Posts Tagged ‘Editing’


Hi all

Following yesterdays post, here is the new documentary by Jon Lefkovitz;

Sight & Sound: The Cinema of Walter Murch.

or watch it here:

SIGHT & SOUND: The Cinema of Walter Murch from Jon Lefkovitz on Vimeo.


Hosted by The Irish Screen Editors Guild (ISE) and the team at Element Post, ISE members were treated to Editor Tony Kearns’ presentation of his contribution to the Emmy winning Black Mirror interactive film Bandersnatch.

Detailing the challenges involved in a complex interactive narrative and the resulting workflow, Tony described how he and his team worked with the multiple timelines needed to maintain the different choices the user can make on the meta narrative.

If you are also interested in Tony’s previous work then check out some examples of his editing on music videos below:

RadioHead – Just

Chemical Brothers – Believe

And if you haven’t experienced Black Mirror Bandersnatch, then log into Netflix on your smart device or smart TV.

IMDb page HERE

ISE Blog Post By Mark Gilleece on the Masterclass.

Tutors: Eoin McDonagh, Editor
Date: Friday, January 24th, 2020
Duration: 1 Day
Venue: Dublin TBC
Cost: €150

Course Profile:

In this course participants will gain a full insight into the role and responsibilities of the assistant editor.

Areas covered include:

  • Organising project and footage
  • The difference between fiction and non-fiction assisting
  • Expectations of performance from the assistant editor


  • Ingest of rushes
  • Logging and synching
  • Treatment of non-standard archive


  • Sound work – Track laying on sequences
  • Adding Footage as the edit continues – Moving footage between machines – Importance of Master project
  • Preparation of exports/promo material – Choice of codecs for export – Using third party compression software – BITC


  • Relinking to full-res – Project parameters (SD, HD,2k etc.) – How to check the relink is correct – Troubleshooting relink problems
  • Creation of deliverables for Grade and Mix

Participant Profile:

This one-day course is aimed at those interested in moving into assistant editing and who wish to gain a thorough overview of the role and the responsibilities it entails. Applicants should have a working knowledge of Avid Media Composer and/or Adobe Premiere and/or FCPX. There will be a one-day supervised placement with an editor working in non-fiction offered to those interested.

Application Procedure:

Please apply online at by 12:00 PM, Tuesday, January 7, 2020, attaching a current CV and an overview of why you would like to participate  in this course.

You need to be logged in or registered to apply for a course. Click here Login/Register

So am taking the plunge and using Avid MC 2019 for the edit of the short film, Blood Brothers, I shot last week.

So far I’m not disappointed. The ingest, sync and binning went off without any problems. Content was all linked without codec issues and there were also no problems when it came to using the Autosync option for the sound.

Yes a few things are gone like the edit selection and trim tools from the Timeline window as well as the option for using the Caps Lock for scrubbing, however all of these are available in the command pallet and are an option for a button on the keyboard as well as the tool menus.

All the fast “burger” menus are gone but again those options are there if you right click the mouse in the bins, timeline or monitor windows.

As I progress through this short film I’ll post more on my experience of using the new Avid 2019 but in the mean time I’m happy with the interface changes.

More soon.

Filmed in Ireland and edited in Limerick with a broadcast date and time of Thursday 16th march at 10:15pm, RTE 1;  ‘No Words Needed’: Croke Park 2007, is an hour long documentary reliving the memories of how the doors of the famous venue were opened to Rugby, and that famous match against England for the Six Nations.

February 24th 2007, the day that Ireland hosted England in the Six-Nations rugby championship, is a date that holds huge significance in Irish sporting history. The venue, Croke Park, was the scene of a massacre when during the War of Independence British Military Forces entered the ground and opened fire killing fourteen people, including Tipperary’s player Michael Hogan. This day became known as Bloody Sunday.

