Rocco Rocco
Forum Replies Created
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Hi – I’ve cut a few trailers, some theatrical. The first thing I’d suggest is go to https://www.apple.com/trailers/ and watch as many trailers in the genre of your film as you can.
You might begin to notice certain “rules” and stylistic conventions that you can emulate. For instance, always open with your protagonist and set up the general plot point and what must be overcome. Then after that, you can be a little more creative with what you show. You probably won’t have a voiceover, so you might like to throw in some words and sentences to tell the audience about the film. Here’s a great example of this: https://www.apple.com/trailers/dreamworks/disturbia/d_trailer_small.html
A few more things:
Use music to emphasise a change in scene.
Show a couple of mini scenes, if you can.
DON’T give away any endings, twists etc.
You always see the “dip to black” transition.
Personally, this is one of my favorite comedy trailers: https://www.apple.com/trailers/weinstein/schoolforscoundrels/trailer2/
Have fun. It’s a chance to break the rules and be flashy. -
Hmmm… I wonder if you can buy FCP1.0 off ebay for very cheap then upgrade to 6.0 for $699?
;o)
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I’d resize that to the size of your sequence too.
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Given that the final DVD plays well on a TV set, it sounds like everything is doing its job as it should.
Try changing the sequence codec to Animaiton and exporting a Quicktime movie. Bing that Quicktime movie into DVDSP and encode. Play the DVD back and see how it looks on a computer screen.
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Thank you for your insight. One line stood out for me in your post:
Apple has actually made it very difficult for estabilished professional artists to differentiate themselves from enthusiasts and beginnners
I mean no disrespect here, but surely your work and experience in the industry differentiate you from the beginners? It sounds like you don’t value your own artistry. It’s not the fact that you have the $25K color suite that makes you great; it’s your reel and reputation.
For decades the people at the bottom of post have been told to stand up straight, man the vault, make the coffee, work for free, and maybe just maybe we’ll let you watch an offline session or cut colorbars to black.
Well I’m thankful that times are changing because it means that skill and determination will drive these kids to create magic and it won’t be just the ass-kissers and cousins who are allowed into the club.
Tech comes and goes. Talent lives on.
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It’s a pretty sweet deal, I think. $499 + tax and you get Motion that does “3D” and a brand new app called Color (which used to cost a LOT with those specs) as well as all the other FCP things.
You can wow new clients and learn new skills with all this. You can put it all on your reel and sell yourself with better skills. All of that fo $500!
It’s a great deal. Good for Apple, they could have charged $999 for all that.
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I like Cmd-Q.
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Google video and Youtube have become valuable assets for beginners. Here are a few:
https://video.google.com/videoplay?docid=2867237905327464722&q=%22final+cut%22+basic+tutorial
Good luck!
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This thread made me think of Youtube actuallly rather than industry specs.
Ironic that in 2007 the greatest phenominon in media distribution comes in the form of tiny, awful looking video clips. What’s going to happen if advertising revenue on the net surpasses broadcasting? Why would producers spend millions adhering to strict broadcast technical specs when they can just “dump” their content online? I know it’s early days, and most of this is wild speculation but good picture quality isn’t necessarily the future: When it comes to mass media, the quality of the pictures is less important than accessability and content.
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For me Babel absolutely rocked. Beautifully tense and edgy. One of my favorite modern films. Take a look at that Mexican wedding scene again (if you can). I can’t imagine how much footage they acquired for that; but it’s assembled amazingly: it shows minute details while gliding through quite a number of hours (I was convinced something huge was gonna “happen” too – I was actually nervous watching. That’s how you edit a thriller)… And don’t even try to get me started on the Tokyo segment…
If I had to put money on it though, I’d say Thelma Schoonmaker will win for The Departed, if only because it’ll win best film.
I feel like a renegade saying this, but I disliked Little Miss Sunshine – too slapstick for my taste (“BEEP BEEP” – enough already!). Funny in parts, very well acted but just “meh” for me – maybe I should go see it again. (One of my favorite trailers tho’)
On a side note; if anyone saw the BAFTAS the other night it was a thrill seeing Anne Coates awarded their Academy Fellowship for her outstanding contribution to film. Its rare to see an editor in the limelight… (Oh yeah, and United 93 won the Bafta for best editing…)