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The Globe-Trotting Editorial Workflow of ‘Fury’

Editing World War II drama Fury involved a team of people—working under principle editor Dody Dorn—across 4 international locations, including the UK and Los Angeles.

“Things were being passed back and forth between us…and being refined,” Dorn explains to RedShark News of the team effort. “I was at base camp doing three different things. I was cutting scenes on [Avid] Media Composer, I was preparing set references and I was cutting tap footage so the director could get an idea what he had.”

Dorn credits features in Avid Media Composer for making the collaborative workflow possible. “With the 8-hour time difference, we had a 24-hour editing room running completely across the four ‘global’ systems. We used locators and titles within Media Composer for the departments involved to track various tasks throughout the process, giving us a fluid informational flow across the board,” she says, adding “Features in Media Composer like match back and reverse match back saved us time and gave us the option to go back to any point in the edit and take a fresh look at things.”

Read the full story here.