Whisker Elixir

Here's a fun interstitial piece I cut with Craig "Sven" Gordon from Cartoon Network.
It was my first experience working with 4K files shot on the Red Camera.
I did a 2 stage down convert to get it to the final delivery which you see here.
First I used the Red Rushes software to go from 4K to 1080i. This enabled me to edit in Final Cut at a viewable HiDef television format. Then after taking the finished edit through Color I did a 4:3 center cut in Final Cut for the NTSC air master.
It was a fun project that allowed me to explore some new work flows.
I was also really impressed with the director Alex Winter. He did a great job getting these kids to deliver on a tricky script.

TCM Uncut

Here are 3 spots I cut for TCM at the end of 2007.
I was thrilled to work with writer David Byrne of TCM for the first time.
My good friend Tripp Rhame of Spitfire Studios shot these with his Red Camera.

Memorial Day

For Memorial Day 2007, Cartoon Network ran a stunt where the network had been taken over by aliens. Here's a promo I cut with writer/producer Ben Amick.

That Crook'd Sipp

That Crook'd Sipp represents the collision of many worlds. Show creators Nick Weidenfeld, Jacob Escobedo and Mike Weiss drew inspiration from sources as diverse as William Faulkner, Fractured Fairy Tails, and current Hip-Hop culture. Directed by Adam Fuchs, the show is produced at Turner Studios.

Final Cut Pro

With the start of 2007 I move to editing on Final Cut Pro (version 5).
I have spent the last 15 years editing primarily on Avid Media Composers. I suppose this is the beginning of a new era of work for me. Right away I can tell some significant difference between the systems. Avid was designed by film and linear tape editors and as such has hallmarks of both environments. Final Cut seems to be engineered as a file based editing system much more comfortable with mixing formats and file types. Avid handles files O.K. but lives and dies by timecode. Final Cut can handle timecode, but it clearly was something that got added to the mix rather than used as a basic building block. Avid could be quite constrictive with respect to formats and interfacing with other programs, but as long as you are creating standard NTSC television, the program keeps you on track. Final Cut seems wide open with respect to flavors of video providing plenty of opportunities to hang yourself as an operator if you aren't paying attention. My current one liner..."Final Cut maybe an easier program to pick-up, but its a much more difficult program to run correctly."

Scrubs

I got to work on a couple of spots for Comedy Central in the fall of 2006.

Working with Writer/Producer Dave Drabik we came up with 4 spots.

Scrubs Unorthodox from Jon Dilling on Vimeo.

Scrubs - Wrong from Jon Dilling on Vimeo.

Scrubs - What You Want from Jon Dilling on Vimeo.

Srubs Promo Operate from Jon Dilling on Vimeo.

What struck me about working with the session materials was how well organized and sensible everything was. The graphics, the voice talent, the style guide. Everything was organized in a very logical and easy to execute fashion. I have a lot of respect for those in charge of putting together this network's look.

Stroker & Hoop

Stroker & Hoop was created by Chris Kelly and Jeff Olsen of Cartoon Network. This was the second animated series that I worked on. I always thought the show was smart and funny and really fit the AdultSwim format. That's why I'm still not sure why the show only ran for a single season. The production model for the show closely follow the template we used for most of the Harvey Birdman Attorney at Law episodes.

Stroker and Hoop from Jon Dilling on Vimeo.