Batman - The Dark Knight
Utdrag fra Avid.com:
Interchangeable Editing Systems
A busy travel schedule added another layer of complexity to the 15-month editing process. The editing team started work in Los Angeles, traveled to London and Chicago, and then back to London and Los Angeles. “There was no downtime between the setups,” says Lee. “We would fly out on a Thursday and expect to be at work on Friday.”
They used the same Avid Unity MediaNetwork system in each location, sending it on to the next editing locale a day or two ahead while using media backups on FireWire drives. Interchangeable Avid Media Composer systems were set up in the different editing suites by U.S.-based Digital Vortechs and U.K.-based Salon and could be quickly and easily plugged into the Avid Unity network as required.
The easy interoperability of various Avid systems also enabled the director to work off-site to keep the creative momentum going. In London, the editors cut the film in editing suites outside the city on weekdays and worked with the director at his home on weekends. “Chris’s home was in central London, so we’d take material on a FireWire drive, cut on an Avid [Xpress Pro system] on the weekend, and bring back the changes and plug it right back into the [Avid] Unity,” says Lee.
The editing team also used an Avid Xpress Pro setup on the sound mixing stage at Warner Bros. in Los Angeles as a reference for last-minute changes. “While the film was pretty much locked [at that point], there were still a few visual effects sequences that we were still working on, so we could quickly look at those,” says Lee.
The media-management capabilities of the Avid setup were critical for handling approximately 1,500 visual effects shots about 500 of which were repositions of the IMAX material for the 35mm print.
Because the IMAX negatives came in as a big square image, Smith had to extract a portion of those shots to include in the conventional film print.
“We had to look at them like visual effects,” says Smith. “We used the PIP [feature] as a camera operator in the Avid [system] to reposition [the IMAX shots] to fit in a conventional cinema. My visual effects editor, Tom Barrett, made a [PIP] template, which made it easy for us to dip into a shot, make an extraction, and send it to the visual effects department.”
The director had also requested that the editing team keep Batman Begins online as a reference, so the earlier film was loaded on the Avid Unity system as well. “It came in really handy,” says Lee. “We shot in Chicago and London for Batman Begins, so we could use some of the same aerial plates or plates for car chases. It was really helpful as temp material when we hadn’t shot those scenes yet. We also used some of the sound effects and a lot of the music for temp sequences. I thought we’d eventually move it off, but we kept dipping into it the whole time. So, we basically carried two feature films on the [Avid] Unity.”
Smith has been using Avid systems for years and views the systems as reliable workhorses capable of working with multiple films - and film versions - at once. “We try to keep technology as bulletproof as possible. These films are so complicated. We need the equipment to just be humming along,” he says.
Les hele nyheten på Avid.com (Engelsk)
Interchangeable Editing Systems
A busy travel schedule added another layer of complexity to the 15-month editing process. The editing team started work in Los Angeles, traveled to London and Chicago, and then back to London and Los Angeles. “There was no downtime between the setups,” says Lee. “We would fly out on a Thursday and expect to be at work on Friday.”
They used the same Avid Unity MediaNetwork system in each location, sending it on to the next editing locale a day or two ahead while using media backups on FireWire drives. Interchangeable Avid Media Composer systems were set up in the different editing suites by U.S.-based Digital Vortechs and U.K.-based Salon and could be quickly and easily plugged into the Avid Unity network as required.
The easy interoperability of various Avid systems also enabled the director to work off-site to keep the creative momentum going. In London, the editors cut the film in editing suites outside the city on weekdays and worked with the director at his home on weekends. “Chris’s home was in central London, so we’d take material on a FireWire drive, cut on an Avid [Xpress Pro system] on the weekend, and bring back the changes and plug it right back into the [Avid] Unity,” says Lee.
The editing team also used an Avid Xpress Pro setup on the sound mixing stage at Warner Bros. in Los Angeles as a reference for last-minute changes. “While the film was pretty much locked [at that point], there were still a few visual effects sequences that we were still working on, so we could quickly look at those,” says Lee.
The media-management capabilities of the Avid setup were critical for handling approximately 1,500 visual effects shots about 500 of which were repositions of the IMAX material for the 35mm print.
Because the IMAX negatives came in as a big square image, Smith had to extract a portion of those shots to include in the conventional film print.
“We had to look at them like visual effects,” says Smith. “We used the PIP [feature] as a camera operator in the Avid [system] to reposition [the IMAX shots] to fit in a conventional cinema. My visual effects editor, Tom Barrett, made a [PIP] template, which made it easy for us to dip into a shot, make an extraction, and send it to the visual effects department.”
The director had also requested that the editing team keep Batman Begins online as a reference, so the earlier film was loaded on the Avid Unity system as well. “It came in really handy,” says Lee. “We shot in Chicago and London for Batman Begins, so we could use some of the same aerial plates or plates for car chases. It was really helpful as temp material when we hadn’t shot those scenes yet. We also used some of the sound effects and a lot of the music for temp sequences. I thought we’d eventually move it off, but we kept dipping into it the whole time. So, we basically carried two feature films on the [Avid] Unity.”
Smith has been using Avid systems for years and views the systems as reliable workhorses capable of working with multiple films - and film versions - at once. “We try to keep technology as bulletproof as possible. These films are so complicated. We need the equipment to just be humming along,” he says.
Les hele nyheten på Avid.com (Engelsk)
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