« What I like about VEGAS is that I don’t need any special hardware - it works well on any PC. I can start editing on my laptop and move to my desktop. It is just so smooth and fast that it makes it a breeze. »
Miguel de Olaso, alias Macgregor
Publicités : Jeep, Nescafé et Lexus ; films : One Minute Worlds, Vivarium
Miguel de Olaso, connu professionnellement sous le nom de Macgregor, est un réalisateur basé à Los Angeles. Des années après avoir commencé à filmer des vidéos à seulement 11 ans avec une caméra vidéo volée à ses parents, Macgregor brise les barrières avec ses films primés.
Nous avons rencontré Macgregor pour en savoir plus sur son dernier projet « One Minute Worlds », ses processus créatifs et les astuces qu'il pourrait transmettre aux cinéastes qui débutent.
Q: On your website, you confidently state that you like to create films for fun, and for money. Looking back, now being so immersed in the film making industry both as a hobby and as a profession, at what point in your life did you know this was the path you wanted to take? Have you always been a creative at heart?
A: I guess I have to pull the stereotypical card here - I stole my parents video camera when I was around 11 years old and started filming everything I could. Indiana Jones short films, cowboy duels, star wars miniatures… I’ve been fascinated with movies ever since I was very young… I would watch them over and over again in our Betamax player -- from The Thief of Bagdad to Ghostbusters. It has always been very clear to me, since I was a kid, that I wanted to be part of movie making in some way.
Q: Between your commercials and films, your work is quite diverse. What is your biggest source of inspiration? What do you believe gives you a creative edge over other editors?
A: Sources of inspiration come from my interests. I really like cars, I have a small collection and like to race them. So I think shooting cars comes naturally. Sci-fi is another very big interest of mine; I spent my teenage years reading Arthur C Clarke books and european fantasy comic books. A lot of my short films have either been sci-fi or had a cinematic edge bordering on otherworldly.
Q: You have been using VEGAS since the early 2000's, now editing with the latest VEGAS Pro. What features or tools do you gravitate towards the most in VEGAS Pro? Which features spark your interest to experiment with further?
A: I think I started with Vegas pro 2.0 back in 2000. Damn! 21 years ago! I remember thinking that this program was much more advanced than what I had been using before. And also very intuitive, within a day I felt very comfortable editing video and mixing audio in VEGAS. This was before any of the modern digital cameras we are used to now had come out, and obviously no DSLRs -- good old DV captured through a firewire cable. What I like about VEGAS is that I don’t need any special hardware - it works well on any PC. I can start editing on my laptop and move to my desktop. It is just so smooth and fast that it makes it a breeze.
Q: If VEGAS is your favourite software tool, what's your favourite camera and format to shoot in?
A: These days I have the luck of being able to work on commercials that have the budgets where I can choose whatever tools are best for the job. I’ve been shooting on Arri Alexa for the last 6-7 years as the quality and images it produces are highly regarded. Nothing rivals it. I also have a couple mirrorless cameras for run-n-gun type projects or where I need a smaller camera for certain shots. I currently shoot with a Fuji XT3, which is mindblowing for the price.
Q: Your latest project, One Minute Worlds, looks absolutely incredible. What’s the backstory on that? You mention editing on the go, is your post production workflow constantly evolving?
A: I wanted to make a series of shorts, shot in a way I have not seen on screen. Short, punchy, visually striking, but high quality. I had gathered some ideas over the years and got together with a friend, writer Phil Gelatt, and he wrote a couple of scripts for possible stories. One thing led to another, and I on-boarded Ruairi Robinson to also direct one of the stories - and we ended up in Iceland and New Mexico shooting the first three of the series. For editing now, I upload everything into cloud based storage. This gives me flexibility, and makes me feel safer because I don’t have to worry about constantly backing up the data. It also makes it easier because I can edit from any device…. on the go for example, and then continue editing at home without needing to backup files.
Q: As a successful creator, what words of wisdom can you pass down to editors that are just starting out? What do you wish you knew 20 years ago?
A: There’s no excuse now! Get out there, shoot, and start putting together projects! 20 years ago technology could be a barrier for new filmmakers. You had to shoot on film, which was laborious and expensive. Now, for a couple thousand dollars - you can buy everything you need to shoot a film. You could go out with a DSLR right now, and at the end of the day you will have a card full of footage that you can start editing and coloring into a film in your bedroom. It’s mind blowing.
