Chaz Shukat
Forum Replies Created
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Pan,
At first thought, it seems like a dropframe/non-dropframe issue. Was your audio recorded separate from the video? If so, maybe one is in DF and the other NDF. Check your audio & video timecodes to see if they are the same. Does the amount of sync offset drift gradually off or is it sudden and steady or varies edit to edit? If it’s a slow building drift, I would say it’s probably a DF/NDF timecode issue.Chaz S.
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Is it OK to say ti-ti ta on the internet?
Chaz S.
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You could sell your soul to S A T A N!!!!!!!!!!!
Trailer editors do get paid very well, like commercial editors, but there is a reason. There is a price to be paid. It has become very cookie cutter and there is a lot of pressure, so many get burnt out after a while. Also, if you work at a trailer house, you won’t be the only editor working on a film’s trailer. The studios hire several trailer houses to take a whack at each film, then they take which ones they like and then combine them to make a Franken-trailer. So, many times you have very little authorship over the final product (unless you are editing in house for one of the studios), and of course, you get no on screen credit. So, be careful what you wish for.
Chaz S.
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Did you check to see if you have another window open that is touching the record or source monitor?
Chaz S.
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TV shows are produced all over the country but trailers are a highly specialized field and are produced by companies that specialize in trailers. These trailer houses are in NY and LA. Most of their editors start as runners and move up through the ranks. If you have a connection and some snazzy commercials and or demo trailers, you might get a shot at doing some on a freelance basis and if your version of the trailer is selected by the client to be finished, you may get more work and eventually a staff position. The movie studios also cut trailers.
Chaz S.
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Well, the picture is a little square, but I think it’s because he doesn’t want to take the time figuring you’re gonna change it again in 2 weeks. 😉
Chaz S.
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In general I stay on a shot until I feel it has run out of energy and I’m bored with it and I want to see something else. Perhaps I want to see person 2’s reaction to person one, or see what someone is talking about. Bottom line, it’s all based on my gut reaction to what I’m watching. This reaction can and often does change every time I watch it or depending on my mood at the time I’m watching. It’s a little crazy making, but I love it. And if you make it move and flow well without music, it will really kick butt when music is added.
Chaz S.
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Bravo Dude! That’s definitely outside the box. I liked the first one is the best.
Chaz S.
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Use whichever method works for you, or combination. I too like to find the right piece of music to set the mood I want to establish and work off of that, let it guide the edits. I like putting the music in first because it creates an energy and guide to keep me moving forward in a particular direction emotionally. But you can leave the music for last if you don’t have any ideas for music and need to put something together first to help you choose.
Chaz S.
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Write a voice over, but as you will hear in pro trailers, they are very, very few words, in short sections of only a few words. Same for dialog clips,keep them short and don’t show the person speaking the whole time, throw in b-roll over part of it. Only be on the person speaking to the words with the most impact. Use white flashes, fades to black, pull out the old bag of fx, this is where to use them. Change music when you change gears (sections) and stop music momentarily to ad impact to a line of vo or dialog. Watch trailers, you’ll see, then emulate. Use your best lines and best shots, but don’t give too much away. Cappeesh?
Pick the right music selections and make sure the dialog can be heard over the music. Bring it down if necessary to hear a line clearly. Just watch the pacing, it’s all about pacing?Chaz S.