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It is patently obvious…
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Simon Ubsdell
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[Simon Ubsdell] “On occasion, I’ve even had the opposite happen – where the production liked our graphics so much they used them for the film itself. In fact, this happened to me again only this week. “
cool. 🙂 I once did a wild cheat/recut of of a gag in a trailer, and they recut it in the film to match it. Silent validation. lol
[Simon Ubsdell] “it’s worth bearing in mind that trailer companies are usually working on the movie a very long time before it’s even finished, or indeed completed principal photography.”
mmm, dailies…
-studio calls…-
Studio: “Here’s the first 3 daily rolls, we need you to cut a teaser from these. Make it look big”
Vendor: “Great!, you got it!”
-studio hangs up-
Vendor” “*&%*^*#$&%*#^*^#!!!!!!”————————————————————-
~ My FCPX Babbling blog ~
~”It is a poor craftsman who blames his tools.”~
~”The function you just attempted is not yet implemented”~ -
[Charlie Austin] “cool. 🙂 I once did a wild cheat/recut of of a gag in a trailer, and they recut it in the film to match it. Silent validation. lol”
Good on you! Yes, it does happen – surprisingly often. Trailer editors aren’t actually the hapless drones that they’re usually perceived to be – a lot of them that I know can edit way better than a lot of feature editors.
[Charlie Austin] “mmm, dailies…
-studio calls…-
Studio: “Here’s the first 3 daily rolls, we need you to cut a teaser from these. Make it look big”
Vendor: “Great!, you got it!”
-studio hangs up-
Vendor” “*&%*^*#$&%*#^*^#!!!!!!””Brilliant! That totally sums it up.
Simon Ubsdell
tokyo-uk.com -
[Simon Ubsdell] “a lot of them that I know can edit way better than a lot of feature editors.”
Yeah, totally different skill set though. I have a ton of respect for feature editors, it’s a huge undertaking. We recently worked on some little robot movie and had all the dailies. The studio didn’t have a cut, so (as happens quite often) our fresh out of film school assistant, mostly by herself, cut the whole damn movie together. (god bless her!)
I cut a couple scenes and the hardest part for me was to resist the urge to tighten everything up. I’m so used to cramming the entire movie into 2 minutes or less I didn’t know what to do… lol My attention span is way too short.
3D titles will change all this. ;-D
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~ My FCPX Babbling blog ~
~”It is a poor craftsman who blames his tools.”~
~”The function you just attempted is not yet implemented”~ -
A little off topic (who? ME?), but I was just interviewing one of the VFX teams for Ultron, and we wound up talking at some length about the TWO targets for production: opening day and Comic-Con…and the one for Comic-Con being a lot harder, because it had to happen without disrupting forward progress toward opening day. There was the additional problem that typically NOTHING is locked by then — not picture, not sound, certainly not VFX.
Comic-Con attendees are pretty savvy to this, and you rarely hear about them savaging unfinished footage (although talk to the teams for Tron and The Hobbit), but they have to cut with a completely different strategy even than for a trailer. You have to deliver such that their good word of mouth will carry you forward for months.
Sort of back on topic, at least re: trailers, it may be the cinematic art I most respect. A nearly infinite amount of moving pieces (not even the PERFORMANCES are locked down), and a ridiculously short timeframe to create a compelling standalone piece of art….which is often better than the movie itself. Remarkable.
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to be fair – given the PPro text tool is like livetype took acid and decided to try and be a mini photoshop inside an editing system – that stuff really doesn’t look bad at all. the per character dynamics and turns are fab? God be with the days of invigorator in AE.
but you’d think it’s a mortal lock adobe are going to hit typography in PPro inside the next few revs. And that will mean native character paragraph panels with all the trimmings. For my part I think adobe are gone all out to the mattresses on PPro. Relative to the 2 million base apple assembled with FCP7 in mid 2010, you’d think adobe have eyed that and have gamed out PPro as the best thin end of the CC adoption wedge for at least the next 12-18 months of projections. As the producer in the pre-nab talk highlighted – this stuff, their performance executing their CC software, is, bar the marketing cloud stuff, quite literally all they care about in the world.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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Those trailers were fun. I guess with FCPX and 3D titles it is time to update my LyneisFilm Ltd logo, even it no professional would use 3D type.
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Um… yeah. Guess one could see that coming. They do look really nice but, all due respect to The Ripple Guys (and Szymon too) templates like these are more or less useless to me. Way too over the top, I’d be laughed out of the room for submitting something like this. But they’re not meant for me… Now, if someone clever were to make some “classy and possibly actually useable” templates, I’d be all in. Thing is, you’d probably sell like 10 copies. These wild things will fly (in 3D!) off the shelf… lol
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~ My FCPX Babbling blog ~
~”It is a poor craftsman who blames his tools.”~
~”The function you just attempted is not yet implemented”~ -
Like anything, I think the 3D Text will be of real value in the TV broadcast work I do… again subtlety is key…
A nice sit down interview, with a nice depth-of-field name-strap placement using the Z-axis for example with this new text feature…will work well.
I know Fox Sports here in Australia use a lot of similar techniques here:
Again, Aindreas takes to the task of bashing FCPX with a sledgehammer without any real respect for the detailed analysis of the features added.
Dean Neal…
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[Simon Ubsdell] “it’s worth bearing in mind that trailer companies are usually working on the movie a very long time before it’s even finished, or indeed completed principal photography.”
Ahh, the light bulb goes on, even if rather dimly. Didn’t realize that. Thanks to Charlie and Simon – a further example of why I head out to this pasture first thing every morning.
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf
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