Low-Budget Fantasy Film Turns Epic with Avid Media Composer
Editor Jim Page tells his story of helping a compelling low-budget film have a big budget impact using Avid Media Composer.
Arthur and Merlin (or Arthfael and Myrdinn as they are called in the film) is the passion project of Movieworks, who aim to create a new model for British films by bringing together up and coming professional talent and providing a distribution and production platform, almost like the Hollywood studio system, something that does not really happen in the UK.
My involvement came by chance. A friend and fellow editor had been approached to edit, but was already booked, and he suggested me. After 11 years as an editor of documentaries for the likes of BBC and Discovery, and years of cutting short films unpaid, this was my first paid feature.
The film had already been shot on 2K ALEXA, and so all the material was there for me. I was able to cut natively, which saved time and conforming time. Without an assistant, I was concerned about days of syncing hours of audio and video, but happily a scratch audio track existed (a basic mixdown of all the audio channels recorded from the on-set mixer), so I could cut straight away.
The way I approach cutting scenes is as follows:...[continue reading on Avid blog]
"...even if most people will watch it on DVD or VOD, it needs to feel designed for the big screen."
Editor Jim Page Gave Low-Budget Fantasy Film ‘Arthur and Merlin’ the Epic Feel It Deserved with Avid Media Composer
Avid blog by Jim PageArthur and Merlin (or Arthfael and Myrdinn as they are called in the film) is the passion project of Movieworks, who aim to create a new model for British films by bringing together up and coming professional talent and providing a distribution and production platform, almost like the Hollywood studio system, something that does not really happen in the UK.
My involvement came by chance. A friend and fellow editor had been approached to edit, but was already booked, and he suggested me. After 11 years as an editor of documentaries for the likes of BBC and Discovery, and years of cutting short films unpaid, this was my first paid feature.
The film had already been shot on 2K ALEXA, and so all the material was there for me. I was able to cut natively, which saved time and conforming time. Without an assistant, I was concerned about days of syncing hours of audio and video, but happily a scratch audio track existed (a basic mixdown of all the audio channels recorded from the on-set mixer), so I could cut straight away.
The way I approach cutting scenes is as follows:...[continue reading on Avid blog]
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