Breaking Down The Post and VFX Workflows for BARBIE

BARBIE 1st assistant editor Nick Ramirez and VFX editor Matt Garner explore the post and VFX worklfows they employed for editor Nick Houy ACE on Greta Gerwig's billion dollar blockbuster. Nick shows his tracks for "track wide" reverb and better timeline management while Matt details their "active" VFX methodology.

[New_Perspective]

There's something so rewarding about looking at a fully edited finished timeline in full. It really puts into perspective how much work and effort you put into it. Almost like stepping back from the canvas you just painted to fully admire it.

[juliabresnan]

The timecode separation is genius, makes it so much easier to quick glance and understand where everything is

[Divino_]

Cool video, I'm impressed to see people have such organization and mastery in their work. I hope to be able to be like this one day.

[smareng]

Love the reverb tip. I was using mixdowns when the clips weren't long enough.

[brennanbarger]

Always lovely to see the layout of everyone's workflow! Thank you so much for taking the time to do this. Also, thank you to the editors for talking about everything in such great detail! Going to take a couple of pointers and apply them to my own workflow.

[someonewithsomename]

I like how in marketing they are saying there is no VFX in the movie.
And then you see the timeline and see, that Barbie has more VFX shots then some of the Marvel super-hero movies

[saurabhkumarjain]

As a director finding a feature film editing timeline is no less than a happy accident. And that TC separation feels like a great logistical management when it comes to shooting a complex scene involving shots to be shot in layers.

[garreditor]

No VFX shot titles? I’m a VFX editor myself working with 2, 000 shots now as well!

[briancorrell]

How did they do the timecode separation?