[et_pb_section fb_built=”1″ admin_label=”section” _builder_version=”3.0.47″][et_pb_row admin_label=”row” _builder_version=”3.0.47″ background_size=”initial” background_position=”top_left” background_repeat=”repeat”][et_pb_column type=”4_4″ _builder_version=”3.0.47″ parallax=”off” parallax_method=”on”][et_pb_text admin_label=”Text” _builder_version=”3.0.47″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” use_border_color=”off” border_color=”#ffffff” border_style=”solid”]As the demands of today’s leading filmmakers evolve, so do the capabilities of the tools they utilize to create content. Nowhere is that more evident today than in the success of the fifth installment in the Mission Impossible action film series. Christopher McQuarrie was brought in to helm “Mission: Impossible – Rogue Nation” under difficult circumstances, all of the previous movies had been successful at pushing forward the action-film genre, and at least this much was expected of him. So how do you simultaneously break new ground in a crowded field and meet the increasingly intense demands of a big Hollywood production studio?
Avid Everywhere’s Cutting Edge Technology
The name of the game in post-production software these days is fluidity. Edits need to be active throughout production and available to all facets seamlessly. Surface controls have to be flexible and adaptable. Avid Everywhere has matched the best of existing cloud technology to their industry standard hardware and software to enable creative fluidity with professional quality. This leap forward in the media workplace not only allows for a shorter production schedule, but also a much more dynamic collaborative experience.
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No Mission is Impossible
The Hollywood studio system is notorious for imposing strict deadlines, especially for their more high-brow features. However, this did not phase the team of director Christopher McQuarrie, supervising sound editor James Mather and sound re-recording mixer Mike Prestwood Smith, who would exemplify the creative melding of the minds that Avid hopes to attract. The team finished the film five months ahead of schedule, and all of them came out of the experience praising Avid Everywhere’s ability to help them collaborate creatively with more fluidity and better communication. Mather and Smith worked almost exclusively with Pro Tools to mix the film’s sound and have gone on to express their dedication to Avid’s hardware and software.
Avid Everywhere isn’t the only player in the content production game, but they have the most experience with big budget Hollywood features, and their focus on this new media workplace format will make sure they retain that standing. Avid has spent the last few years unveiling new creative tools, and evolving their staple programs to integrate seamlessly into the Avid Everywhere format. This new method of digital production affords the creator instant access to software updates, fixes, live assistance and more importantly the work of collaborating artists.