Simon Ubsdell
6
COW Coins
Forum Replies Created
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Have a look at my tutorial here – not exactly what you are talking about but you only need to increase the particle count to create something more like liquid:
Simon Ubsdell
tokyo productions
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Here’s my suggestion.
a) Ditch all the found footage. It’s doing nothing for your film. Worse than that it’s actually a distraction that makes it very hard to take in what the script is saying.
b) Lose all the text graphics, especially the ones that say something different to what the voice is saying, which is something you want to avoid at all costs. It should be obvious why that’s unhelpful and confusing.
c) Go out with your camera (or your phone if that’s all you have) and shoot for a whole day around your neighbourhood. Look for shots that help tell your story, or at least complement it and don’t fight it. Make them as clean and simple and unfussy as you can manage. Whether it’s a government building, or a derelict housing tenement, a busy road, a skyline – create images that read easily and have meaning for your story.
d) Now come back to your edit and strip out everything except the core video of your actor. Pace it out so that every important point has a significant beat after it. Use black as spacing for now. Listen to the pace, even disable your video track to get a better feel for how it sounds and what rhythms work best. Ask yourself at this point if there are words that you don’t need. The fewer words, you have the greater the impact of your film. Avoid overload at all costs. “Kill your babies”, as the saying goes. Be ruthless with the material.
e) Make a selects reel of the new footage you have shot. Duplicate it and review it, cutting out shots that don’t work as you go. Keep duplicating and refining until you have a manageable amount of material that’s going to work for your edit.
f) Add this new footage to your edit in the spaces you have created. At this point you might want to increase the length of the spaces. Find a great shot (or sequence of shots) to open your film so that the voice doesn’t start straight away – take your time.
g) If you going to be adding music, do that now. And again review the pacing so it works with the music, but don’t let your music take total control. Make sure it’s underscoring what is important in your film, not overwhelming it.
h) Review your pictures. Are you cutting too often in the video of your actor? If you are cutting, why are you cutting? Interrogate every cut and simplify it.
i) Now you can think about adding B-roll from your new footage over the top of your actor. But only do it where it helps the sense and lets you focus on the words. If it’s distracting, stick with your actor.
j) Keep it simple. And then make it simpler.
Hope that helps. At the end of the day it’s your film and your voice, so good luck with finding it.
Simon Ubsdell
tokyo productions
hawaiki -
[ryan elder] “The actor pauses a lot when he talks so isn’t that enough natural pacing?”
I think you’ve been watching too much “YouTube editing” where every pause is brutally excised. That won’t work for your film.
The right pacing is the pacing that works for what you are trying to say. So work out what you are trying to say and then fit the pacing to that. Your script is very, very dense and not easily absorbed. If you want your audience to follow, help them follow by whatever means you can muster.
Slow down!!!!!!
And try to imagine what a first-time viewer is experiencing. That’s the trick to editing and you need to keep working at it, because it’s the hardest part of the whole job.
Simon Ubsdell
tokyo productions
hawaiki -
Thank you, Greg. Glad to hear you liked it.
And many thanks to Oliver for generously giving this a platform on his outstandingly good blog.
Simon Ubsdell
tokyo productions
hawaiki -
My one major suggestion would be: pace yourself.
You don’t need to tell us everything your film is about within the first few seconds.
Slow down and think about how you want to deliver your key points.
Think about how to make those key points stand out from the rest of your film.
Try not to have the same kind of visual texture and pace of delivery the whole time.
Don’t make your film “busy” just to fill out the time. Think about whether the “busy-ness” is actually helping and if not cut it back.
Use the space between words, don’t just cram everything together. The space between words is where we digest what we are hearing and where the meaning is allowed to resonate.
I hope that helps.
Simon Ubsdell
tokyo productions
hawaiki -
[Andi Winter] “in the fusion tab it seems that the odt to rec709 is not applied.
“That’s exactly as it should be. It be hugely undesirable if that were not the case.
Simon Ubsdell
tokyo productions
hawaiki -
The AVID Artist mix works very well with Premiere. The faders and pots are pretty nice to use. You can even control plug-in parameters.
https://www.avid.com/products/artist-mix
Simon Ubsdell
tokyo productions
hawaiki -
Why not simply drag their handles in the timeline to extend them as required?
Simon Ubsdell
tokyo productions
hawaiki -
Deleted.
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