Editshare Lightworks

lightworks

Vi ho già parlato di questo software in un post dell’anno scorso, in queste vacanze l’ho provato e devo dire che è veramente buono anzi ottimo. Forse l’unico difetto è l’interfaccia un pò plasticosa ma editare è molto piacevole e veloce. In rete si trovano moltissimi articoli ed impressioni su Lightworks, in questo articolo cerco di presentarvi i migliori articoli che ho trovato in rete. A breve vi farò un articolo sul mondo dell’open-source nel campo dell’editing perchè mai come in questo momento si può risparmiare sui software per dedicarsi all’hardware.

Quando pensiamo a un software di editing video (NLE) subito vengono in mente Avid, Final Cut Pro, e ora anche
Adobe Premiere cs6, che si sta facendo strada seriamente nell’arena dell’editing video.
Ma una volta c’era un software che ha contribuito a definire il concetto di editing: ed è un sistema di montaggio
conosciuto come Lightworks. Intorno alla metà del 1990, Lightworks ha primeggiato tra i software NLE.
In questo mondo in continua espansione del digital editing, Lightworks ha mantenuto degli utenti che non hanno mai
mai voluto convertirsi ad un altro software.
Nel Regno Unito, un editor di nome Chris Gill (“28 settimane dopo”, “The Invention of Lying”) ha sempre utilizzato
Lightworks, come strumento di editing preferito.
Chris Gill: “Negli ultimi sette o otto anni ho sempre utilizzato lightworks,
anche se io sono un caso raro nel Regno Unito. La maggior parte dei progetti sono in AVID. Direi che il 90
per cento lavori sono su AVID, ma i migliori editor hanno sempre lavorato su Lightworks.
Voglio dire, Thelma Schoonmaker non può essersi sbagliata, Martin Scorsese non può essersi sbagliato. ”
In effetti, uno degli utenti più famosi del sistema Lightworks è stata l’editor Thelma Schoonmaker.
Di recente ha montato il film di SHUTTER ISLAND della Paramount Pictures.
Scott Brock (BLU ROAD), editor e primo assistente di Thelma Schoonmaker (CASINO, The Departed e Gangs of New York), e molti altri progetti.
Scott ha una storia profonda con Lightworks:
“Gli strumenti più importanti di un editor sono i suoi occhi e le sue orecchie, Lightworks
facilita l’utilizzo di questi strumenti meglio di qualsiasi altro sistema. ”
Un pò di storia:
nel 1990, quando il montaggio digitale stava facendo i primi passi con sistemi come EditDroid vi era una piccola
azienda in Inghilterra, costituita da un team di editor, hanno cercato di competere con una società di Boston chiamata AVID,ed hanno sviluppato un sistema computerizzato di editing per gli editor, infatti questo è stato uno dei primi
slogan di Lightworks.
Avid raggiunto il dominio del mondo per un pò, fino a quando Apple ha acquistato un pezzo di software da una società denominata Macromedia e rilasciato un sistema di editing DV chiamato Final Cut Pro. Ad un costo di circa il cinque per cento di un sistema Avid,gli utenti potevano importare rapidamente le riprese dalla videocamera DV e modificarle come mai prima.
La marea si è spostata, e Final Cut Pro di Apple è diventato più raffinato, e ben presto il miglior software di editing video.
I cineasti come i fratelli Cohen diventato dei fan dei sistemi FCP, e Avid ha dovuto apportare modifiche al loro modello di business per competere e sopravvivere.
Oggi la grande novità è che Lightworks,uno strumento che molti editor hanno trovato essere il miglior editor nella categoria, sta diventando open source. Ciò significa che per Windows, Linux e Mac sarà disponibile gratuitamente nella versione base e la versione pro ad un costo irrisorio di 5o euro l’anno.

Chris Gill: “Altri sistemi non hanno migliorato l’arte del montaggio, Lightworks invece l’ha migliorato fin
dall’inizio”
Scott Brock spiega perché gli editor dovrebbero scegliere questo software non perché è libero, ma perché è davvero il migliore.
“Per me Lightworks significa libertà creativa. Lightworks è eccezionale in termini di editing, e l’interfaccia è ‘libera’
In Lightworks si può personalizzare completamente. Si può di nuovo pensare a quello
che si sta facendo”
Chris Gill non ha mezzi termini quando parla di quanto sia ottimo il sistema.
“Mi è sempre piaciuta la semplicità di Lightworks, si modifica nella stessa maniera in cui state pensando,è fantastico avere l’accesso immediato al editing. E ‘sorprendentemente veloce e facile da usare – e so che la gente
dice che è un po ‘eccentrico, ma una volta che si arriva a conoscerlo, ti rendi conto di quanto sia semplice esprimere un concetto visivo tramite il software.”