On the lead up to the game there were fears of trouble. How would the Irish react to the official visit of an English team to play in Croke Park? The last time English presence was significant at this venue, they came uninvited, unannounced and with such devastating consequences on Bloody Sunday, 21st November 1920? What would the reaction be to the unthinkable happening of the British flag flying over Croke Park?

This documentary examines the debate and struggle to modify the restriction of the playing of non-Gaelic games in GAA stadiums, so that rugby and soccer could be played at Croke Park during the renovations at Landsdowne Road.

Never before had performance and result weighed so heavily on the shoulders of any team. Never before had a pre-match ceremony of anthems been so scrutinised and debated. The significance was much more than the playing of England’s ‘God Save the Queen’; it was about how we – the Irish – in the cradle of our national games and the beacon for our modern identity would react to its playing.

No Words Needed: Croke Park 2007 is a fascinating insight into perhaps the most significant sporting event in Irish history. A host of political, sporting and cultural leaders tell of their experiences in the run up to the event and the day of the game itself.

List of interviewees:

Irish Rugby Players 

Jerry Flannery

David Wallace

Shane Horgan

Denis Hickie

Denis Leamy

Rory Best

Paddy Wallace

Martin Corry (Former England Rugby Player)

Eddie O’Sullivan (Head-Coach of Ireland in 2007)


Gerry Thornley (Rugby Correspondent for the Irish Times)

David Walsh (The Sunday Times)

Eamon Dunphy (Broadcaster and Journalist)


Sean Kelly M.E.P. (Former President of the GAA)

Oliver Hughes (Wolfe Tones GAA Club, Co. Derry)

Bertie Ahern (Former Taoiseach)

Conor O’Shea (Commentator in Croke Park) 

Diarmaid Ferriter (Historian)

Micheal O’Muircheartaigh (Retired RTE broadcaster)

Directed by Ronan Cassidy, edited by Simon McGuire and music by Fergal Lawlor (The Cranberries). The documentary follows the story of the lead up to the Ireland v England rugby game in Croke Park in 2007, the most significant rugby game in Irish sporting history.

Simon at the edit suite

Screen grab of the edit

RTE TV listing of the documentary

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RTÉ2 are screening The Limerick Film Trilogy in November on the Monday night Shortscreen slot and will also be available on the RTÉ Player afterwards. The trilogy consists of three short films that were made with the support of Limerick 2020 in partnership with Behind The Scenes. The scheme also received assistance from Screen Training Ireland. The dates for screening are:
LIMERICK TRILOGY – Day Off – 7th Nov ’16
LIMERICK TRILOGY – The Apparel – 14th Nov ’16 
LIMERICK TRILOGY – Date: Time – 21st Nov ’16

Up next tonight, (12:05 RTE 2) is ‘The Apparel’ written by Dan Mooney and directed by Peter Delaney under the guidance of Gerry Stembridge.





Am delighted to announce that four films of which I edited have been nominated for the Richard Harris International Film Festival in late October.

‘Day Off’, ‘Date:Time’ and ‘The Apparel’, have all been accepted. These films were the brain child of Film Limerick Project manager Ronan Cassidy with renowned director Gerry Stembridge.

The scope of the Film Limerick project was not for the faint hearted. To bring the three stories together with three writers and three directors took organising and at times needed a delicate professional hand to harmonise everything together and allow the interweaving of the narratives, characters and locations of Limerick city to compliment each other. Project mentor Gerard Stembridge and project manager Ronan Cassidy brought all this together and with the support of the Limerick City of Culture, Behind the Scenes, Limerick 2020, Limerick Institute of Technology. The same amount of hard work, dedication and attention to detail was given to all three and the fruits of the labour of all cast and crew involved can be seen in every shot and piece of sound. This was certainly evident when all three had their cast and crew screening at the Limerick Film Festival back in April to an audience of nearly two hundred.

