Person Lastly
Forum Replies Created
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any classes are good. whether it’s certification for the avid, or just simple principles in why cuts work. watching films is hard because if you try to pay attention to the edit, then you will lose the story, which is dictated by the edit. intuition will get you further i have found. trust your gut when cutting. if something isn’t working, ask yourself ‘what is the information and the emotion supposed to be.’ if you get too close to the material, take a 5 minute break and come back with someone and screen it together. i find that when someone else is in the room i see the material through their eyes for the first time. it’s strange, but it works.
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that’s nice. and true.
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mac feels like a modern swiss watch. pc feels like a 1980’s era timex.
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mac is gooder than the other
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check with the post house you’ll be finishing at (i’m assuming you’re going to an online suite). they might have some insite. or if the list is short enough, maybe they can have an intern hand type the sucker in. good luck.
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yes the editor should pick shots that are in focus, but if there isn’t any, or the best performance is soft, then the dp/director better watch out. as far as color correction, i have a say in the telecine on commercial work, though what i say isn’t the end of the decision. but the others do view my opinion important. some art directors/creative directors insist i be in on the xfer. for features, this is probably different as previously discussed.
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i deal with this heavily being a spot editor. i can’t tell you how many layers of opinions there are (especially on bigger jobs). the trick is to show them and then explain why it isn’t as great as what you originally intending. or if it is an improvement say thanks, great idea and move on. nobody paying the bills should feel like their opinion is nothing (unless it’s an intern speaking out of turn of course). if you are a god in the industry, then you have more say. it’s not a one or two revision deal these days for most however because the clients know it can be looked at quickly with the NLE. the trick is not to argue about it. show and discuss.
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okay. but video editors are video editors. not editors.
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ahh yes. i’ve been in a lustre session before. pretty powerful stuff. basically it all has to do with the LUT’s. being able to translate the digital color correction into film. basically it’s a telecine for film.
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not sure what DI means? is it Digital Interface? the DP title is another subject by the way. is a digital video camera person a DP in you opinion?