Qui di seguito riporta due interviste ad due premiati editor di oggi

Tariq Anwar (il discorso del re)

Where did you grow up?
I was born in India, but have lived in England since the age of 6.

I see you went to the London School of Film Technique for a period of time – can you tell me about your experiences there?

I was placed at the London School of Film Technique, but didn’t receive a grant – having already squandered a year at Sir John Cass College of Further Technology, working toward a General Science degree. Randomly, I answered an ad in London for a company called Libertas – they were looking for a driver. Libertas made documentaries and corporate films, and it was there that I got my union card.

So, did Libertas influence your decision to become an editor?

While at Libertas – when I wasn’t parking cars or driving the company van – I worked on the floor as a third assistant director. An opportunity arose to work in the cutting room as an apprentice – which I immediately jumped on. After working as an apprentice there for a year or two, I left Libertas to freelance as a second assistant editor and had the opportunity to work on a number of feature films before taking a two-month ‘holiday relief’ contract at the BBC.

Can you tell me a little bit about your experiences editing at the BBC?

The BBC was a great place to be. There was such a variety of work – from current affairs and light entertainment, to children’s programs, music and the arts. It was just such a good environment, with an enormous number of talented staff technicians and a stream of gifted directors. Also – there was little interference. A cut would pass through the director, the producer – and sometimes – the head of a department. There were no ‘other’ producers, executives, studio-heads, test-screenings, and focus groups – at all. The chances of being replaced by another editor were also very remote!

When did you start editing feature-length films?

My first big break came in the early 90’s with producer, Brian Eastman. There can sometimes be snobbery about working in features as opposed to television, but Brian was prepared to give me a chance on a film called “Under Suspicion.” Following that, I was back on television productions until another producer, Stephen Evans, with whom I had worked with on television drama documentary, “Galahad of Everest,” gave me my second break on the feature-film “The Madness of King George.” It was then that I suddenly became accepted as a features editor.

… and when did you first bring Lightworks into the mix? 

I first used the Lightworks editing system in the early 90’s on some television programs, but then it was later in 1994 when I first used it on a film called “The Grotesque.”

What do you think separates Lightworks from rivaling systems? 

It’s the speed and ease-of use. The timeline is clear and uncluttered; editing and trimming is achieved with a minimum of actions, the controller allows for a far greater ‘feel,’ and audio editing and mixing is light years ahead of anything offered by its competitors.

What is your favorite part of editing feature-length films? 

The most enjoyable thing for me is in the shaping of a film after the assembly stage. It’s amazing how malleable it is during the editing process, and then to make the material work in a way that wasn’t intended – either by luck or by judgment – is very exciting. Also I love editing with a full FX track and temp music. Finding the right score and the appropriate place to use it is a great part of the picture cutting process.
What has been your favorite film to edit and why?

There are many favorites – all to do with the working relationship with the director, rather than the success after release. I love music and dance and the closest I got to cutting in that genre was “Center Stage” for Nick Hytner.
How have you seen yourself grow as an editor – from your first cut to present day?
I think it’s important to be adventurous in editing and to take risks, but you can only achieve that if you have the director’s confidence, as well as confidence in your own ability to take criticism and rejection. I never saw myself as a confident person, but that confidence has certainly built over the years with experience.
Who would you say were/are your biggest influencers?
I don’t think there has been any one, specifically – however, the BBC was the best training-ground. The variety of the work, the very short schedules, dealing with different directors and their varying personalities, was all very good preparation.
Are there any directors that you would like to work with on future projects?
Nearly all of the directors I’ve worked with would fall into that category. Of those that I haven’t worked with, I would have to say Lawrence Kasdan, Roman Polanski, and Milos Forman amongst others.

Why do you think some editors are so reluctant to switch systems? What would you say to them about Lightworks?

It’s difficult to persuade someone who has become used to a system to change, particularly when the industry – meaning studios, facility houses and film schools – have invested so much into installing specific equipment. Lightworks users may be small in numbers, but we all have an almost evangelical collective enthusiasm for the system. Hopefully that enthusiasm will rub-off and persuade non-users to try it. I’ve edited with the other major systems, so I can say – from experience – that Lightworks is a far superior editing tool.

Jill Bilcock (road to perdition):

 

What influenced your decision to become an editor? 


It was by sheer chance. I was an art student at the Victorian College of Arts in Melbourne, and they introduced a film course into the curriculum. At the end of the course, I was employed by the Australian film director Fred Schepisi and he allowed me venture into whatever aspect of film I wanted to explore; he said I could be a director, a cinematographer, whatever! I started as a producer, but then tried editing and I absolutely fell in love.

