WALTER MURCH 2015: FCPX, AVID, PREMIERE PRO
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- Опубликовано: 27 окт 2015
- Walter Murch speaks openly about the state of play of the major editing systems in use in 2015.
In the aftermath of the end-of-life of the original Final Cut Pro, there are 3 main systems used by professionals: Abobe Premiere Pro, Apple Final Cut Pro X, Avid Media Composer.
Walter provides his perspective on what works for him, and his latest experience working with Adobe Premiere Pro.
As one who has experienced, and been part of, the process of technological change in cinema, Walter’s insights are deep and profound.
Watch part 2 of this interview: WALTER MURCH 2015: 4K TECHNOLOGY AND BEYOND
www.moviemachine.tv/video/walter-murch-2015-4k-technology-and-beyond/143188593/
Walter Murch Bio.
Walter Murch has been editing picture and mixing sound in Hollywood since starting on Francis Ford Coppolas film The Rain People (1969). He co-wrote, sound-edited and mixed George Lucass THX-1138 (1971), and then supervised the sound editing on The Godfather (1972), sound-edited and mixed American Graffiti (1973) and The Godfather: Part II (1974), got his first Academy Award nomination and won a double BAFTA for picture editing and mixing The Conversation (1974), won his first Oscar for Apocalypse Now (1979), and an unprecedented double Oscar for sound and film editing for his work on The English Patient (1996).
Editing Credits
Tomorrowland 2015
Cutaways (Documentary short) 2014
Particle Fever (Documentary) 2013
Hemingway & Gellhorn (TV Movie) 2012
The Wolfman 2010
Tetro 2009
Youth Without Youth 2007
Jarhead 2005
Cold Mountain 2003
K-19: The Widowmaker 2002
The Talented Mr. Ripley 1999
The English Patient 1996
First Knight 1995
I Love Trouble 1994
Romeo Is Bleeding  1993
House of Cards 1993
The Godfather Trilogy: 1901-1980 (Video) 1992
The Godfather: Part III 1990
Ghost 1990
Call from Space (Short 1989
The Unbearable Lightness of Being 1988
Captain EO (Short) 1986
Apocalypse Now 1979
Julia 1977
The Conversation 1974
Touch of Evil (1998 re-edit) 1958
Dickson Experimental Sound Film (Short) (2003 release) 1894
Sound Department Credits
Cutaways (Documentary short) (sound designer) 2014
Particle Fever (Documentary) (sound re-recording mixer) 2013
Tetro (sound re-recordist) 2009
Youth Without Youth (sound re-recording mixer) 2007
Seeing in the Dark (TV Movie documentary) (sound mixer) 2007
Jarhead (re-recording mixer) 2005
Cold Mountain (sound re-recording mixer) 2003
K-19: The Widowmaker (sound re-recording mixer) 2002
The Talented Mr. Ripley (sound re-recording mixer) 1999
The English Patient (sound re-recording mixer) 1996
First Knight (sound re-recording mixer) 1994
Crumb (Documentary) (sound re-recording mixer) 1995
Romeo Is Bleeding (sound re-recordist) Â 1993
The Godfather: Part III (sound re-recording mixer) 1990
Ghost (sound re-recording mixer) 1990
Dragonslayer (sound re-recordist) 1981
Apocalypse Now (sound designer) / (sound montage) / (sound re-recording mixer) 1979
The Godfather: Part II (sound montage) / (sound re-recordist) 1974
The Conversation (re-recording) / (sound editor - uncredited) / (sound montage) 1974
American Graffiti (sound montage) / (sound re-recordist) 1973
THX 1138 (sound montage) 1971
Gimme Shelter (Documentary) (sound) 1970
The Great Walled City of Xan (Short) (sound) 1970
The Rain People (sound montage) 1969
The New Cinema (TV Movie documentary) (sound) 1968
Dickson Experimental Sound Film (Short) (sound designer - 2003 release) 1894
22:25
Wow! Great interview. Is there a transcript of this? I love the part where he mentioned visual literacy and knowing how to make a film coming out of a high school because we are manipulated by the media and what movies show us.
Well,... I found this helpful. It's good to know someone like Walter runs into the same problems I do. It gives me hope as I try to learn the Software and build a computer system able to run it too... I'm just a little guy. A Musician trying to leave something behind from our Fans recordings. Trying to build showcase videos of our work from many different sources. The Tech and gear is constantly evolving.
Great interview ... I'm thinking about heading back to premiere after years now on fcpx. To me it's the organization of fcpx interface and files that I still am not happy with.
Brilliant interview. The closing point on FCX was insightful.
WHY THE HELL is that poor guy standing there holding a bounce when there is a perfectly good C-Stand right behind him that he can mount it on?
The industry uses AVID MC. All of the interviews & job offers I've had have all used AVID with the second selection being PREMIERE PRO. I don't know ANYONE who uses FCPX professionally. I prefer PP & see AVID as quite confusing, but the thing is, as I say, AVID is more or less the industry standard for major TV & film companies. Not so much the smaller ones. Editing is editing to me. Choose one you like & use it. The industry shouldn't penalise any individual who uses one program over another.
Premiere user myself too and love it, but Adobe also step backwards sometimes such as discontinuing support for Speed Grade as they perceived dwindling interest in it based on forum activity, but in so doing lost useful features that aren't yet in AP, though 3rd party solutions exist. Overall and despite crash bugs and other issues, it's still a joy to use.
Avid fixed the audio track issue in 2016. I wonder what his updated take on Avid & Premiere Pro is.
love the piano analogy iTunes updates sums up apples thinking with programmes and updates. you commit so much to learning the latest versions and keyboard shortcuts before you know it you're a mac user and it's too hassle to break out.
Anybody know what the "Joel Coen Arrow" is called inside Premiere Pro??
What a strange juxtaposition, Walter Murch, a person who has created so many interesting works, with so many interesting things to say, in such a poorly produced video. What's up with the lighting? The missing finger edit mentioned. The cuts back and forth from Murch's face to the back of the interviewer's head?...and as also already pointed out, did Apple pay for this? The interviewer constantly steers the dialog back to FCPX even though Murch keeps saying that they (Apple) chopped it up into a beginner level NLE. He basically says he used Avid, then did some work with FCP until Apple dumbed it down, then he moved on to PP except when working with teams of people who are only all familiar with Avid. And, yeah, the guy standing around with the reflector, wth?
Any trouble with audio and shhhzhehfghh background sound? :D
You guys do know there is no answer for which NLE is the best? Each NLE has its own strengths and weaknesses and so do we as editors. Some NLEs are better equipped for certain tasks and some of us are more comfortable using certain NLEs.
What's this dynamic editing on the fly feature he talks about at like
I wonder what's his take on the triple A's now in 2021 ? and about Davinci Resolve too which is getting a lot of hype these days.
Very eloquently put by Mr Murch
Great
Avid has 64 tracks, not 25. He doesn't mention Resolve, which is really where editing systems are evolving toward.
than you, but i'll stick with avid.