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The Editblog on PVC

by 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 fi...

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PVC at NAB 2014 - DaVinci Resolve Gets More Edit Friendly

Lots of new editorial features highlight Resolve 11

By Scott Simmons | April 20, 2014

Sure Blackmagic Design had important new camera surprises (covered here by Matt) but it was the new features of DaVinci Resolve that most caught my eye. Why? Because they have added even more editorial tools to Resolve v11 and are building it into what looks to be a quite capable editor.

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PVC at NAB 2014 - Red Giant talks Universe, BulletProof, PluralEyes and more

There's even some subscription and Instant 4K talk as well

By Scott Simmons | April 14, 2014

I couldn’t go to NAB without stopping by and visiting the folks at Red Giant Software. Their big news was the launch of Red Giant Universe and I talked with Sean from Red Giant about just that. But I didn’t want to let the other stuff go by unmentioned either so a talk with Randon gets us some info on Bulletproof, PluralEyes and the new Instant 4K.

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PVC at NAB 2014 - Talking CION workflow with AJA

As well as discussing some of their other NAB products

By Scott Simmons | April 13, 2014


While all the biggest news and coverage out of AJA came around their surprise CION camera I took my turn interviewing Bryce Button of AJA about a few things beyond the CION. I wanted to chat about another interesting surprise from AJA called the LUT-box. This unassuming $695 interface sits just outside of your viewing monitor in the signal chain and is designed to transform that signal with a 3D LUT. Yes some monitors can support a LUT so you wouldn’t need the device in those situations but there are many places where the LUT-box will be a great addition. Plus it’s the only box of this type designed for such a specific task.

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PVC at NAB 2014 - Talking GPUs with NVIDIA

As well as how NVIDIA might help extend the life of an old Mac Pro

By Scott Simmons | April 13, 2014

We all know NVIDIA as a very important makers of GPUs for our post-production computers. But NVIDIA also makes a lot more stuff including the Shield portable and some serious rendering technology. But I didn’t talk to them about that stuff instead concentrating on those GPUs that apply to those of us in post-production … specifically how we might be able to use some of that NVIDIA technology to extend the life of an old Mac Pro. We talk Open CL, CUDA, Adobe CUDA specific acceleration and using multiple GPUs.

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Sunday at NAB. Nice, quiet, productive.

Even with pre-NAB announcements it's one of the best NAB days

By Scott Simmons | April 06, 2014

Sunday at NAB can be an interesting time. The show floor hasn’t opened yet so you’re not constantly bombarded with new product announcements (though today seems to be an exception), people aren’t moving around like maniacs and the hallways of the Las Vegas Convention Center halls aren’t madhouses. As one of the speakers at Post|Production World I took advantage of my favorite perk: being able to sit in on some other classes and learn.

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HitFilm is bringing a plugin package to your NLE ... and After Effects of course

Here's a quick look at what to expect when this capable little package ships

By Scott Simmons | April 04, 2014

Most everyone in the post-production business has heard of HitFilm, the interesting little alternative non-linear editor and effects package from FX Home. In 2013 they completed a successful Kickstarter campaign to bring HitFilm to the Mac. Now they are making plug-ins for that NLE you might already be using that will cost you $499. And NAB 2014 is the perfect place to launch it.

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Adobe Premiere Pro CC NAB preview

This next version of PPro adds some big flashy new features and lots of little things editors will love

By Scott Simmons | April 01, 2014

It comes as no surprise that Adobe has a big video tools reveal in store for NAB 2014. All the video apps in the Creative Cloud get updated as the slow and steady advance of their video tools continue. It’s no surprise that Adobe Premiere Pro CC gets my main focus as the NLE keeps getting better. Check out detail on After Effects and the other CC apps as well. While there are signature new features that will get most of the press there’s a lot of utilitarian things that hardcore storytellers will appreciate. No word on exactly when this will ship but keep an eye toward the Creative Cloud.

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Red Giant BulletProof adds some significant, needed features

MXF, the ability to ADD and not COPY are chief among them. Oh, and PluralEyes integration.

By Scott Simmons | April 01, 2014

Red Giant software has announced quite a few new things just in time for NAB 2014. There’s a new Magic Bullet Looks reborn, and PluralEyes 3.5 with the ability to correct for sync drift. But what I wanted to point out is a couple of significant new features in BulletProof 1.2.

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My NAB 2014 Post|Production World sessions

If you're attending, these are the classes I'll be teach. Please come!

By Scott Simmons | March 24, 2014

NAB 2014 is just around the corner and I’m happy to once again be leading several sessions at the Post|Production World Conference. Avid Media Composer, Adobe Premiere Pro CC and panel discussions are on the agenda amongst all the other things at NAB. I’m always humbled and honored that a random editor from Nashville, Tennessee gets to interact with editors and production folks from all over the world during these sessions. As I’ve said before, I learn as much as they do.

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Looking at the Tangent Element from an Editor’s POV

Does an editor need to spend thousands of dollars on a color grading control surface?

By Scott Simmons | March 16, 2014

If you’re an editor these days then you’re probably asked to do some color correction and color grading. In fact you might not ever have the luxury of sending a program out to a dedicated colorist. Chances are you also make use of DaVinci Resolve for many of those color grading tasks as it works amazingly well and the very powerful lite version is free. Those using Resolve and any other number of color grading tools will definitely find that a dedicated control surface like the Tangent Element is a luxury that will make that color work a lot more fun and productive.