I read something about you cutting your first film on your kitchen table. Can you elaborate? 

Well, it was a five-minute film for our course. My subject was on human rights – I used to be quite politically active. We didn’t have any equipment – not even a camera. I bought my own 16mm Bolex. I had all the film spread out over a table and was just splicing it together. I used reversal film, so I was holding it up to the light and cutting by eye. We didn’t even have anything to view it on!

I also did a lot of the editing in camera. The 16mm Bolex had the ability to rewind so that I could do dissolves and fades in camera and also stop motion so I was able to animate static material.

What has been the most challenging aspect of your editing career? 
Finding personal expression through each different director I’ve worked with, all while trying not to impose too much. All directors have their own way of seeing things, so it’s the transitional period from when you first start collaborating to finally understanding their sense of story, style and directorial ambitions.
When did you first start using Lightworks to edit features? 

The first time I used Lightworks was in 1994, when I was working on the romantic comedy I.Q. in New Jersey. Coming straight from cutting film to non-linear editing – the Lightworks system was designed specifically for this transition. It has a speed controller that was like a KEM or a Steenbeck. I was able to feel in control, as Lightworks complemented the thought processes I was used to before non-linear editing, when I was cutting film. Lightworks is a film program, which just happens to be run by a computer. It’s not like other systems [such as] computers adapted to edit film.

Lightworks’ ease of use helped me edit films like Moulin Rouge! [in which] music is a major part of the story. I honestly don’t think I would have been able to cut them without Lightworks. You aren’t adding frames by numbers or stopping abruptly. Its simplicity and minimal use of the mouse and keyboard allow for a better editing workflow.

Your newest Lightworks-edited feature is the Troy Nixey horror-thriller ‘Don’t Be Afraid of the Dark’. How did you work with Troy and Guillermo del Toro to define the tone? 

Troy, being a first-time director, was something not new to me, having worked with many directors before in this situation. It was great to have his energy and enthusiasm and his fresh take on interpreting the script.

Since editing horror was brand new to me, Guillermo was able to provide me with some really great insight into the rhythm required at times by holding longer onto shots like “the little girl walking barefoot past the creatures.”

What was the typical day like while working on ‘Don’t Be Afraid of the Dark’? Can you give me a sense of your workflow? 

We filmed the entire film in Australia, on 35mm. We developed the film overnight, then telecined and synced to HDCAM. We would view dailies first thing in the morning in the cutting room on an HD projector for Troy and Guillermo. We would then digitize the dailies and break [them] down to edit on the Lightworks.
Where did post-production editing take place?
On the go. Lightworks is very transportable, so we did the majority of the cutting in Melbourne and occasionally we would go visit Guillermo in New Zealand and take it with us there.
There are a lot of nightmarish creatures in the film. What was the VFX process like? 

Prior to post and during the shoot, we had to do a lot of collaborating on the previsualization because of how the creatures needed to be integrated into the live action. We were all working together in a studio environment. Our edit room was set up next to the pre-vis guys and the shooting stages were minutes away. We were all able to exchange ideas and discuss problems freely with Troy, the DOP, Oliver Stapleton; and the production designer, Roger Ford. It was quite convenient having that available.

After the footage was shot and the scenes were edited, it was sent to Iloura, a VFX facility in Melbourne. They did a great job on generating the finalized imagery. After the shoot [and] during the post process, we all linked via cineSync from all over the world to finesse the final product.

With VFX, and the progression of technology in general, how do you envision the editor’s role in filmmaking evolving? 

It doesn’t matter how technology progresses – editors are still the ones that generate ideas and imagination, and create that sense of rhythm I’ve referenced. Obviously, visual effects will become more realistic and advanced, but we still have to bring our individual creativity and sense of story to each film we work on, even decades from now.
You’ve worked with some amazing directors. Are there any others that you would like to collaborate with on future projects? 

Scorsese. I love how he interprets things so individually and brings such a lot to his work in post – and he uses a Lightworks! I also admire Thelma Schoonmaker immensely.
Why do you think some editors are reluctant to switch to Lightworks? 
Through ignorance of producers thinking they have limited choices when it comes to equipment. Also, in the past there was fear of a lack of technical support when Lightworks was smaller. The deal will often have been done before the editor has been hired. This has resulted in a lot of editors already having been channeled down a different path. I have tried the obvious alternatives and know their advantages and disadvantages. I wouldn’t be interested in a film if they told me I had to work on a different machine.
What are your thoughts on the Lightworks Open Source initiative, and users having the ability to download it for free? 

I think it’s a brilliant idea – it’s a way to generate buzz… It’s truly a great system to work on.