As editor on the trilogy, i’m taking great pride in the effort from everyone’s talent and patience with these films. I would encourage everyone to take a look at all three when ever you get a chance to see the film making talent that is growing in this city and region. They need the support and encouragement to continue their passion and goals. Film in Limerick needs to be supported now and into the future, whether the Limerick 2020 bid is successful or not… culture is not just for one year it’s for life and the Film Limerick Project has been only one part of many available by different groups and individuals in the city. It has achieved its goals set way back between the Limerick City of Culture 2014 team and Behind the Scenes. Regardless of people’s difference of opinion of each other, the trilogy films… all films… created in Limerick should not suffer… it is our creativity,… our art,… our culture and long may we continue to practice!


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The fourth short film nominated is Tommy C. Conlon’s, ‘The Sons of Robert Schuman’. Edited in early 2016 this is Tommy’s second short film after the success of ‘Play It Again Son!’.


An Irishman, a Frenchman, a German and an Italian are working in the public relations department at the headquarters of the European Union in Brussels.

On this particular day they are each giving guided tours to visitors. They explain the history of the EEC/EU. Naturally they portray it is a visionary project, built on the ideals of great statesmen who after World War 2 dedicated themselves to a future Europe of peace and prosperity.


Tours over for the day, they return to their office upstairs. Whereupon they swiftly begin haranguing each other, insulting the others’ countries, resorting to caricature and national stereotypes. The united façade presented earlier to the public has disintegrated.

Writer’s note

While this film is essentially satirical in intention, and hopefully comedic in its execution, the writer is trying to make a point about basic nature. Can human beings successfully erase their tribal identities and atavistic instincts for the sake of a greater common good? And is the vast EU project, currently generating widespread resentment across the continent, ultimately a chimera that cannot be sustained.

Shot on location in Dublin, and edited here in Limerick, the short has a particular contemporary feel with the current unfolding news stories of the Euro 2016 and the UK Brexit referendum.
Tommy’s previous film ‘Play it Again Son!’, has had previous success at the 2015 Limerick Film Festival, winning the award for best acting for Pius McGrath’s performance.

The Sons of Robert Schuman is currently doing the rounds on the Irish Film Festival circuit as well as the European stages. As information on screenings become available they will be posted here.

Congrats Tommy.

I was delighted to work on all four of these films and look forward to the festival which takes place from October 27th to 31st.



Making the life of you editor easier.

Posted: August 26, 2013 in Editing

I was browsing the web today and found this small bit of advise.


The importance of the editor in film and video can not be overstated. For many, what makes film a unique artform from all others IS the editing. Furthermore, many famous directors “made their bones” as editors and credit that experience as the reason why they can direct.  And while many top directors switch DPs and crews for each production, they consistenly trust their work with one editor.

That’s why as a producer-director it’s important to hone and heighten that professional relationship with your editor to serve your film well.  This is the case even if you’re editing a film you directed yourself since you have to change hats when you step off the set and into the editing room to look at your footage with fresh eyes.  So, what are some things the producer and director can do to make the editor’s life easier, and by default, lead to a better finished film?  To find that out, I spoke with professional film and video editor, Liette Pedraza, who had the following things to say:


“Because they are focused only on the camera, lighting and acting, many directors place getting a decent sound person on the back burner and simply ask relatives and friends to record the sound for them. Then in the editing room they are shocked when they listen to their sound and hear how bad it is. It can’t be said enough that sound people are critical to a good production because audiences will forgive a dark image but if they can’t hear an actor’s line they will reject your film. It is one of the many things that separate an amateur’s film from a “professional” film.”
“In keeping with this idea of the importance of sound, here are some PRACTICAL TIPS regarding sound:

  • Don’t let your sound levels over-modulate because once it peaks, your audio will clip and without a good sound mix your take will be no good.
  • The sound person should take notes and write what channel the microphones are on. It makes it easier as an editor as well as for the sound mixer to narrow down any issues that arise. Mic placement is important so you don’t pick up an actors’ clothing brushing against the mic or the boom guy’s hands on the pole.
  • ALWAYS listen to your location before recording because there might be a piece of equipment in the room that might put a buzz in your audio.
  • Make sure crew people turn off their phones, even when a phone is on silent it can put a buzz in your audio track when it is receiving an email or text.  It’s a weird anomaly that many people don’t realize but an incoming text and email sometimes puts a digital glitch on your audio and you won’t hear it until you’re editing.  Better safe than sorry – turn it off.”


