So we used jump cutting, stylized edits and contemporary sound and music to give an edginess to a classic story.” “This Houdini was more of a psychological thriller. “Part of my challenge was to make Houdini not feel old-fashioned, to give the show a more modern feel for younger viewers who may not know who Houdini was,” says Plisco. The director, producers and network all had “a strong vision” of the Houdini they wanted to present to a contemporary audience. SABRINA PLISCO, ACE, EDITOR Giving a legend a new look data management capability is the key to making a project successful, especially when you’re getting files from Europe and have to make sure everything translates. CineSync sessions and Skype calls looped in editorial for VFX meetings and reviews. “We shot some ourselves with a low-resolution camera to use as placeholders in the edit.”ĭavid Beatty also mocked up a number of transitional VFX shots such as animated maps which were then turned over to Sean Farrow on location with the production. “It was mostly a list of details,” says Plisco. “By the end we were reviewing VFX every day to hit the deadline.”Īs the edit progressed, the team provided the director with a “roadmap” of insert shots they needed to complete scenes-often transition elements such as a burning candle or the glowing end of a cigarette butt. “We brought in a second assistant to deal with the crunch of VFX data,” she says. “Data management is the key to making a project successful, especially when you’re getting files from Europe and have to make sure everything translates.” Keeping track of extensive VFX shots called for careful data management. She notes that Media Composer’s data management capabilities were “extremely important” to a project spanning thousands of miles. I’ve been cutting on Avid since it first came out. Generally, though, he gave us free rein to experiment and play.” Distance and time zones were a bit challenging, but Uli would check in with me at the end of a long shooting day. “We used a DAX file-sharing system so executives in Budapest could watch dailies, and we shipped QuickTimes to the director as needed. Houdini followed a “pretty typical” workflow, says Plisco. Plisco is no stranger to file-based shows, having cut both films in the Smurfs franchise, which were shot with Panavision Genesis and Sony F55 4K cameras. ARRIRAW files were sent digitally by the film’s data wrangler to EPS where Valman prepared dailies every morning and prepped scenes for Plisco to cut. Houdini was shot with ARRI ALEXA cameras on location in Budapest. “I’ve been cutting on Avid since it first came out,” she says. An Avid ISIS share storage system at the facility was partitioned to make files available to Plisco, co-editor David Beatty, assistant editor Jered Zalman and a second assistant Paul Alderman who joined later to help with turnovers and VFX.Īn “Avid fan from the beginning,” Plisco recalls working on a TV movie with Avid 3-gig shuttle drives in the early 1990s. Her editorial team set up shop at EPS-Cineworks in Studio City, California, which furnished multiple Avid Media Composersuites, including a laptop-based system for exporting files. during production, where she established a collaborative editorial environment based on the Avid Artist Suite and Avid shared storage solutions, all powered by the Avid MediaCentral platform, to meet the demands of an accelerated schedule. Houdini was directed by Uli Edel, written by Nicolas Meyer and shot over a 45-day period in Budapest, Houdini’s birthplace. Starring Adrien Brody as the celebrated illusionist and escape artist, Harry Houdini, the mini-series shows the real man behind the legend who took the world by storm in the early 20th century. Instead, the four-hour production from A&E Television Networks and Lionsgate Television called for editor Sabrina Plisco, ACE, to apply her practical skills, a creative mindset and Avid Everywhere to tell a well-known story in a very different way. No magic tricks were performed during the edit of Houdini, the two-part History Channel mini-series.
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