Aindreas Gallagher
Forum Replies Created
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[Brett Sherman] ” I find music editing much easier. “
do you not find the system whereby there are no global timeline markers a bit irritating?
Also – and I should check this really, but that if you blade during playback, it always blades all tracks?
Even just those two moronic limitations alone I think I would find pretty infuriating when trying to work effectively with music.
but i guess ymmv.but there seem to be quite a few things that would really annoy someone about trying to work effectively with music?
[Brett Sherman] “It’s also more efficient with screen space. In FCP 7 I used to devote an entire monitor to the timeline so I could see all the tracks without scrolling up and down.”
It’s odd you should say that – I do find FCPX incredibly inefficient vertically as a timeline. Even the guy on FCPX grill made the point that the timeline was very vertically bloated. Also the fact that you can’t do a true overwrite of a connected clip etc – it always felt a bit stupid and skyscraper-ish as you just keep pressing Q, and it keeps heading higher.
Also the fact that, three years later, there are no keyboard shortcuts for track height is basically the funniest thing I’ve ever heard. I always presumed cupertino was doing that just to drive you all completely insane.
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well, if you really want to bite down on the oncoming singularity – augment/supplant the dancers in the above post with some industrial robots.
the cameraman here could maybe just conceivably have been a human, but well – it’s not.
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[Franz Bieberkopf] “I think in all of the exteriors, the only thing “real” is the faces, … so an inch here and there on the arms may not have mattered.”
I know.. that’s completely true, they are broadly floating faces – but I think it applied largely to the scenes where they interacted with the stations. There is stuff out there where takes were halted because of very small physical movement failures on the actor’s part. that they were sock puppetting 3D character previz interacting with rigid bodies – he did construct exact environment facsimiles of close quarter portions for key scenes – mirroring edit specific previz – even if it was only the expression of body movement, for er, I really don’t know, say their neck and head reaction to body translation? there would have to be at least body trunk and shoulder translation movement match involved at points. stretching and grabbing under close unbroken continuous camera like. bullock especially. very weird version of knowing your lines.
You’d think the deadly serious match sell to the audience was in the first 20 minutes. after that he got to go to looney tunes CG town.surely some consolation to the actor to know their spine and upper body movement was involved in the performance at points?
again – Beckett did actually put actors in soil up to their necks.aherm.
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saying that Franz, a thing might possibly come into your head – even just watching that touch of evil shot again – say there are around maybe two hundred odd marionettes across crew, principal actors and extras hitting every mark like a bell. over the course of roughly two hundred odd seconds across 900 odd yards.
its gorgeous the people cutting perfectly and cleanly across the frame again and again. lots of street traders to slow that car down.
although what in the hell with that elevation to building height and down again to track. I don’t care what the explanation is.
everyone has heard the – adolescent orson welles holding his wet kidney out, satan biting on it, cross roads rumour.but still – ok I liked this article – better than anything in print for me:
https://provideocoalition.com/shullfish/story/gravity-co-editor-and-oscar-nominee-mark-sanger
there’s this bit:
We had multiple takes to choose and mould performances from, but the actors would be presented with the animated cut in the morning and restricted to performing within the confines of what had been edited. This was due to the need to light the actors and their movements in the same way as the lit animation in the cut. It meant that Sandra & George were heavily restricted during the shoot and the fact that this is imperceptible onscreen is a testament to their astounding abilities.
It’s not so much any single take that is mind boggling, it the fact that the film was edited before the actors walked on the stage.
In terms of stage direction, Clooney and Bullock basically performed a Beckett stage play. Where, you know, Cuaron was Beckett. they couldn’t move their arms literally an inch past stage direction/previz.
My Ma did a few Beckett stage productions, and it’s incredibly stoney soil for the actor, gravity sounded serious stoney soil for those actors – it was an extreme expression of director intent. Cuaron had physically moved them to the inch before they arrived, they enacted his will down to fingertip.
Actors have very mixed thoughts about beckett, and you’d be surprised if the two leads didn’t have some odd internal moments in the process of making that film for cuaron.The takes were broken down by my team conventionally but also to a minute level of detail as what makes an Alfonso Cuaron for me is always the detail. I could usually access any take, line, word or breath at any given moment.
that is, to be fair, a pretty atomised actor. its maaaybe not surprising they are moving like a herd towards high level novel length narrative outside “film”.
or that complete unknowns are taking lead roles in many current blockbusters.
https://www.nytimes.com/2014/03/02/magazine/the-last-disposable-action-hero.html?pagewanted=all
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he said trying to have a go: it looks like there is maybe plexus there for the elastic line linking stuff? and a whackton of trapcode? i thought some bits could be form? the echo line repeats on two minutes going into fractal distortion was the bit tasty. feels like there was a final effects lens going on top of that after for a bit?
actually – after booting AE up – I haven’t used lens in ages. you forget how gorgeous it is. Am I mad – why is the CC lens version limited to 100+ convergence max? didn’t FE lens allow you to numerically insert past 100?also – where is my iceboard to accelerate effects on my G3?
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man I love touch of evil. that shot still feels impossible.
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I listened to a 90 minute talk mike figgis gave at the Guardian open weekend – he spoke quite a bit about putting that together – compared it to scoring music more than editing. Tragically I completely forget half the detail – but he is an extremely interesting dude.
he was scandalously indiscreet about hollywood too. Had some hilarious stories about hollywood producers and richard gere.
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i know someone who worked edius for the asian games. it is a crashy cream pie of awful in their experience.
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[Walter Soyka] “The fact that CC’s Files doesn’t let you play a video in the web browser yet bothers me a lot more. “
yeah, I figured that elephant doesn’t even need mentioning at this point. John davidson wrote a good piece on it in the other place. He was mindboggled.
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[Walter Soyka] “I also remain hopeful that the service layer side of CC will grow over the coming years, expanding our capabilities beyond what product-only desktop software can do.
“the CC font selection is rather crappy, to the point of being meaningless – if that was startlingly strong that would shift my own needle a wee bit – the facility to use good fonts on non-internal (ahem) films would feel like adobe using their scale and heft with the CC base in an amazon S3 fashion to get me some surprising benefits. They don’t even have eurostile for god’s sake. Say even if they presented the full Helvetica Neue family. That might turn heads a tiny bit.
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