Powered by MediaCentral, Avid’s solutions have enabled editors and mixers of Murder on the Orient Express and Molly’s Game to bring the films to life.

Avid empowers Hollywood storytellers to bring films to life

Editors and mixers of Murder on the Orient Express and Molly’s Game relied on Avid’s Media Composer and Pro Tools to create this holiday season’s biggest films

Two Hollywood films — Murder on the Orient Express and Molly’s Game — that are slated for release this holiday season were created using Avid’s solutions. Powered by MediaCentral, Avid’s creative tools provided “speed and consistency” with collaborative workflows to propel these imaginative stories to the silver screen.

Featuring an all-star cast including director and producer Kenneth Branagh, and actors Judi Dench, Michelle Pfeiffer, Johnny Depp and Penelope Cruz, Murder on the Orient Express gives audiences a thrilling ride on the opulent Orient Express train.

Bringing the film to life was Mick Audsley, editor, who relied on Avid’s Media Composer for this project. Audsley said: “Working with Ken on his first feature film was a pleasure, and a first for me as I’ve never cut a film for a director who was also a leading actor.

“Media Composer played a key role in our editing process, allowing us to edit efficiently and helping us manage and meet our tight deadlines. It’s important that the process is quick and painless so we can progress smoothly without falling behind.”

Based on the true story of Olympic skier Molly Bloom’s fall from grace, Molly’s Game is an American crime story about Bloom’s secret life. The film follows how she became the mastermind behind the world’s most exclusive high-stakes poker game for a decade before being arrested by the FBI.

Michael Benavente, supervising sound editor, and his editorial team at sound post-production company, Formosa Group, utilised Avid’s Pro Tools audio solution to bring the film’s soundtrack to life.

Benavente concluded: “With sound editorial crews working in both the US and Canada, Pro Tools became an international language that the entire sound team understood. It allowed both editors and mixers to incorporate and work with each other’s sessions seamlessly, helping us to give Aaron Sorkin’s directorial debut the rich soundtrack it deserved.”

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