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1 week ago | 
digitalfilms.wordpress.com | Oliver Peters
Solid Sate Logic (SSL) became an icon of rock-n-roll when it started manufacturing mixing consoles in the 1970s. Two signature features of those original consoles were the inline channel strip, which integrated a preamp, EQ, gate, and compressor on each input channel, and the outgoing stereo or 2-bus compressor.
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2 weeks ago | 
digitalfilms.wordpress.com | Oliver Peters
I’m currently at the tail end of editing a documentary feature film. Unlike dramatic features, documentaries are more often than not built in the cutting room. There are various approaches, but part of the process is figuring out what the story actually is. This is often hard to tell at the outset for a documentary that might involve a few years of production, countless interviews, and tons of supporting footage.
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2 weeks ago | 
digitalfilms.wordpress.com | Oliver Peters
I’ve written about project organizational tips for editors several times over the years. In that time, my structure and methodology has evolved. I organize my edit projects, media, and exports within folders in a template. The number and complexity of these folders has evolved, such that today, it’s a much simpler and less rigid layout than a few years back. The point of using this is so that a project can stay within its own silo – making for easy location of material and eventual archiving.
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4 weeks ago | 
digitalfilms.wordpress.com | Oliver Peters
Many of the newest features being added to editing software involve various forms of artificial intelligence, such as Generative AI. Let me start by saying that I’m not a big fan of AI. I view its biggest proponents as charlatans promising to deliver the answers to all of your problems. Likewise, its biggest naysayers predict the end of humanity at the hands of our AI overlords. I’m somewhere in-between. After all, I did use Adobe Firefly to generate the header image at the top.
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1 month ago | 
provideocoalition.com | Oliver Peters
“Inspiration comes, but she has to find you working.” – Pablo Picasso Walter Murch is possibly the most eclectic film editor today. He’s been nominated for nine Oscars and nine BAFTAs with three wins in each, covering both sound and picture. He’s also done screen writing and directing, including the feature film Return To Oz for Disney.
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1 month ago | 
digitalfilms.wordpress.com | Oliver Peters
Adobe has slowly been revamping the color management scheme for Premiere Pro – first in beta and now in the two most recent updates of the application. The new processes are akin to how DaVinci Resolve handles these same tasks. However, I would caution that if you don’t have proper monitoring, enabling all of these color management functions can get you into hot water very quickly.
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1 month ago | 
digitalfilms.wordpress.com | Oliver Peters
Many different types of compressors have been created during nearly a century of broadcast and studio hardware development. The classic 1176 Peak Limiter was developed by Bill Putnam of Universal Audio in the 1960s. It used an FET (field-effect transistor) instead of vacuum tubes for gain reduction. Various versions were marketed under the UREI brand name until Universal Audio was re-established by Putnam’s sons.
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1 month ago | 
digitalfilms.wordpress.com | Oliver Peters
Traditional post facilities have largely ignored Apple’s Final Cut Pro after its relaunch over a decade ago as Final Cut Pro X. In spite of that, the application has actually outlived its predecessor, Final Cut Pro versions one through seven. The NLE has found a strong following among editors working in social media and streaming services, like YouTube. According to Nielsen Media Research, in 2024 streamers had 40% of the viewers, with the remaining 60% split between cable, broadcast, and other.
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1 month ago | 
digitalfilms.wordpress.com | Oliver Peters
As an editor, I am often responsible for the mixes on my projects. These include commercials, short-form documentary-style productions, corporate videos, and branded content. More often than not, the final mix is done within Premiere Pro as part of the whole project. These mixes are usually simple – dialogue, music, and a few sound effects. Anything more complex goes out to a pro audio studio. Nevertheless, these mixes need to be as good as they can be.
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2 months ago | 
digitalfilms.wordpress.com | Oliver Peters
Noam Levinberg is the driving force behind Safari Pedals plugins, but his other career is as a mastering engineer with 20 years of experience. Watch his videos and you’ll see a custom mastering console on the desk and a rack of outboard hardware. These are the inspiration behind the newest Safari Pedals plugin, the Sun Bear bus compressor. Although this is marketed as a mastering grade compression plugin, it’s equally at home on stems like a drum mix, as well as on your stereo mix bus.
