Avid in Burlington, Mass., announces thatthe film industry’s top creative talent used Avid Everywhere to bring some of the summer’s biggest blockbuster movies to life. The industry’s leading editors and sound teams used Avid Artist Suite creative tools powered by the Avid MediaCentral Platform to enable them to meet tight deadlines, collaborate over great distances, and work in harsh production environments to deliver some of the most popular films of 2015.
For the fifth installment of the Mission: Impossible franchise, Mission: Impossible—Rogue Nation, Editor Eddie Hamilton, Supervising Sound Editor James Mather, and Sound Re-Recording Mixer Mike Prestwood Smith relied on Artist Suite video and audio solutions to bring Director Christopher McQuarrie’s vision to life. While Hamilton cut the film using Avid Media Composer, the sound team relied on Pro Tools, Pro Tools | S6 and Pro Tools | S3.
According to Prestwood Smith: “With Avid’s creative and collaborative workflow, filmmakers can keep finessing their work, and get a lot more done in a shorter timeframe. Because of this new way of working, you can keep tweaking your mixes without having to compromise. As music cues change and the mix evolves, you can easily adapt all the other sounds in an organic way. Filmmakers can now keep their options open until the very last minute.”
The film and sound editing teams for Mad Max: Fury Road, the fourth film in veteran Director George Miller’s Mad Max franchise, and the first Mad Max film in 30 years, also relied on Artist Suite video and audio solutions. From their cutting rooms in Sydney, Australia, the editing team relied on Media Composer and the Avid ISIS shared storage to weave together more than 470 hours of location footage from the Namib Desert in Southern Africa into the final 120-minute film. Supervising Sound Editors Mark Mangini and Scott Hecker from Los Angeles-based Formosa Group worked alongside an Australian sound team, using Pro Tools.
“Pro Tools has become the de facto standard for feature film sound editorial and design, whether you’re designing sounds that you’ve never heard before or just doing traditional sound editing,” says Mangini. “As a worldwide standard, Pro Tools made it very easy to start the project in Sydney, transfer the final mix process to Los Angeles, and simply pick up where we left off.”
The talented supervising sound editors at Formosa Group used Pro Tools on several other summer blockbusters including Furious 7 (Peter Brown), Hot Pursuit (Karen Baker Landers), San Andreas (Per Hallberg), Insidious 3 (Martyn Zub), Stanford Prison Experiment (Martyn Zub), and Straight Outta Compton (Mark Stoeckinger and Greg Hedgepath).
“I can’t imagine using anything except Pro Tools. It’s the only way our workflow works,” says Stoeckinger. “Pro Tools allows you to understand what you’re creating as you go, and gives you the flexibility to modify things as you need to. With 768 tracks, you can put everything in one session, from sound effects to backgrounds, instead of having to go back and forth between sessions. For Straight Outta Compton, it helped speed up our work, which allowed us to spend more time on the creative process.”
“We congratulate our customers on creating some of the most popular movies of the year,” says Kyle Kim-Hays, senior vice president and chief marketing officer, Avid. “With Avid Everywhere we give filmmakers the collaborative workflows and creative tools they need to bring the biggest blockbusters to audiences everywhere.”
Visit Avid at www.avid.com/US/.
Find information on Avid Everywhere.
Find information on Avid Artist Suite.
Find information on Pro Tools.
Find information on Pro Tools | S6.
