Simon Ubsdell
6
COW Coins
Forum Replies Created
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That, if you don’t mind me saying so, is what is known, in the quaint backwater that I hail from, as “revisionism”.
Simon Ubsdell
tokyo productions
hawaiki -
[Michael Gissing] “I often tell young directors in a mix that if everything is loud then nothing is loud. Silence is the most potent sound.
It’s the in between moments that matter”
So true. And so often disregarded.
Simon Ubsdell
tokyo productions
hawaiki -
Yes, indeed. I think that’s a great formulation.
It’s hugely useful to think in terms of negative space in this arena as much is the areas where it is normally invoked.
Simon Ubsdell
tokyo productions
hawaiki -
I hope I haven’t shifted the goalposts – I believe I am arguing the same point I was arguing in the other thread, just in broader terms. Let me try to simplify this right down.
What are you doing when you remove B from a sequence that runs A-B-C in terms of the editing intentionality?
You are not creating meaning by the act of removing B. B no longer exists in the sequence so it does not contribute to meaning. It may be your intention as an editor to remove B but that is not the editing intentionality, which is formed from what remains.
What you actually are doing is bringing A and C closer together.
So the question then becomes: how do you bring A and C closer together and what is the intentionality?
If it happens that the existing tail frame of A is in fact the perfect match for the existing head frame of C in terms of delivering meaning most effectively, then you have won the lottery. But how likely is that really?
It is much more likely that the “right solution” (in terms of delivering meaning most effectively) involves one of the following choices:
a) extending the tail of A;
b) extending the head of C;
c) or both;
d) adding D where B used to be;
e) adding D where B used to be and extending the tail of A;
f) adding D where B used to be and extending the head of C;
g) something else again.And of course, my A-B-C example is a vastly more rudimentary than most such editing situations, not to mention the fact that we haven’t analysed what A and C actually consist of. In the real world, many more choices and factors need to be weighed in terms of how and when and, most importantly, why C follows A.
An editor who is alive to the concept of space and how that creates meaning is less likely to think that a brute force solution to bringing A and C into closer proximity is the most considered way to go.
I won’t complicate things by trying to explain too much about the architectural use of black (another thing I have obviously also failed to convey properly), but I will just say that, in designing the new sequence that runs from A to C without B intervening, you may well find that an initial step that leaves black where B used to be is going to be more conducive to getting it right than the sledgehammer approach of closing the gap and then trying to create a fix (or, as I suspect often happens, simply not bothering to address what needs to happen at all because you have resorted to the sledgehammer in the first place).
From a lot of the editing that I see and indeed from the statements about editing made by some working editors, I sense that these considerations very often don’t factor into the process in any way whatsoever. Editing is treated as little more than the process of butting one piece of preselected media up against another, and it’s difficult to know what to say about that without being rude.
Simon Ubsdell
tokyo productions
hawaiki -
Agreed.
It seems really perverse to have User log-ins but not user settings – or rather specifically the most obvious user setting of all, which is the keyboard mapping.
Unless there’s a workaround that we’re both missing?
Simon Ubsdell
tokyo productions
hawaiki -
[Glenn Sakatch] “I haven’t struggled to get it to recognize the color panel for years”
I exaggerate, and yes, here too the panel works just fine almost all the time.
On a very few occasions, something can throw it off – perhaps the installation of something that is conflicting with it – and then it can be a bit of a rigmarole to get it back working as it should.
it pays to know as many strategies as you can for making this happen.
Simon Ubsdell
tokyo productions
hawaiki -
I like this from Seth’s blogpost:
It’s tempting to treat the user interface as a piece of fashion, some bling, a sort of jewelry. It’s not. It’s the way your user controls the tool you build. Change it when it stops working, not when you’re bored with it. Every time you change the interface, you better have a really good reason.
It’s good to know that Apple would never be lured down that path, would they?
Simon Ubsdell
tokyo productions
hawaiki -
Getting Artist Color to work with Resolve can be an exercise in frustration!
The last time I had this issue I discovered that uninstalling EU Control and then reinstalling solved the problem.
Other solutions have worked at other times … it’s a bit of a lottery requiring loads of patience.
Simon Ubsdell
tokyo productions
hawaiki -
[Shane Ross] “Maneuvering around the timeline is still a tad clumsy. Using the keyboard to go from clip to clip, it still might jump farther ahead than I want because some clip is selected on a different track.”
Which clip the playhead moves to when using the arrow keys is contingent upon which track or tracks are selected using the track selector buttons. I haven’t found the behaviour to be inconsistent.
It is the exact same way that Premiere works, which is in turn is similar to Media Composer. The difference is that if two tracks are selected, the playhead will stop on the first and last frames of all the clips on both tracks, whereas in MC it is the top selected track that determines this.
Simon Ubsdell
tokyo productions
hawaiki -
Yes, indeed.
What does BMD think it’s playing at?
It’s clear that they have lost interest in supporting the professional community.
😉
Simon Ubsdell
tokyo productions
hawaiki