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Useful Tools for Editors - Editors Retreat Edition

The Gearheads session provided a nice list of useful tools for editors and filmmakers alike

By Scott Simmons | March 13, 2014

If you read my Notes From the 2014 Editors Retreat post then you might have seen the mention of a session called Gearheads. This was a fun session where attendees were asked to submit some piece of gear they like or find useful. This could be hardware, software, an app, anything really. I though the Gearheads submissions would make for a great Useful Tools for Editors entry. Here’s some that I made note of.

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Notes from the 2014 Editors Retreat

It was my first time attending and I really want to go back

By Scott Simmons | March 06, 2014

This past week I was able to attend my first ever Editors Retreat in Savannah, Georgia. It was an unbelievably fun week of learning, networking, eating and drinking. This was an event I have wanted to attend for years but 2014 was the first time it has worked out. While not inexpensive, I made the decision to attend in January after a number of Editors Retreat alumni all said the same thing: the Retreat is a great creative reboot. I whole heartedly agree.

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Hey Adobe, how about that video focused Production Premium CC bundle?

Even if it only saved us $60 a year, that's something

By Scott Simmons | February 22, 2014

When Adobe ditched the “boxed software” model of pay one price get the product forever and moved to a monthly subscription model the outcry was loud. Some loved it. Many hated it. There were more level headed critiques. Most of use were more like: whatever … how much and is this software good? From the video production perspective it is good, even great, software tools that Adobe is creating these days. But while installing CC on a new laptop the other day I couldn’t help but wish we still had some type of video focused Production Premium CC option. Like our cable subscriptions, many of us are paying for things we’ll never, ever use.

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Useful Tools for Editors - Winter’s End Edition

Lots of FCPX stuff in this list. And a $150 iPad app

By Scott Simmons | February 18, 2014

It’s been awhile since we’ve looked at some Useful Tools for Editors so with this new batch of utilities that have popped up recently let’s have a look. We’ve got quite a few for Final Cut Pro X, a color correction app for those with deep pockets and one that might help with tricky file format conversions.

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Editing video with the EditShare Field2

While a single editor connected isn't EditShare's exact target market the Field2 performed very well

By Scott Simmons | February 03, 2014

A recent edit saw the opportunity to test out a type of media storage that I hadn’t used before: that unit was the EditShare Field 2 portable shared storage server. A hard drive isn’t just a hard drive as configurations, connections and speed are all determining factors when it comes to choosing storage. It’s also important how storage performs in the field as the file-based acquisition world we live in means drives are just as important on the set as they are in the edit suite. Enter the EditShare Field 2 as it went right from shoot to post.

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Music To Edit By (In the Background, Not the Timeline)

Some Twitter suggestions to help build your playlist

By Scott Simmons | January 28, 2014

Do you like to listen to music while working post-production? I very often do depending on the task at hand. Certain parts of post-production lend themselves well to music: color grading, logging and marking b-roll, stringing out a paper edit just to name a few. I was doing some of that... Read More


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A Q and A about those hard drive docking stations we all use

Are they good? Bad? Dangerous? Will you lose data?

By Scott Simmons | January 24, 2014

If you work in post-production then chances are you have one (or more) hard drive docking stations and a slew of bare hard drives to insert into the dock. They are very affordable, come with many different connection options and are incredibly convenient. Back in August the Digital Cinema Cafe featured guest Topher Martini and they talked hard drives. There was a comment about drive docks that made me want to follow up with Topher. The result is a short Q and A about hard drive docking stations (and a lot of pics of those who are using them).

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A Q and A with Avid about Sphere, ISIS and Interplay

I admit to not being able to keep these products straight so I thought I'd ask Avid to explain them to me

By Scott Simmons | January 08, 2014

Adobe made a big splash over the last year + with Adobe Anywhere, their “real-time collaboration” platform meant to connect editors without physical limitations. If you have the right hardware then Adobe Premiere Pro CC is ready for Adobe Anywhere. Avid also has their own version of this real-time collaboration idea … in fact Avid had this option available before Adobe had Anywhere. It’s called Interplay Sphere and I don’t know much about it. Since The Editblog did a Q and A with Adobe about Anywhere it’s only fair we do the same with Avid.

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Kicking the Tires on Final Cut Pro X 10.1

The update is new, big, fast and free. Still missing stuff.

By Scott Simmons | December 20, 2013

Thursday was the big day that Apple Final Cut Pro X users have been waiting for for quite a while as FCPX 10.1 was released into the world … for free. I had been waiting for it to so after a rather painless update process, first to OSX Mavericks then to FCPX 10.1, I was up and rolling the morning of the release for a couple of days of editing. I wouldn’t call this update Earth-shaking, though there are some very welcome changes. But I wouldn’t call it inconsequential either because if you’re working with FCPX you going to want to be on 10.1 … without a doubt.

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NLE Review: Adobe Premiere Pro CC

How do you begin to thoroughly review an NLE as deep and feature rich as something like PPro?

By Scott Simmons | December 10, 2013

If you follow what has been going on in the world of non-linear editing tools for the past few years you know that Adobe has been working very hard to make Premiere Pro a viable option for every aspect of editorial and post-production. The Adobe Premiere Pro team has been asking questions, listening to editors and improving their product with release after release pretty much ever since CS4 came along. I’m happy to report that with Adobe Premiere Pro CC the tool really has arrived.

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