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Scott Simmons
Scott Simmons was born in rural West Tennessee and didn't really realize that movies and tv had to be made by actual people until he went to college. After getting degrees in both Television Production and Graphic Design he was in one of the early graduating classes at the Watkins Film School in Nashville, Tennessee. During that time at Watkins he discovered editing. While most of his classmates in film school wanted to be directors, Scott saw real career opportunities in post production and took a job as an assistant editor after completing film school. In 1999, Scott took the leap into freelancing and in 2007 accepted a position as an editor at Filmworkers - Nashville. In 2005 Scott created The Editblog a website dedicated to all things editing and post-production which is now housed here at PVC. Someday he hopes to edit on a beach with a touch screen device, a wireless hard drive and a Red Stripe. 
Q and A with Bunim/Murray’s Mark Raudonis about their recent Avid switchKicking the tires on the Final Cut Pro X 10.0.3 Multicam updateUpdate Alert: Final Cut Pro X goes to 10.0.3Adobe teases Prelude at the San Francisco Supermeet, FCPUG changes its nameTangent Element panels are now shippingAvid Media Composer 6 review onlineUpdate Alert: Magic Bullet Suite 11.2Update Alert: FxFactory 3.0The new Fotoshop by Adobé can change the way you look!Did you know MPEG Streamclip could convert YouTube videos?New That Post Show: Edit Pro SupergoodClean those Adobe Media Cache FilesChristmas Gift Ideas for the Editor in Your LifeKicking the Tires on Avid Media Composer 6The Adobe Premiere Pro timeline for Final Cut Pro usersAvid Media Composer 6 is announced and it’s moving into the futureAll of the Automatic Duck plug-ins are now freeA report on Walter Murch’s talk at the Boston SuperMeetA lesson learned from my FCPX to Resolve roundtripsUpdate Alert: DaVinci Resolve 8.1: FCPX support, lots of little thingsA Few Recent Avid Media Composer FindsA short Q and A with Automatic Duck about their Adobe moveSteve Jobs 1955 - 2011$995 Final Cut Pro to Media Composer crossgrade ending very soonKicking the tires on the Final Cut Pro X 10.0.1 update
February 2012January 2012December 2011November 2011October 2011September 2011August 2011July 2011June 2011May 2011April 2011March 2011February 2011January 2011December 2010November 2010October 2010September 2010August 2010July 2010June 2010May 2010April 2010March 2010February 2010January 2010December 2009November 2009October 2009September 2009August 2009July 2009June 2009May 2009April 2009March 2009February 2009January 2009Complete Archives |
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The Adobe Premiere Pro timeline for Final Cut Pro usersEditors spend so much time in the timeline it’s worth an in-depth look
When working in a non-linear editing application the editor spends many, many hours working in the timeline. Boy do we spend a lot of hours working in the timeline. If you’re moving from Final Cut Pro 7 to Adobe Premiere Pro 5.5 then you won’t be totally lost as there are a lot of similarities between the two application’s timelines. But there are some important differences as well. Let’s take a closer look at the Premiere Pro timeline if you’re moving from FCP 7. Did I mention how much time editors spend working in the timeline?
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Free Upcoming Final Cut Pro X Webinar, free FCPX podcastWe all keep talking about Final Cut Pro X
As if there’s isn’t enough Final Cut Pro X stuff out there on the web a week after its release, I want to pimp a couple of things that I’ve been involved in regarding Final Cut Pro X. First is the return of That Post Show (iTunes link) with a full edition devoted to FCPX and second is the FilmmakingWebinars.com Final Cut Pro X Hands On Tour. more »
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EditFest NY only a few days awayGet registered for the June 10 - 11 even in New York City Are you an editor in New York City? I really wish I was going to be there June 10 and 11 for EditFest NY. What is EditFest? Here’s a quote from the EditFest NY website: “Over two tightly-programmed days, attendees - including professional editors, production executives, network and studio staff, fledgling assistants and content creators - will participate in sharply planned, targeted panels and extensive Q&A sessions. They’ll listen to, learn from and engage with the most respected, award winning editors of feature films and television. Attendees, VIPs, sponsors and panelists will also mingle at the highly anticipated opening night reception.” more »
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Book Review: Alexis Van Hurkman’s Color Correction HandbookThis is a MUST read for those interested in color grading and a SHOULD read for everyone else.
