I fell in love with the way Avid managed media (something FCP sucks at) but always preferred Final Cut’s user interface.īoth had their strengths and weaknesses, but between the two they seemed to encompass the entirety of the professional market. Pretty soon I was able to move between the two fairly effortlessly. I continued to freelance using FCP, but was forced to get up to the same level of skill with Avid. Not long after I got my chops, I ended up getting a full-time gig at a TV channel that was all Avid. Despite having a basic working proficiency with Avid, I took out a loan to buy my first Mac (a completely badass dual-core G4 Quicksilver that I still own) and a copy of Final Cut Pro 2 (FCP).įCP was the first editing software that I learned inside and out, and it enabled me to start making real money as a freelance video editor. When I graduated I started to freelance and immediately saw that Apple had a business model that was really targeted towards the little guy: powerful software that ran on off-the-shelf hardware and had a (fairly) affordable price point. Towards the end of my college career, I learned my first non-linear editing (NLE) software: Avid Media Composer. In college, I learned to edit 16mm film on a Steenbeck and spent my summers as an intern at Cinema Concepts here in Atlanta, breaking down 35mm prints into 30-second trailers and checking them on a Moviola. As a teenager my first forays were with the dreaded linear, tape-to-tape 1/2-inch setup, consisting of a couple of S-VHS decks, monitors and (if I was lucky) an Amiga with VideoToaster (cube wipes!). In the 20 years that I’ve been cutting film and video, I’ve had my hands in just about every possible flavor of editing that you can imagine.
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