[Greg Janza]

Tim, I do believe this is the single most entertaining post I’ve ever read on the Cow. Partly why it’s so damn entertaining is because I believe you’ve captured into words some of the essence of why artists like Errol Morris, Werner Herzog and hundreds of other film makers are so extraordinary at their craft. Their dedication to telling a great story is at the core of their film making.

I also want to thank you for posting the Errol Morris Oscars short film. I remember watching it live and being stunned and awed at it’s greatness and I hadn’t seen it since that Oscar’s broadcast in 2002. I could watch that a hundred times and still be just as entertained on the hundredth viewing as the first. And the reason is because of the incredible attention to detail in the craft of telling that story of the love affair we all have with movies.

And it’s that total obsession with telling a great story that drives most of us. I work in corporate branding which is a much less sexy genre but the same principles drive the work. We go into every piece with the goal that we’ll tell the most compelling and entertaining story possible. And that’s what makes the work endlessly enjoyable. It’s an endless quest to craft a great story out of the material.

[Tim Wilson] “I don’t have much of a point except to say that every filmmaker is also a hustler.”

Tim, all of your examples perfectly support your main points but I think this discussion of film makers as hustlers would be lacking if we didn’t mention the most infamous hustler of them all – Orson Welles. The recent Netflix documentary ‘They’ll Love Me When I’m Dead” by Morgan Neville does a great job of telling Welles’ story of relentlessly hustling to get his last film made.

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[Greg Janza]

That video was definitely made from a purchased template. There are a number of online marketplace sites that sell video templates for AE as well as Premiere. The easiest way to learn the effects used is to simply purchase one of these templates. This looks to be an AE template.

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[Greg Janza]

Trash prefs, trash cache to see if you can get it back to a normal state.

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[Greg Janza]

Do you have a previous version of Premiere on your computer? If so, just import the .kys file from user settings of the previous version.

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[Greg Janza]

Transcriptions have come a long way from the days of only having a word document with timecode stamps.

I would encourage you to look at Digital Anarchy’s website and watch a few of their informational/tutorial videos showing how Transcriptive works. The power under the hood of Transcriptive is quite amazing.

With transcriptive, all interviews are not only transcribed into searchable text but the text is also matched to the media clips. That means you can easily search out a bite in the text and then simply click on any word and your cursor will go to that exact word in the interview clip in the source monitor for you to listen to and judge whether it’ll work. It’s nearly instantaneous access.

I support whatever works for you in your workflow. All I can say is that transcripts have allowed me to work extremely fast when dealing with any length interview. The ability to quickly skim through text until finding a bite that may work in the storytelling just can’t be beat through any other method. Good luck.

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[Greg Janza]

There’s also Resolve which I think is the best program for proxy creation.

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[Greg Janza]

[Brett Sherman] “Here’s a similar video from Facebook. Frankly, I think it’s one of the best I’ve seen in a decade or so. Better than Apple’s IMHO.”

Completely agree. That Facebook video is stunningly good.

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[Greg Janza]

[Greg Janza]

[Michael Gissing] “All that creativity and still the video was shot portrait. “

When the content is genuine and compelling it really doesn’t matter if it’s shot vertical. For this Apple ad the vertical material adds to the genuineness which in turn increases the emotional impact.

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[Greg Janza]

[Rich Rubasch] “Were you seeing it too or is it just me?”

I think it’s just your playback monitor. The whole piece is just straight cuts.

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