“Related to the sound issue, as well, is the importance of a sound mix. You don’t need to spend a fortune on a Hollywood sound mix but if you are aiming for a professional production, you need to invest some amount of money on it.  You really don’t want to end up in situation where, for example, your actor places a plate on the table and it makes such a loud noise while they deliver their lines that the sound levels get mixed up and muddled.  You want the levels to be appropriate to the action that is happening and a proper sound mix will fix any issues like this. “
“Plus if you’re shooting for TV, your levels have to be broadcast quality.  If your levels are not right, your program can get rejected and you will still have to get a mix.  Or worse, when your program airs, the levels will be much lower than the show that airs just before it and it will sound off.  I remember, how for an HD project that I was editing the producers had hired a really terrible sound person. The production had rented five HDCams with seven microphones and because it was a dinner scene with non-actors we had only one shot at getting it. The sound guys brought in all the sound into a mixer and fed the audio to all to the same camera mixed down to 2 channels. In theory it sounds like a good idea because it seems like that would keep things simple but what they ended up getting was the noise of one guy stirring his drink with ice even though he was not critical to the scene.  The stirring and clinking was louder than everyone else talking and it ruined the scene.  And to top it all off, one of the guys went to the bathroom with his microphone still on and simply destroyed the audio. That section of the audio was lost forever and turned out to be a waste of money. We managed a sound mix but there was only so much that could be done because those problems couldn’t be completely fixed.”


“Nowadays it’s rare for indie filmmakers to insist that camera and sound crews keep notes on the set and even rarer for them to hire continuity script supervisors. Ideally, camera, sound and script supervisors should take consistent camera notes, sound notes or continuity notes, respectively.  Aside from the practical benefits they can give a producer or director on the set, these notes can be very helpful to the editor because it helps narrow down certain problems when it comes to post. Problems like a shaky dolly move or missed rack focus that the AC is supposed to note or a horn honk or thump that the sound person hears. Also, typically, continuity persons line the script so that I can see what lines were covered in what takes, if an actor missed a line and if they pick up an object with their left hand in the medium shot and in the long shot they pick it up with the opposite hand.  They also make notes and take photos of what was worn by what actor and what props were in the scene.  All those things are useful and can save money and time because it means the editor knows ahead of time what to work on and avoid or find instead of wasting time trying to fix something.  This lesson was made clear to me once on a film that I was editing when the continuity person missed taking notes on what the actress was wearing in the previous scene.  They ended up shooting the next scene with a brown dress instead of the blue dress and I ended up having to flip around scenes to make it work, extra work that could’ve gone to editing more important things.  I would say that keeping notes is not just good for the editor in post but also good for everyone to stay organized, focused and solve problems on the set during the shoot.”


“This may seem like a no brainer but many times directors shoot their films and forget to get enough coverage to make an ok scene great. They should shoot closeups too, like a close up of the gun, a map or even fist during a fight scene.”
“Because I’ve edited alot of action movies and thrillers, here are some PRACTICAL TIPS for coverage in action scenes:

  • Don’t just shoot medium shots, shoot as many close-ups as you can.  Simple medium shots for a fight scene can make for a lack luster fight when there are no dynamic cutaways and the choreography is flat.  That’s why I recommend you get coverage with close-up shots of objects or body parts, at a minimum.”
  • “Another thing that should be simple to remember but is usually forgotten is to take establishing shots of the location.  If our characters are suppose to be in a office building or warehouse etc it helps the story if we have the cutaways of the building to help transition from scene to scene. Many directors forget the establishing shot because they are in a hurry or think they can take the shot another day and fix it in post.Sometimes you can’t, so it’s better to take care of it while you’re there.”

