Andrew Rendell
Forum Replies Created
-
It is usually very noticeable when watching on a tv screen, although it might not stand out if there is very lttle movement in the shots.
If in doubt, step through field by field and chech that the movement is going forward when you step from a field 1 to a field 2.
-
Scott’s done one of the nicest precis of editing that I’ve seen for a while there.
One thing I’d like to go into a little further is this:
Pace is not something you do to or do with your shots. Pace is inherent in the shots. A well timed cut is one which is sympathetic to the pace and rhythm of the preceding and following shots.
You have to develop your ability to read/feel the pace of each shot and feel how the pictures interact with each other and with the soundtrack.
Once you get that, you’ll see how an editor can manipulate pace to get certain emotional effects, in a way that I think of as similar to a musician playing off the beat, building or defusing tension by cutting tighter or looser to the rhythm of the shot.
The danger of cutting to music is that you can let the pace of the music dominate the pace of the visuals. Music should be an additional element that modifies the pace/rhythm of the sequence, rather than swamping the visuals (unless the visuals are there to support the music as in music videos, when one would tend to choose clips where the visual pace supports or contrasts with the music, depending on the effect you’re after, as necessary). Of course music can vastly alter the mood of a piece, but it’s most successful when you have the visuals and the soundtrack working together. (N.B., working together could mean contrasting as well as complementing).
-
Re-compressing is a sure way to lose quality.
DVDs use MPEG2 coding so using H264 as an intermediate step is likely to be pretty disastrous IMO.
The least bad way to go about what you’re trying to do would be to rip the DVD into ProRes, do the subtitling, then encode back to MPEG2 assets to burn a new DVD.
Also, keep the same pixel size, pixel aspect ratio and interlace status (unless you really want to change them).
If the quality is still too poor, you’ll have to go back to the sources, which will be a horribly slow and painstaking process. I don’t know of any shortcuts to doing that without the original timeline. In theory you should be able to separate out the audio from the DVD without re-encoding it and just do the vision (although I haven’t actually done that myself).
-
My somewhat limited experience is that no one watches more than a couple of minutes, tops, when they have a bunch of reels to go through, so there’s probably not much point in making more than that. Although TBH you should probably ignore me on reels… in over 20 years cutting I haven’t made one for myself yet.
Anyway, before anyone’ll trust you with anything you have to get your foot in the door. Be the guy who spots what needs doing and does it without being told to. Be the guy who communicates openly and is a pleasure to be around. Be the guy who knows when to shuddup and learn.
-
I mean aesthetically mainly, this kind of thing
https://pages.uoregon.edu/jlesage/Juliafolder/PHOTOANALYSIS.HTMLThere’s slightly more to tv/film because we work with moving pictures so there’s the possibility of composition changing over time. It’s relevant to questions like; what does the shot convey to the audience in terms of information and in terms of emotional impact and also how long should you stay on the shot before cutting.
It’s trying to answer questions such as; what do we need to show in order to tell the story, what are we trying to convey visually – are we illustrating what’s being spoken or showing something extra that you wouldn’t get from just hearing the soundtrack.
I’m not sure how to go about teaching in a formal educational situation, on the occasions that I’m showing people this it’s in a “learning on the job” context, one on one, I’ll show examples of what I’ve been doing and try to explain why I made the cut in this way or look at clips of tv and film and say why I think a certain film maker did what they did.
-
Usually it’s because the project files are excessively large or you’re opening too many at once.
A project file getting much more than about 50MB can start slowing things down, if it happens (and project files can bloat up quite quickly without you noticing) create a new project and copy anything you’re not using into that and delete them from your main project.
It might also be worth cleaning up your preference files. Do a search on here (it’s come up a few times) for how to do that. There’s a free program called FCP Rescue which makes it simple.
-
I’d include things like how to analyse an image, the Kuleshov effect, symbolism, montage.
The difference between GOP and I-frame files (both theoretically and practically).
Layering audio effects and music.
Basically, get into WHY things are done in particular ways above HOW things are done.
-
If the filler on track 2 is part of a longer stretch of filler, you can use the add edit tool to split the filler into lengths that match V/A1, then you can select it and move it around with the other tracks.
-
Very much a “how long is a piece of string” question. TBH, if the green screen shots are expertly (and consistently) lit and recorded at 4:2:2 or 4:4:4 at a high data rate, doing 10 in a day can be quite feasible. But if anything is less than immaculately originated you can have a lot of fiddling to do to get it to look right and that slows anyone down a lot. Also bear in mind that client’s changes can sometimes take as long as the original cut.
-
Take a look at Wraptor, although other software is available. There are variatons in DCP, so have a good read up on it before you proceed.
TBH, it’s the kind of thing that I go to a facility to get done as don’t do enough to make it worthwhile gearing up for it.