The Art of Editing: How Eddie Hamilton Creates Cinematic Action

[@EliasMonchele]

What app is this

[@The_Rough_Cut]

That is Avid Media Composer.

[@jesusmanucci5989]

Eddie Hamilton is a treasure in the post production world.

[@StephenVStone]

This is fantastic to delve into your process. I learned so much from your very first timeline share and adopted and adapted into my editing years ago. This new one is packed with useful tips, much appreciated. The only next level would be to give us peek at project start, mid-way through, the end end. Again, great stuff and love the movies and your cutting BTW, you're one of the best.

[@sameerbhayafilms]

This is by far the most interesting and fascinating timeline tour I have ever seen. I really appreciate just how much detail Eddie goes into about his timeline. For aspiring editors, this kind of information is a gem to find and greatly appreciated. Thank you!

[@icontentacademy]

You are an amazing person Eddie. Thanks for sharing your knowledge and your timelines. Extremely informative.

[@mervyn2316]

This channel deserves way more subs

[@jmalmsten]

One thing I wonder when I see these massively multilayer timelines is... What is it like actually moving stuff around. I mean, if I need to rearrange some clips. Are the various bits religiously linked together vertically so that you can move them without stuff going missing or accidentally show up where they shouldn't? :)

[@jakubvansa2584]

In Avid Media Composer (software used) you can link together various clips in timeline. You just cant. However Eddie has all tracks "sync locked" (the tiny "/" button next to the track names) so almost never any part of timeline gets to place where it should be.

[@indfusion]

Informative as always and since I appreciate structure, insightful into the processes involved in such massive and mercurial productions like the later McQ MI movies are - which probably demand such organisation to remain sane. I like the color coding of the characters, something I do with media types and given the limited colours in Resolve, could be done with flags as well. Thanks so much Eddie and the Rough Cut for these additions to the interviews.

[@TzetziLazarov]

Question, I'am from the Dutch filmacademy. Why do we still use 8 reels? We deliver film digitally. Everything can fit on one HDD. One reel. So why 8? And not 6? Or 1? Thank you for the video. Amazing work.

[@The_Rough_Cut]

Sorry for the late response. Mostly it has to do with breaking up the work into manageable pieces for a collaborative workflow. You can't reasonably "turn over" the entire film between picture, sound and vfx at the same time. Adhering to the film convention of breaking the film up into reels helps make it easier for the teams to work on different pieces of the film at the same time.

[@jayhunthuntcreative]

Amazing work. Brilliant

[@AbhijitRoycreativica]

Very Informative and helpful video. Thanks!

[@nkarfootTv]

That is very interesting. But dose that mean you don't have one full length Movie Reel? Are the 2 hours cut as 6 reels? How do you link them altogether to play in the movie theatre?

[@walkerwhited]

Goes to the online editor(s) once theyre 100% done, and the online editors finish with what the DI has done and the re-recording mixers and get it ready to output the full quality film with all reels together. Theyre not outputting the film you see in Avid (usually)

[@jmalmsten]

If you want, you can simply put the six timelines in a master timeline to play it back in full. Using reels is a solution to keep things in manageable chunks. Back in the film emulsion days, those workprint reels would be the cutting instructions of the finished prints that were struck from original negatives and internegatives, and it was very impractical to spool around a full 90-180 min movie on a flatbed edit suite especially as the first assembly edits can have hours of extra scenes, setups and footage. Also, back in those days, it was a way to divide labor. As you could have several editors working on their own reels at the same time. Or a single chief editor bouncing between flatbeds instructing assistant editors. As I understand it, lot's of these things were brought along from those times to modern digital NLEs. Like how we have bins instead of folders. With todays computer power and vast storage spaces. You certainly can do it all in the same timeline if you want.

[@TzetziLazarov]

And this has nothing or also something to do with the Dan Harmon 8 story structure acts? Just curious what came first, the 8 story acts, or 8 reel lengths. Considering the 5 tv commercial breaks, have their own code, that devide the story in 6 beats. How do you guys do that?

[@imjavierpalma]

Hell of a job!

[@jcKobeh]

Thanks for these videos! As he says, this sort of thing would've been impossible to see back in the day. Question: so the master export of the movie is 8bit 4:2:2 DNxHRSQ? As opposed to a 12bit 4:4:4 ???

[@technaut7633]

As i understand it he just uses it to save some storage during production of the VFX shots. Also the SQ versions are for screenings during production. Its like Proxys. I think the master is still in the best Quality you can get as you said DNxHR 4:4:4.

[@walkerwhited]

Ya online editors will take this and put the reels together and finalize in a much higher quality, most likely not outputting the final in avid. These smaller codecs are for ease and quick reviews.

[@jcKobeh]

@@walkerwhited so, are these working as proxies, the same way an editor will work with proxy files and the colour correction will be on the RAW files? If I understand correctly: the colour studio will output a semi-proxy for the editor, and a full quality for someone else that finishes the master export?

[@walkerwhited]

@@jcKobeh Exactly

[@jcKobeh]

@@walkerwhited thank you

[@bkgamer1889]

what do you edit on

[@The_Rough_Cut]

Avid Media Composer

[@jpslife_]

witch software is it

[@The_Rough_Cut]

Avid Media Composer

[@christiancollins1596]

where can we download these timelines?

[@The_Rough_Cut]

Christian, keep an eye on the Avid social media account. If they don't show up there soon, Eddie usually posts them on his website. EddieHamilton dot com.

[@Mark_TDD]

@@The_Rough_Cut The timelines haven't appeared on either of those places so far.

[@moviereview-rw2xs]

avc intra 100 way better than dnx hr and prores

[@jakubvansa2584]

Not for actual editing. Prores and DNx have each frame stored separatelly, so they have worse quality but are faster to work with.

[@moviereview-rw2xs]

avc intra also record each frame@@jakubvansa2584

[@jmalmsten]

Remember, this is a workprint. They don't need full spatial and color resolution. They need something that can be played back reliably for massive amount of footage over lots of drives. DNxHR and ProRes may not be the most efficient formats. But they are relatively low effort to display. And they look good enough on the NLE of choice. And... Again. They are well understood and industry standard, so hardware and software know how to deal with the files fast enough to be used in productions of these scales. And another aspect is that since they are the standard. Pretty much anyone in the industry can be handed the files and know that playback won't be a problem

[@moviereview-rw2xs]

avc intra and dnx both are intra codec

[@moviereview-rw2xs]

in my test avc intra 100 full quality 4k use 70% cpu.. dnx hd lb take mu 70% cpu. i'm not kidding