[Greg Janza]

You can do detailed searches on any stock footage website as well as Youtube so this should be relatively easy to determine whether you can put visuals to the text.

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[Greg Janza]

[Michael Gissing] “Cross platform and open codecs are essential.”

Despite all of the nonsense marketing from Apple, this is the real future of our industry. Adobe and Blackmagic are well aware of this and therefore they’re positioning themselves for the future.

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[Greg Janza]

fwiw, whenever possible it’s definitely helps to eliminate proxies from your workflow.

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[Greg Janza]

It’ll be helpful to know your setup.

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[Greg Janza]

[Bill Davis] “It’s almost as if, like word processing and spreadsheets before it, video creation is becoming a kinda normal mode of communication for all sorts of people.”

Video is becoming the default format for all kinds of communication. The differentiating aspect of video though is that it’s a collaborative process and not an individual activity like creating spreadsheets or word processing.

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[Greg Janza]

I imported the dropbox dnx file and it is 0-255 and I imported a pure white PS file and it also imports into Premiere at 255.

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[Greg Janza]

[ryan elder] “Like in that scene for example, Ryan Gosling’s character has more of a problem with her it seems, than she does with him. So why not use close ups of him, but still keep her at an OTS distance, since she herself is acting at a distance to him? Wouldn’t that make sense?
“

I think it may be up for personal interpretation but to me that scene is all about communicating to the audience that their fairytale love story is starting to change and with the change there is tension. This tension relates directly to how each of them is approaching their path to achieving their dreams.

In regards to the editing of that scene, the overarching goal when building that scene is for the editing to aid in maintaining the viewers’ suspension of disbelief so that the viewer fully experiences the drama of the scene and doesn’t get distracted by it’s construction. To that end, when the scene tension comes out, we as viewers want to stay completely connected to the characters so that we feel what they’re feeling and thereby, experience the emotions through them. If only Ryan Gosling’s character was in closeup and not Emma Stone’s then subconsciously we’d experience a disconnect with her as a result of taking us away from her. The power of the scene lies with the close-ups which are saved for when the scene tension is at it’s highest and the tension is heightened further through the use of sound. Ending the music playing on the record player at the height of the tension helps focus the viewers’ attention and really makes that scene shine.

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[Greg Janza]

There has to be more going on than just an Adobe Premiere bug since this isn’t happening to all users.

Did you have this problem in the previous version of Premiere?

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[Greg Janza]

[Neil Goodman] “People can throw down numbers on the internet all day but out on the streets, Im just not seeing it.”

In my market, I’ve had two FCPX gigs in seven years and one FCPX gig offered that I passed onto another editor.

FCPX may very well be gaining in user numbers overall and it should since it’s an excellent program but so far it hasn’t translated to an actual shift in the professional marketplace.

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[Greg Janza]

This scene from La La Land is a masterclass in how to draw the audience into the characters during an intimate dramatic conversation. Starting on wider OTS shots at the beginning of a scene establishes the space and the characters in that space. It’s then a matter of determining the dramatic arc of that scene to decide when to switch to closer shots. This scene is editing perfection because the editing works in tandem with the conversation to heighten the dramatic moment and to accentuate the performances of both actors.

https://www.youtube.com/watch?v=Fw7g3QHOaOw

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