Rocco Rocco
Forum Replies Created
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That scene early on in Inglorious Basterds, where the family are hiding under the floorboards, is editing magic. The tension vibrates off the screen in every frame. On the other end of the scale, the final punch-out scene in Death Proof where the girls karate-kick Kurt Russell made me giggle like a school girl for its audaciousness ;o)
https://www.youtube.com/watch?v=3vk2iAs8xA8
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I hope you were wearing 3D glasses……
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Yes, I have used those orange Lacie drives. Mainly to transfer the footage captured on site onto G-Techs. I haven’t personally used them beyond temporary or convenience. Though in my experience I’ve never had more drives crap out on me that those!
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Here’s what I’d do:
2 x G-Tech drives.
https://www.g-technology.com/products/g-raid.cfmOne for use, one for backup
FW800 will be fine.
Buy the size you need. They go up to 4TB.This simple set up has worked for me for, editing with footage from EX1, EX3, RED, HVX etc…
Best of luck.
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Looks like the American Dream to me: Freedom of speech and capitalism churning along! I’m not sure if I’d be able to stomach a job like that…. Would you do it if they offered you $1000? What if they offered $10,000? Or $35,000? Would you still say no? What if you were offered $450,000 / year to work at Fox News and edit similarly misleading news items? What if that church that hates fags offered you $1M to cut a god hates fags spot, would you do it? Would you edit military recruitment ad?
Morals are a funny thing. I have a feeling thousands of people in this country do all of the above and much, much worse.
I don’t and it’s probably why I live in a small apartment and drive a ten year old car ;o)
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It’s not how much you shoot that reflects the amount of time needed to edit it, necessarily, but rather how well organized it is. Two hours of un-slated mess will most likely take longer to edit that ten hours of precisely labeled footage.
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Haha, I like that “when it feels right, only later”
There’s a difference between a beat in a screenplay, as Robert McKee defines it, and the thing Producers call a beat when they sit there in the edit bay and say “hold it for another beat”
In a screenplay a beat is an exchange in action/reaction in character behavior, which turns and builds a scene. But after it’s been shot and edited, the beats take on more personality because there are now more moments you can call beats because as there are things to see and hear which all add to the action/reaction in character behavior.
In short, a beat is a moment: It can be a line of dialogue, a look, silence, a gun cock, a wink, a powerfully delivered line, a breath. It can also be several moments linked together; for example: car screeches – woman sees car – man does not and steps into road – woman holds back man from crossing the road – car whooshes by. That’s five different moments which you could call one beat (though it could be five beats depending on how it’s cut I think). IMO, the beat is the beat because it’s the memorable action “she saves him from the car” not the things that constitute the moment, necessarily. Though it can be.
This is a great scene, full of beats: beats of dialogue, beats of silence, beats of looks. The memorable and meaningful beats are the “charged” beats; those that contain an emotional value with a forthcoming payoff. Note the frequency of the beats is faster in the first half than in the second, because of Matt Damon’s lengthy speech.
https://www.youtube.com/watch?v=ymsHLkB8u3s
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Laughter, followed by agreement and qualitative remarks. Smily face.
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I was thinking about editing some realistic trailers of movies I thought sucked. Complete with Don LaFontain VO:
“Protagonist wins predictable battle with dragon at the climax of act 3” etc.
But I just don’t have the time or inclination for this type of pet project… If anyone out there wants to do this I’ll take 10%.
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Yes, you should capture all the footage. Then organize it as you see fit. The ratio terminology is very Avid, but you can apply the same principals in FCP if you want to. The simplest way to do this is to use the Pro Res Codec. Put simply: capture everything you have using Pro Res Proxy and when you’re done you can online it to Pro Res 422 HQ. You would do this using Media Manage. Having said that, I currently have about 12TB in just three drives sitting here with nearly all the footage I need all captured at full res (some 2K, some 720P and some 1080). So the old offline/online paradigm is becoming less relevant as drives get bigger. Depending on your needs, you may not need to capture at a lower resolution. Best of luck.