Liette Pedraza runs NY post production house, Crazy Diamond Postproductions –  She has been editing for over 20 years on all a variety of linear and non-linear editing platforms particularly on the AVID and FCP. She is a versatile editor and can manage indie feature films and shorts as well as commericals, documentaries and reality shows.  Some of her career highlights have been editing the documentary series, N-R-Eyes; the music video series, Lifted; and, the feature film, City Teacher, starring Frank Vincent, Tommy Ford and Ella Joyce. She is currently working on Invisible Wounds & Kimmie’s Kitchen.   She can be reached for post production work at:

This was sourced from:


The Zipyard Edit

Posted: June 15, 2013 in Editing
Tags: ,


An image of the edit for the new promotional video for The Zipyard.
Used Adobe Premiere on this one as there was a lot of photoshop editing involved. Dynamic Link was burning by the end of this half hour cut.

Final pass to be completed next week.


Avid studio for iPad.

Posted: February 5, 2012 in Editing
Tags: , ,

Ok, cynical editor guy… Avid just released an editing app!

Avid Studio ($4.99) has just hit the App Store, and it’s SWEET. But, it also suffers from a few shortcomings. Just by looking at the app’s primary editing screen, you know Avid took their time in crafting an easy to understand, powerful, and deceptively simple interface.

In one quarter of the screen, users view thumbnails of all their media (videos, photos, music, transitions, etc.). The description of the app says you can also access media from external devices via the iPad camera connection kit. You can also capture video and photos from within the app.

Media is added to your edit with a simple drag and drop. Like most editing environments, Avid Studio is based on a timeline metaphor, but unlike its predecessors, this app has gone one step further by adding what it calls a ‘storyboard’ (a strip of small square thumbnails directly under the timeline). In the Storyboard strip, users can quickly tap and drag clips to reorder them, while keeping an eye on an overview of the entire project. While that sounds simple enough, most iPad and iPhone video editors lack this ability. Typically, users have to zoom in and out in order to re-orient themselves. By connecting their timeline with the storyboard strip, Avid Studio offers a BIG time savings.

The app also features custom motion titles, picture in picture effects, and 3D layered effects (using in-timeline drop-zones). Most are good-looking, although some suffer from templatitis.

Edits can be fine tuned (down to the frame) using the app’s built-in precision editing tools. Your project can be played back at any time in the preview area or full screen, although more complex effects may require rendering (not the speediest process). The app functions equally well in portrait and landscape mode, although landscape does allow for a wider view of your timeline.

Once your satisfied with your cut, you can render and upload your video to all the usual places (Facebook, Youtube, email, etc).

All is not perfect, however. I experienced a LOT of crashing on my iPad 1 (it performs much better on an iPad 2). So much crashing, in fact, that at some points I couldn’t even get the app to launch. Clearly, that needs to be addressed quickly or Avid stands to upset many potential customers. Also, I’d like to see the addition of more transitions (which is an odd request from me since I hate most transitions). And finally, if you hadn’t already guessed, Avid Studio is still simply a consumer app. There’s no EDL or XML export. So as of now, you can’t use Avid Studio as an offline editor. Perhaps that will change as the iPad seeps deeper into the filmmaking community.

Considering Avid’s long history as a leader in non-liner editing, stepping in to the consumer market is a bold step. All in all, Avid Studio is a beautifully simple editor with an absurdly low price. If you want to cut video on your iPad, this app is a great place to start (although if you’re an iPad 1 owner, you should wait for a stable update).

Avid Studio
Developer: Avid Technology Inc
Rated: 4+
Price: $4.99 VIEW IN APP STORE

(taken from