Steven Gonzales
Forum Replies Created
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Final Cut 4 was the first version that came bundled with Cinema Tools. This was about spring of 2003 (which is about 2 years after your G4 466 was an obsolete product). This version required at least 350MHZ, and OS 10.2.5.
There seem to be a lot of films that spend and accept low shooting ratios to get 35mm, then find there is nothing in the budget for post picture and sound.
Good luck in your quest for old software.
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What I have my students do is pull down each menu in the applications, and figure out what each choice does my experimenting. Then, if they can’t figure it out, they need to look it up.
Works great to get acquainted with the possibilities quickly.
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Perhaps you could “make freeze frame” at the framer where you want the picture to stop, and cut that in for the required duration.
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If you bought a dual 2.0 tower w/ 2gb Ram and a 160gb hard drive, and a 20″ apple display, it would only be about $300 more than the 17″ powerbook, and much more expandable (you could put hard drives inside, which are cheaper than hard drives in external enclosures and maybe make up the difference.)
Plus you could later add a video card such as AJA’s Kona 3 if you needed to finish the doc to another tape format.
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Your thorough post suggested the answer. When you said it still had problems when the clip was removed, I could give you a suggestion from my experience.
Pat yourself on the back for utilizing the “scientific method”!!
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The sequence might be hiccuping on an upcoming clip, rather than the one it is currently playing. Try replacing the piece after that location, rerendering it, etc.
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He wrote a book called “Somethng Like an Autobiography”.
Kurosawa is one of the rare geniuses, with so many different styles of films perfectly executed. Also, it doesn’t hurt that he used the greatest film actor of all time, Toshiro Mifune.
Speaking of Directors and editing, I love this quote from Orson Welles in an interview in Cahiers du Cinema (from “The Conversations” by Michael Ondaatje):
“For my style, for my vision of the cinema, editing is not simply one aspect: it’s THE aspect. The notion of ‘directing’ a film is the invention of critics like you. It isn’t an art, or at best it’s an art only one minute a day. That minute is terribly crucial, but it occurs very rarely. The only time one is able to exercise control over the film is in the editing. The images themselves are not sufficient. They’re very important, but they’re only images. What’s essential is the duration of each image and that which follows each image: the whole eloquence of cinema is that it’s achieved in the editing room.”
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Maybe it is a temperature alarm. You could check that any fans are working correctly (fans frequently die). Maybe you could stick a thermometer probe in there to see if it is over some heat threshold.
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On Film Editing by Edward Dmytryk is good, as is Technique of Film Editing by Karl Reisz and Gavin Millar (though the movies referenced are a little dated in the edition I read)
First Cut: Conversations with Film Editors by Gabriella Oldham has some great interviews, as does Selected Takes: Film Editors on Editing by Vincent LoBrutto.
Cut to the Chase: Forty-Five years of Editing America’s Favorite Movies by Sam O’Steen is an interesting autobiographical type tome to go with the afore-mentioned After the Shooting Stops by Ralph Rosenblum.
Theory and Practice Film Sound by Elisabeth Weis (Editor) is full of great essays, and Sound-On Film: Interviews with Creators of Film Sound is LoBrutto’s film sound interview book.
Behind the Seen (about Cold Mountain) is a great inside look at modern editing on a feature — by Charles Koppelman. It’s slightly dated now, but very interesting.
And just to take it out there a bit, how about Kino-eye: The Writings of Dziga Vertov, or Film Technique by V.I. Pudovkin, Grammar of the Film Language by Daniel Arijon.
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I don’t know why description is not on that list, but if you use Any Column, it will find results in description field.