Simon Ubsdell
6
COW Coins
Forum Replies Created
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“It also has no way to judge the quality of the performance, naturalism and emotional beats in take.”
But apart from the sanitation, the medicine, education, wine, public order, irrigation, roads, the fresh-water system, and public health …
Simon Ubsdell
tokyo productions
hawaiki -
It depends whether or not you have Stencil enabled in the Mask Options.
Simon Ubsdell
tokyo productions
hawaiki -
[Richard Herd] “this radio edit deliverable”
This is the bizarre expression I was taking objection to. Would you care to explain what if anything you mean by it?
Notice also that I used “radio edit” in quotation marks as it’s not an expression I normally use, but which is however widely recognised.
Simon Ubsdell
tokyo productions
hawaiki -
[Richard Herd] “[Simon Ubsdell] “it should have”
Franz? This.”
“Should have” as in “you would be tempted to think might have”.
Probably not the sense you are trying to wring out of it.
Simon Ubsdell
tokyo productions
hawaiki -
[Bill Davis] “the folks who got better, quicker – weren’t the ones who spent their time waiting to get ahold of the perfect camera – it was the ones that went out and shot as much stuff as they could with whatever camera they could get their paws on.”
So true.
Comes back to the 10,000 hours thing.
To coin a phrase: just do it!
Simon Ubsdell
tokyo productions
hawaiki -
An absolutely fascinating post. To draw the line that connects Media Composer with FCP X is extremely instructive!
My observation is quite a bit more banal than yours, and it’s this.
In the days of film and tape the act of “performing an edit” was fraught with consequences and was not entered into lightly. You made sure that you were doing something that you wouldn’t have to undo unless absolutely necessary.
Accordingly there was a strong element of performance anxiety attached to making the edit.
The advent of NLEs changed all that. Or at least it should have done. But for many, many editors it hasn’t.
It is very clear from the comments here that performance anxiety still afflicts editors even now when there are no negative consequences to “making the edit”.
There is still patently a strong feeling that you shouldn’t risk committing anything to the timeline until you’ve got all your ducks in a row.
I have seen a lot of this over the years – editors who dither helplessly before adding something to the timeline, just in case it’s “the wrong decision”. It sets my teeth on edge to watch.
“The Editor’s Fear of the Timeline” is an all too common affliction.
It takes serious editing therapy to overcome.
Simon Ubsdell
tokyo productions
hawaiki -
[Richard Herd] “Simon concedes the point. His sculpting is tailored to this radio edit deliverable.”
I have no idea what you think you mean by this but it doesn’t sound even remotely like anything I have said.
Simon Ubsdell
tokyo productions
hawaiki -
You’re failing to take account of a pretty important factor in this thought experiment of yours.
Simon Ubsdell
tokyo productions
hawaiki -
[David Lawrence] “I find this is a great way to work when I don’t have time to log.”
There’s another interesting way of looking at this whole question.
A timeline is simply another kind of container but with its own uniquely useful properties.
If you can put assets into a bin or an event or a keyword collection, you can also put them into a timeline. You’re just using a different type of container but you’re not doing anything essentially different.
To approach timelines as somehow fundamentally distinct from other types of organisational containers is not only to make a category error, but also to miss out on the opportunities that they afford when viewed as containers.
The uniquely useful property of timelines as against other types of container is that they allow you to manipulate your assets in time and in context.
I think that some people only ever see the timeline as a place for putting together their final edit, but once you recognise it’s just another container like any other, you can start to free up the way you work.
Of course, I’m not saying that you have to!
Simon Ubsdell
tokyo productions
hawaiki -
[Eric Santiago] “If one is to do a commercial spot (an example), what’re your thoughts if a client picked a music bed first?
I’ve had arguments on this one where one editor would ignore the music bed all together until the end.”My view is that in short form videos, and in commercials, promos and trailers especially, the music is the bedrock of everything you do. The music should dictate the underlying structure. It’s what is going to give your piece the shape, the flow and the emotional impact.
Every line of dialogue needs to be placed so that it fits most effectively against the music. Make sure that the beats and loud accents are happening in the spaces between the words nor underneath the words. There is a real art to making this work to the very best advantage but when you get it right, your spot will really sing.
Similarly make sure to place the key moments of your visuals on the beats. Not only does this create a really satisfying flow, it also contributes to the drama, the emotion, the comedy, or whatever it is you are trying to convey. Imagine you’re making a music video here – make the visuals harmonise with the music and everything will work so much better.
It takes a lot of practice to make this work well but the difference between a spot that’s been cut around the music and one where the music has been laid in as an afterthought is like night and day.
Simon Ubsdell
tokyo productions
hawaiki