If you’re wanting to learn more about post-production then you’ve got quite a few areas where you can target studies. There’s creative editing and storytelling (of course), there’s audio mixing and sound design, there’s the technical world of editing where you’re dealing with workflow and media organization, there’s graphics, effects and color grading as well. A good place to learn any of these specific tasks is the right book. For color grading there’s Alexis Van’s recently released book Color Correction Handbook: Professional Techniques for Video and Cinema
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Advertisement My two Post|Production World sessions I’m leading at NAB 2011One on Avid Media Composer and one on Music Video Workflows The National Association of Broadcasters convention is just over 1 month away (conferences April 9 - 14 and exhibits April 11 - 14). That’s hard to believe since it seems like we just wrapped NAB 2010. I’m very excited that I’ll be presenting two In Depth sessions again this year as part of the Post|Production World Conference. The conference itself is a great place to learn about this business as well as improve skills in most any area. All the information is here as well as a great overview video on the Post|Production World Conference. I’ll be teaching an advanced Avid Media Composer workshop as well as a class on Music Video workflow. more »
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All of the 2011 28 Days of Quicktips quicktips all in one placeWe really ended up with 31 thanks to the great Reader Submitted Quicktips
February 2011 has come and gone and with the onset of March, the 2011 edition of the Editblog’s 28 Days of Quicktips has come to a close. We first did this in 2009 and with all the positive feedback I received back then I thought we’d try it again for 2011, with a twist. This time we were asking for Reader Quicktips as well and we received quite a few good ones. As a bonus, I thought I’d pick the best Reader Submitted Quicktip and give the creator of that Quicktip their choice of a book. Read on to see the
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Quicktips 2011 Day 21: Change multiple FCP audio clip levels at onceFebruary 21, 2011 - This Reader Quicktip is an option for changing levels and parameters for multiple FCP audio clips
This Reader Quicktip comes from Matt Larson and is sort of a workaround for Final Cut Pro lack of ability to change source audio parameters of multiple clips at once. It’s the kind of thing that can come in very handy when you have a very full bin of clips and changing them one at a time isn’t an option. more »
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Quicktips 2011 Day 18: Two FCP tips for today’s QuicktipFebruary 18, 2011 - There’s 2 Reader Quicktips here, timeline preferences and preferred effects
Today’s a Reader Quicktip that is actually two tips from Final Cut Pro and After Effects trainer Clay Asbury. One tips is how he likes to setup his default FCP timeline settings and one is about using FCP’s Effect Availability option. more »
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. Read on for a review of this great book.
2D Footage with a Stereo 3D Rig in After Effects CS5.5
Edit and Optimize 2D Stereo Pairs from a 3D Video Camera or Twin Cameras with a Modified Stereo 3D Rig in After Effects CS5.5
Adobe included a 1-step option to create a 3D Stereo Camera Rig in After Effects CS5.5, to everyone’s enthusiasm for a simpler workflow in 3D space. Great if you are working in 3D space in After Effects, but what about an easy option for 3D Stereo pairs captured by a 3D camera or twin cameras on a rig? In this tutorial I’ll show you how to quickly modify the Stereo 3D Rig in After Effects to quickly mux your L&R video files and adjust the convergence for anaglyph, interlaced or stereo pairs output.
How to get the “24p” look for your live-switched multicam shoot
A contracted article, sponsored by Datavideo Corporation.
Our friends at Datavideo recently asked me to write an article called How to get the “24p” look for your live-switched multicam shoot. The article covers many factors involved in accomplishing that goal, including framerate, aperture, shutter speed, depth of field, and menu settings in Datavideo’s digital HD video mixers (“switchers”) and recorders, and also the menu settings in several pro cameras from Canon, Panasonic, and Sony. The included chart explains which of the cameras have a direct HD-SDI output, and which require an optional converter to go from HDMI to HD-SDI to connect to the Datavideo digital HD video mixer. As you’ll see in the article, the approach is quite different from the workflows I normally cover, which are more appropriate when programs are to be edited, as opposed to when they are shot —and potentially broadcast— live. The graphics for this article were done by Victory Elliot of Datavideo Corporation.
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