Upcoming Dates

VFX Editing Workshop

$1,095


How many shows and films do you watch that have visual effects shots in them? My guess? All of them. The use of Visual Effects in TV and Film has grown considerably over the past number of years and is still growing. A show can have hundreds of VFX shots that needs(delete s) to be discussed, created, tracked and organized. This is the job of the VFX Editor. The (delete The) VFX Editors participate, organize, track and communicate information between editorial and the VFX department. This class teaches what you need to know to become a knowledgeable VFX Editor.

Our weekend workshop introduces the concepts of visual effects editing to existing editors and post production professionals. We will cover all the most commonly used editorial features using the ultimate software in the visual effects industry (The Foundry's NUKE). By using Nuke, we will go into the workflow of VFX editing for TV shows, films and commercials. Focusing on VFX editorial tools by reviewing basic pipeline workflows, shot ingestion/conform, reviews and deliveries processes. Other topics covered includes interpersonal and organizational skills, file types and the developing of a "techproof" VFX pipeline from scratch! We are also introducing students to a quick guide on preparing files for a color correction session. Throughout this class, prospective students will simulate a real life VFX workflow.

 

What does a VFX Editor do?

The VFX Editor job responsibilities are dependent whether he is hired on "client side" (i.e. working with production and the director of a project) or on "vendor side" (i.e working in a visual effects facility).

Client Side - The VFX Editor works in close proximity with the editor, director, the producer (in episodic shows, the show runner) and post producer supervisor. Among other tasks, he is responsible for assessing, tagging, organizing, managing, reviewing and maintaining all shots in the project deemed "visual effects shots". Meaning, shots that requires visual additional work in order to be part of the narrative of the show.

Vendor Side - The VFX Editor incorporates and updates all required versions of visual effects shots into the current cuts of the VFX / live action sequences the facility is working (features or episodics). The VFX Editor also has the ability to create a functioning environment where the Visual Effects Supervisor can evaluate any version of any shot in the current sequences, for aesthetic and technical direction. This position works closely with producers to manage all incoming media and outgoing deliverables.

 

How does the role fit with the rest of the post team?

Client Side - the VFX Editor works in close proximity with the principal editor, director, producer (in episodic shows, also the show runner) and post producer supervisor. He is also required to reach out to the vendor's assigned producer and editor for that specific project.

 

Vendor Side - the VFX Editor works closely with all producers, visual effects supervisors compositing supervisors and digital artists the facility might have. He is also required to reach out to the client's post producer and editor of the project.

 

Prerequisites:

  • No experience with Nuke is necessary
  • A working knowledge of Windows or Macintosh or operating systems
  • A background or experience in editing with an NLE (Premiere Pro, Final Cut Pro, Avid Media Composer, etc.)

 

At the end of this course you will be able to:

Having a solid concept on VFX editing and ready to apply the most common techniques used in the industry.  Students will add an invaluable extra set of skills.

What you will learn:

  • Basic concept of professional VFX editing for films, commercial and TV series (from client and vendor perspective). 
  • Main differences between VFX Editor and a “creative” editor.
  • Visual effects terminologies and basic concepts (2D, 3D and graphics).  Visible effects vs invisible effects. 
  • Conform, review and deliver a dozen shots, as practical exercises, using NUKE as a superior VFX editing system. Students will trace parallels with other non-linear editing softwares like Premiere Pro, Final Cut Pro, and Avid Media Composer.
  • Overview of Cinesync and other commonly used file sharing softwares.
  • Deep concept discussion over the most commonly used file types in VFX editing (DPX vs EXR vs JPG). 
  • Discussion and practice the best workflow approaches based on real life show specs.
  • File formats and its different purposes in the industry: download, streaming, source plates, inserts, master deliveries.   File types vs codec. 
  • EDL exports for D. I. (digital intermediate) post houses, a typical part of the general color management process in a motion picture, TV show or commercial project and deliveries to VFX vendors.

 

Each student gets their own workstation.  Weekend intensives are from 10am-6pm 

NEW DATES!!  April 8 - 9, 2017 (Saturday & Sunday)

 

Instructor Pedro Tarrago has been an online/offline digital film and video editor for the past eight years. He arrived in New York after graduating from Alchemea College of Audio Engineering in London.  

Recently, Pedro was the visual effects editor for Shade VFX NY office.  While Pedro was there, Shade VFX was nominated for an Emmy for Outstanding Visual Effects as a Supporting Role for season one of Marvel's Daredevil.  He has also been a freelance editor for Framestore NY, Alkemy-X, Gravity (former RhinoFX,) and J. Walter Thompson.  Some clients have include Red Bull, Geico, AMC, and Netflix.  Other VFX projects he has worked on include season one of Marvel's Jessica Jones and season two of Marvel's Daredevil.

Previous editorial work includes associate editor and online editor for the feature length documentary 2012 - Time For Change,  That film won Best Environmental Documentary at the Chagrin Documentary Film Festival and was an official selection at the Awareness Film Festival, the Rio International Film Festival and the São Paulo International Film Festival. 


Cost: $1,095

Certification cost: NA