“I can drag something to the left and it goes over to the big monitor so that I’m able to look at a cut full-screen, or have more real estate for the Avid bins.” ILM also sent Holley a large monitor that acts as an extension of her laptop’s screen space. All the assets (like new shots, dailies, plates, etc.) are accessed remotely via Avid NEXIS.
Chronosync vs goodsync software#
She’s using remote desktop software (similar to Chrome Remote Desktop, or AnyDesk) to connect her laptop to an Avid at ILM. I’m actually remoting into an Avid that’s in San Francisco,” said Holley. “I’m using a lot of different software - some proprietary - and platforms to upload cuts and get material for the Avid, get media, do reviews, and so on. They already had a handle on remote collaboration before COVID hit and were able to quickly set up Holley for this current feature. ILM has studios in several major cities around the world: Singapore, Sydney, London, Vancouver, and San Francisco. I’ve heard people say they don’t ever want to go back to the cutting room because of what remote editing allows them to have in their personal life, like being around their kids,” said Holley, who is currently remote-working on a major feature film for Industrial Light & Magic (ILM) in San Francisco from her home in Los Angeles and spending time with her cat.
“Editing is happening differently now, which allowed us to keep working through the pandemic. Holley is asking people to send her photos of their remote editing setups to document this new chapter in history. We’ve gone from that to multiple screens to flat screens and you think, ‘What could possibly be next - holograms on the wall or something?’” I have a photo of Editor Randy Morgan working on “ER,” and he’s using this little chunky computer. She said, “I have a photo of Carol Littleton, Bruce Cannon, and Kathleen Korth working on “E.T.” on a Moviola.
Chronosync vs goodsync archive#
Back in 2007, she started an archive for MPEG that not only includes vintage editing tools, but also has a photo collection of editors at work. Visual effects editor Sharon Smith Holley, who is also Secretary for the Editors Guild’s board of directors, has a unique and thorough perspective on just how much editing has evolved. Issues like securely sharing assets, syncing drives, reviewing visual effects, or cutting on an AVID without being in a studio have all been worked out to some degree and, more importantly, are continuously being improved. The longer the pandemic stretches on, the more comfortable editors are becoming with working remotely. But another curve has been flattening as well: the learning curve for remote editing. PHOTO: COURTESY SHARON SMITH HOLLEYĪt the start of the COVID-19 lock-down, there was much talk about “flattening the curve,” as in reducing the number of new COVID cases.
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