« I edit during my travels on a laptop, so I need to work with limited computing power, which often becomes an issue with heavy 10-bit 4K video formats. Luckily when I create proxies together with enhanced GPU decoding in VEGAS Pro, the preview runs smoothly even with effects applied. »
Réalisateur, cinéaste : « Aaron Hadlow: TWENTY », TheKiteMag, IKSURFMAG, Kiteworld Magazine et People Are Awesome.
« VEGAS Post has significantly streamlined my workflow. From keying to advanced color correction, to complex titling and more, VEGAS Post puts so many tools I regularly use into the same ecosystem. »
Réalisateur chez Bucket's Moving Company
Fender, AEA Ribbon Mics and Preamps, Brian Wilson, Jimmy Page, Jerry Lee Lewis, Luke Bryan, Florida Georgia Line, Stone Temple Pilots, Jennifer Nettles et Brad Paisley, NFL, Bridgestone, Fender, L'Oréal, Spotify, ABC, RAM trucks
« The solid integration of FXhome's compositing tools added to VEGAS Post is something that dreams are made of! The interface is so clean in both pieces of software, and everything is intuitively found where I think it should be. For me, to be able to stay in one cohesive ecosystem, means that my workflow isn't hampered by switching between separate software packages to get the job done.
Combining VEGAS Pro amazing editing capabilities, and staggering selection of audio and video plug-ins, with a very serious piece of compositing software, has been an amazing feat. »
Cinéaste indépendant, éditeur
« In the early 2000's, I started using VEGAS Pro to make anime music videos. VEGAS has always been the most efficient. Since then I've taken on media projects of all sizes, from film editing to sound design, from motion graphics to visual effects. To this day, it remains my content creator tool of choice. »
Artiste, producteur, youtubeur
Smosh, Popsikl, Sa'ann
« I like how the unified coloring workflow in VEGAS Pro lets me color correct everything in one effects chain without adding multiple effects like brightness & contrast, color corrector, color curves & white balances. Coloring in VEGAS Pro is now much better than ever before. »
Dato Aliff Alex
Lensa Langkasa Production
« VEGAS Pro has always been my go-to editing software and in TV speed is super important. VEGAS continues to bring what I need to succeed: speed and dependable performance.
My favorite feature has to be the Color grading workflow and Optical-flow slow motion. We have an amazing community and I'm glad VEGAS makes it a priority to listen to our feedback. »
Producteur d'engagement, The Weather Network
« Stormchasers », The Weather Network
« I've tried most editing software, but nothing compares to the freedom of VEGAS Pro's timeline and workflow. VEGAS simply allows you to edit your way so you can worry less about the technical and more about the creative. I'm super in love with the Unified Color Grading. It's a huge time saver that I didn't know I needed. »
Coke, Chevrolet, Universal Records
« I have tried other NLEs in my career, but I prefer VEGAS Pro because it’s very intuitive and it allows me to create content in lightning speed, and in my industry sometimes speed is everything. When Cardi B. was scheduled to perform at the BET hip-hop awards her manager called me and said they needed an intro with various clips of her for the performance, and they needed it in an hour. I instantly knew what I wanted to do so I jumped right into VEGAS Pro and was able to create an incredible intro using 3D glitching transitions without any additional plug-ins. »
Réalisateur/monteur et responsable des contenus vidéo et numériques pour Akonik Label Group
Akon, Ceelo Green, Cardi B., Jadakiss, Meek Mill, Raekwon, Redman, Black Rob, Styles P., Sheek Louch, French Montana, Lil Cease, Lil Kim, Maino
« I have tried many production programs. VEGAS Pro is my program of choice. In this industry, time is a precious commodity. VEGAS has the power that I need to create complex mixes and its ease of use allows me to work fast and efficiently. »
Vétéran de la musique, auteur, formateur, conférencier
Tony Bennett, Roy Orbison, Linda Ronstadt, Glenn Miller, Johnny Cash, Lifehouse, Kasey Chambers
« I’m using VEGAS Pro because it’s among the – if not the single – most stable NLE software out there. I had various issues, crashes and bugs with other programs but then a befriended editor recommended VEGAS Pro. I gave it a try and stayed due to its stable performance and easy to use features. From my experience VEGAS Pro is very easy-to-use for newcomers and veteran editors alike. »
Vidéaste en freelance
« I never knew how much I needed VEGAS Post until I got my hands on it! VEGAS Effects lets me easily create beautiful visual effects that you would see in any of the latest superhero movies. VEGAS Image makes it simple for me to create posters, cover art, thumbnails and more without hassle. VEGAS Post is truly the ultimate package that I use every single day and don't know how it can get any better than this! »
Youtubeur, live streameur