just as good as what they'd let us use. The quality still seems good to me, and the list of projects that I've made with this little camera is long - including Keys to Existence which has screened at several international festivals and venues. For more just check My Selected Videography in the sidebar between 2000-2005.

In late 2005 I decided it was time for an upgrade mainly because of how much I was using MiniDV in my production classes. Without a doubt, I got my money's worth from this camera though. These days, my D8 is used mainly to access my old footage, but on occasion I've still used it for homevideo shooting. This is one camera I'll never sell.

Computer Frustrations

I think we've all been there more times than we care to recall, but computer trouble has plagued the last couple of days for me. At the end of April I took it upon myself to buy a new PC to provide more space for projects, replace a dvd drive that didn't work, and to generally just improve my computer experience. Fast forward 4 months and after a weekend of a corruptive virus, a messed up hard drive, and a relatively new monitor literally just shutting off and not turning on again . . . that system is toast.

I was away at a wedding this weekend, also acting as videographer, and the thought of having to deal with my computer when getting back into town was a thorn in my side. Getting back and realizing that none of the anti-virus software had worked, mixed with the monitor just dying led me to scratch the whole system and act on my frustrations impulsively.

So here I sit at another new computer in just months, although I have to say it is beautiful and thanks to Back-to-School sales it was a steal. A few more bucks and someday I'll invest in a Mac strictly as an edit studio, and a PC for the rest. In all I was only without my computer for about 3 days, but it's a wake up call as to how dependent I am on it. It's not just a personal computer, but it's also a neccesity for my day job to edit and review productions I'm working on. I instantly fall out of the loop when email, msn and facebook aren't an option, and not having my blog or youtube account sends me into creative withdrawl. It's the problem with having a machine that performs so many functions, as soon as it doesn't work you're lost. Had I not been a kid playing with toys at the time, I might be more curious as to how people got by without the internet.

Oh well, everything is getting back to normal now. The new computer has 80GB more space than the previous one, I upgraded to a newer version of my editing software, and rebuilding my iTunes library is actually kind of fun. Yes, I am searching for the glass half full side of this experience.

Endless Upgrades

Okay, admittedly i don't remember betamax, but recalling the chain of film-related products that I've experimented with, I've been trying to hammer the idea into my head that there will never be a sufficient amount of add-ons or upgrades to satisfy my passion. Case-in-point: editing software.

I started out using the most basic of basic editing programs to pretty much just add titles and music. I went through a couple more programs after that, and even now, with the money and customizable features I've invested in Pinnacle, I've switched focus to HDV editing software (i can film in HDV, but can't edit HDV yet so i work in miniDV). Don't get me wrong, for the longest time I've believed that you don't need all the bells and whistles to make a great movie, and you don't. But with every year that passes, there are a million more people making movies with their home camcorders and a million more posts to sites like YouTube. It's arguably harder to get noticed now that anyone can do what I'm going to school for. The slogan on the Sony ad 'WATCH WHATEVER WHENEVER' is even more relevant today.

This has all worked in my benefit too though. Digital film and simple software have done wonders in giving me a head start in production, and more people doing it means more attention paid to filmmaking in general. The accessibility has left me eager and anxious about a future career. I was teaching myself the basics of composition and storytelling at 12 years old without even knowing it. I could put together a new movie in under an hour, and okay, the quality is better now, but the process is growing more complicated. It's damn hard to be prolific AND entertaining!

Maybe things are better off simple though. I mean, I certainly like the immediacy of some of my projects. Point, shoot, edit, burn to DVD and watch. In so many ways the equipment is amazing (my own movie studio in my dorm room), but it can be a crutch too. I can't help but want to learn new things, but I want to be good because of what I do with my equipment, not just because I have it.

It's all been a chain, 8mm to hi8 to D8 to miniDV to HDV. I'm just working my way along. Without the money to do anything about upgrades, I know there are still ways to push myself and the limits that exist. And maybe that's the best lesson I can get out of these thoughts, because like I said before, it shouldn't be about the equipment.

Sure, I'll upgrade again and again, but I'll do it because it'll help me pull off ideas that I can't right now. With no alternative I might as well make the most of my situation. And by doing so I know that when I finally get the HDV software I'll be that much more excited and prepared to push myself again.