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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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Kicking the tires on the Final Cut Pro X 10.0.3 Multicam updateThe ease of setup and managing multicam clips makes this the best FCPX update yet
As we all know by now Apple released their promised update to Final Cut Pro X that added multicam. It’s only been a week and there’s already a lot of articles and tutorials about how this new feature works. I sat down with it some over the weekend to kick the tires and see how it performed. What follows are some thoughts, notes and observations as I was working with it. I was especially curious as to how it might work for music videos. more »
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Most recent comments by:
Scott Simmons,
brucesharpe,
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Clean those Adobe Media Cache FilesAnd reclaim some drive space in the process
I learned something today about Adobe Premiere Pro that I was unaware of. The application creates a media cache when it imports media and that media cache seems to default to the system drive in the user Library folder. This cache can balloon in size over a period of time as I found out when cleaning up a drive. But it can be easily cleaned and relocated. more »
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Most recent comments by:
Rob,
Scott Simmons,
Rob,
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Some Avid Tools You Might Not Already Be UsingHere’s a few things in Media Composer that makes editing faster and easier
Most all of the tools we use in post-production are quite full featured. They’ve been updated over many years with features added along the way. Avid Media Composer is one of the most full featured of the non-linear editors out there. I’ve had several occasion where I’ve been working with other MC users and they ask “how’d you do that?” Or “what was that button?” On the flip side I’ve been working around other editors and I learn something entirely new myself. Here’s a few tools that Media Composer has which you might not know about. more »
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100 Final Cut Pro X Questions AnsweredThese are questions asked before, during and after recent FCPX webinar
Recently I hosted a Final Cut Pro X Hands On Tour webinar for FilmmakingWebinars.com. It was a great event with 90 minutes of FCPX for over 800 people attending. (An archive of that can be purchased btw). People often ask questions before, during and after the webinar. Here’s 101 of them that were asked, answered to the best of my knowledge. more »
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(6) Comments •
Most recent comments by:
John Paul,
THX1965,
Scott Simmons,
THX1965,
Scott Simmons,
THX1965,
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Advertisement 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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Most recent comments by:
Scott Simmons,
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ProxyMill - the encoder that can encode just about every camera format out thereIncluding XDCAM directly to ProRes. I’m sure there’s some camera that ProxyMill can’t encode but it seems to do more than most any I’ve used.
I don’t do a lot of XDCAM work. Before the Canon revolution it seemed there was a lot more Panasonic HXV200 shooting than XDCAM in my market. But that recently changed as two Sony EX-1 projects came on board. As I was figuring out workflow for the first time I was researching the best way to get the media to ProRes for a Final Cut Pro edit. It seemed it was a two step process: re-wrap the original media to XDCAM .mov files and then convert those to ProRes. Finally I found an answer to the single step: ProxyMill from Imagine Products. Though it wasn’t without a bit of frustration. more »
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Most recent comments by:
Ra-ey Saleh,
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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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Most recent comments by:
Scott Simmons,
oxband,
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Quicktips 2011 Day 31: Using the FCP Change Speed SegmentMarch 3, 2011 - This little known FCP speed tool can help with clip speed manipulation
I came across a little tool in Final Cut Pro the other day that I had never before explored so I thought it was worth sharing as one of the last Quicktips in this 2011 edition of 28 Days of Quicktips (now on day 31). It’s called Change Speed Segment… and I found it when I was mapping the regular Change Speed button to my keyboard. No matter what your opinion is of “speed ramps” changing the speed of a clip very often comes in handy. Change Speed Segment is another way to control speed changes. more »
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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.
Gear In 60 Seconds – Nauticam NA-60D
Getting watery trick shots with this DSLR housing
Here’s another FreshDV Gear in 60 Seconds video, on the Nauticam NA-60D housing for Canon 60D DSLR stills & video. In this case, we used the housing to get some wild trick shots for a short narrative film. Watch me jump off a waterfall in the video below…
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