Richard Herd
Forum Replies Created
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You can also record direct to edit. For example, plug into an i/o hooked to an NLE striped to a RAID. If I was shooting microbudget movies or commercials, that’s what I would do. If I was shooting run-and-gun documentaries and news footage, then you might needs some kind of fancy-shmancy Zacuto add-on gadgetry.
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It’s also a lighting term from portraiture work. Short siding v. broad siding, has to do with how the face is keyed relative to camera position. I prefer broad lighting and Rembrandt.
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I needed recently to make a purchase. I bought a $500 windows 7 laptop and downloaded lightworks.
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…variable prime…
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Yesterday, I watched a documentary and it used a widen appropriately…a very rare occurrence. Here’s what happened.
As the VO was narrating that Katrina victims were stranded and 1,000s waited outside the Dome, the camera was on a very long distance zoom of a couple of individuals sitting on the curb. During the course of the widen, we could see the 1,000s of people. Okay, pretty cool, but…
I still believe a variable zoom and static cut treatment would be better.
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Have you seen Stu’s tutorial? He explains it way better than I can. https://library.creativecow.net/articles/maschwitz_stu/red-giant-blockbuster-film-look/video-tutorial.
I use Apple Color.
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[Tyle Renake] “I really do believe my only dilemma is time and money.”
You said it!
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I love Linguistics. Everyone should read The Language Instinct by Steven Pinker.
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Regarding the creative side and using color schemes, I find this site useful: https://kuler.adobe.com/
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To do it all over again, I’d make my own degree up. Most Universities have programs for that too. I would take the following:
— Drama, because that’s really what the audience relates to, all these tools serve the drama. There’s two kinds of courses, here, so take both: being on stage and also reading plays.
— Accounting, not just business stuff, but actual accounting, because that’s where the money literally is; that means you might need to take prerequisites like math.
— Poetry, because being able to write in an imagistic way is exactly important, things like metaphor, synecdoche, and meronym all deal with turning words into images
— Film Editing, because you should get some critique and direct instruction on aesthetics and technical vocabulary
— Photography, even if the program offers cinematography, I would still take photography in addition to cinematography. Also since “videography” is not really a word, I would avoid programs that use that term. (Okay that’s kind of a joke on my part, but not really…)
— Motion Graphics, because you can’t be an editor without some Motion Graphic knowledge and those expressions can get tricky
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I find myself this week in a position of hiring someone, not an editor, mind you, but an assistant. For that, I need a strong guy who can carry my equipment and also who would like to learn more, who works fast, doesn’t make the same mistake twice, and doesn’t need every sentence to have a please or a thank you (because we’re moving fast, no time for egos).
If I was hiring an editor, I would want to see his or her reel first and the education wouldn’t matter. But I do think that getting the *right* education will make your reel better. Moreover, there’s two kinds of clients: one client will look over your shoulder while you edit and try to be a part of every cut (a silly waste of time in my opinion). The other client will let you go do. Having said that, the editor I would hire has great people skills and an emphasis on client service; the editor does not impose his or her style onto the client’s project; rather, the project and client needs dictate the outcome. That notion of “client dictates the outcome” is exactly what you learn in the University.