[Person Lastly]

i simply stating that genius is to the eye of the beholder. and this BK ad qualifies as a good idea but has been done before. i would call it down right ‘client pleasing’. so how can it be genius? Pepsi challenge? Candid camera? and i am not calling all the big budget slick ads genius by any stretch. but that there is one out of a hundred that is great because it is both effective and creative. don’t ‘freak out’ man.

it has come to my attention that ‘the cow’ requires us all to use our full names on our posting. i have turned this option down as i do not wish to be send my full name over the internet airwaves. and what do they do? put it up there anyway, thankfully spelled wrong. the cow is doing this to keep a tight grip on what is being posted. and even though i didn’t grant permission to the moderators to use my full name, they went ahead and did it. i’m sure i’ll be erased quickly. they’ll claim that since i don’t use my full name i can’t be held accountable for what i say. i have always had a link to my home page with my info under my personal profiles. so if someone really wanted to find me, they could. the fact of the matter is i don’t want clients both current and potential to find me here on ‘the cow’ when the google my name. goodbye. had fun posting while it lasted.

freedom of speech? not here.

[Person Lastly]

“I just think this is so genius… and proof that a production doesn’t have to be super slick Hollywood sexy to be very effective”

I wouldn’t call it genius as the hidden cam thing has been WAY DONE. Effective? sure. Creative? eh. All credit goes to the agency. It’s a good idea. Nothing more. Not many people on the production/post production side would put this on their reel is my guess.

There are a lot of bad ‘Hollywood sexy’ ads out there for sure. For every hundred ads, there is one great one. These have a solid idea, with perfect production and excellent post production (story telling). When they all work together, then you got something worth talking about.

Just my two zents

[Person Lastly]

https://www.illustratortechniques.com/vector-art-goes-hollywood.html

[Person Lastly]

mark,
part of what made the intro to ‘seven’ so interesting was because of several factors/artists. and don’t forget the music/sound design. it felt precise, surgical and fluid. anyone would give their left nut to work with fincher’s footage. the edit was by angus wall of rock paper scissors. angus had a history of working with david fincher’s music vids and spots. not sure who the type designer/animator was. generally editors of this nature will put temp graphics and temp/final audio in while the design is finalized (usually in storyboard form). so i would have to say the editor and footage made the designer look pretty dang good, and the designer made the editor and fincher look pretty dang cool. my point is a little bit of a tangent, but it’s a team effort in many cases in film and one has to be able to accept their role as editor or designer or director or tape op or coffee maker…

so i say good luck to the original poster

Editor

[Person Lastly]

if you kind of know how you want the pace to play out, i’ve found it helpful to kind of draw out what i call a rough frequency timetable. this gives me an overall grasp of what i’m going for in my pacing and impact. Meaning, long and low frequencies for the slow quiet dialogue segments and then sharp attacks and high frequency for the action or feeling of rapid pace. Remember, a quick pace doesn’t always mean faster cuts. it’s about what is in between the cuts and how quickly the audience should register the emotional information.

i also will do what JeremyG said earlier. this is a good way to sense how fluid your cut is feeling by pictures alone. trim a few frames here or there, or remove a shot and look at it again. fix the audio afterward.

another way is to just scribble down an edit outline. man one enters frame, man two reacts, sfx of door slams, man 3 enters frame with man one, cut to man two reaction this time tighter, music starts….essentially this is editing, but purely from a structured perspective. and it lets your mind tell you what you are going for, rather than the images. of course you should be familiar with the shots, and you can change up the order at any time, but this will at least get you a structure and pace you foresee as being effective. this can also be done away from the edit suite. with mood setting music playing in the background. a more pure environment.

Editor

[Person Lastly]

thanks for the info! i’m an offline editor and finish elsewhere. so there probably aren’t things there that i need. the furniture will be a seperate expense. just trying to wrap my head around the gear. thanks very much.

Editor

[Person Lastly]

in the spot making world the sound designer rarely/never has the final say. they have input and opinions but it always needs to be approved by the client. maybe with corporate videos it’s different. in film it would be the director and/or producer with the final say just as with editorial. a lot of times we (offline boutique) hire a sound mixer separate from the sound designer and therefore the sound designer is not even in the equation at the end of the day.

Editor

[Person Lastly]

i’m an editor at an offline boutique and windows are very welcome. comfort and creative aesthetics are important to us and our clients. you can see photos on our site https://sliceedit.com >what is slice>photographs. i’ve spent thousands of hours at many finishing facilities. for obvious reasons, these environments are darker, quieter, neutral and without windows to control color temperatures and brightness. this doesn’t mean these suites should be stale and impractical however. spend the money on the most tasteful/comfortable furniture and leave the starwars paraphernalia at home.

the areas outside these dark and gloomy rooms should be more colorful and brighter for clients and staff (not shopping mall bright). save space for client work stations as well, so that busy producers, offline editors, art directors, writiers, directors, can leave the suite to make phone calls and work on their laptops without disturbing the creative process. if you’re a one-stop-post house (meaning edit and final output) these points still should be applied. But maybe you don’t need the most expensive furniture to make it work for you.

just know a comfortable client is a happy client. and a happy client is a returning client. and don’t forget to do stellar work when he/she’s there.

Editor

[Person Lastly]

Sound designers design sound. This person is more likely a mixer. If it is mono, then it is mono. You could put the mono track on both left and right (1&2) channels and technically call it stereo, though it is really mono. You might need to give us more information.

Editor

[Person Lastly]

create an OMFI 2 file, layout to a tape, and give it to an audio professional (sound designer and/or mixer). they are worth every penny. you just keep focus on the picture and sound editing.

Editor