THE EDITORNobody knows what we do... so, a homage to every editor out there in those dark rooms creating art with moving images.<br />
http://insidetheedit.com<br />
<br />
Direction, Design, Animation – Dave Penn https://vimeo.com/sxfngrs<br />
Sound Design – James Locke-Hart http://www.jameslockehart.com<br />
Script – Paddy Bird http://insidetheedit.com
The SteenbeckIf you've ever edited on a Steenbeck machine you'd know that it takes a half an hour to do what you can do in Final Cut in 5 minutes.
Watchtower of TurkeyOver than 3500 km traveled in 20 days, capturing landscapes from the bluish tones of Pamukkale to the warm ones of Cappadocia, the all passing by a great variation of colors, lights and weathers through six other cities.
I've crossed Cappadocia, Pamukkale, Ephesus, Istanbul, Konya; and tasted baklava, kunefe, doner, the turkish tea; and got the chance to meet the soul of Turkey, its people.. and got their smiles and their hospitality.
This is Turkey lived by me from north to south, and I hope you enjoy it :)
Directed and edited by Leonardo Dalessandri
Music: "Experience" by Ludovico Einaudi - facebook.com/ludovicoeinaudi
Voice off: Meryem Aboulouafa. You can follow her on soundcloud in the following link:
soundcloud.com/meryemaboulouafa
I have a new page on Facebook: facebook.com/leonardolucadalessandri
You can like it, share it, or just have a look on it :)
Watch my previous work "Watchtower Of Morocco": vimeo.com/66659080
The Science of Editing: Is Good Editing Just Instinct?Martin Scorsese, Quentin Tarantino & George Lucas say the editor writes the last draft of the script. So why not bring in the editor sooner, while you are still writing the script?
"Editor's Thinking" is a cognitive skill set you can use to improve your screenplay before you start principal photography of your film.
Onscreen Drafting is the first chapter in our new series "The Science of Editing" by @ThisGuyEdits and Dr. Karen Pearlman, based on her book "Cutting Rhythms - Intuitive Film Editing": http://amzn.to/2cqkz5J
Karen holds a Doctorate of Creative Arts and is currently a lecturer in Screen Production at Macquarie University. She is a former President of the Australian Screen Editors Guild and a three-time nominee for Best Editing at the Australian Screen Editors Guild Annual Awards. Karen is also a full member of the Society for Cognitive Studies of the Moving Image and the Film Critics Circle, Australia.
The onscreen draft is the process of test shooting your story and getting the editor involved early to make it work visually and emotionally, taking advantage of her sense of movement and flow.
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Subscribe for weekly THIS GUY EDITS videos: https://www.youtube.com/user/svenpape
Watch my Playlist with Quick Film Editing Tips: https://youtu.be/FxKkzb5gJEw?list=PLNEhn13QqMlY2wIkzX4tq4FDJrN0UUSee
THIS GUY EDITS (TGE) is a youtube channel by film editor Sven Pape, an A.C.E. award nominee, whose credits include work for directors James Cameron, Joseph Gordon-Levitt and James Franco.
You get to see my timeline and as I cut scenes. I show work in progress. TGE is not about how to run a piece of software, but rather how to tell stories creatively.
I cut my latest film "Flesh & Blood" for Sundance filmmaker Mark Webber.
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My absolute favorite Film Editing Book is...
"In the Blink of an Eye" by Walter Murch: http://amzn.to/20ujg6B
Find out about Walter Murch's theory on the relationship of eye blinking and editing: https://youtu.be/0_rHsWleVmw?list=PLNEhn13QqMlY2wIkzX4tq4FDJrN0UUSee
How Does an Editor Think and Feel?For the past ten years, I’ve been editing professionally. Yet one question always stumps me: “How do you know when to cut?” And I can only answer that it’s very instinctual. On some level, I’m just thinking and feeling my way through the edit. So today, I’d like to describe that process: how does an editor think and feel?
A very special thanks to David Poland for the use of DP/30 clips.
And a very special thanks to Aso for the use of his music.
For educational purposes only. You can donate to support the channel at
Patreon: http://www.patreon.com/everyframeapainting
And you can follow us through
Taylor’s Instagram: https://instagram.com/taylor.ramos/
Taylor’s Twitter: https://twitter.com/glassesattached
Tony’s Twitter: https://twitter.com/tonyszhou
Tony’s Facebook: https://www.facebook.com/everyframeapainting
Music:
Aso - Soul Traveling (Freddie Joachim Remix)
Harry James - I’ve Heard That Song Before
Harry James - You Made Me Love You
Shigeru Umebayashi - Yumeji's Theme
Aso - Jazz Intro
Nujabes - Perfect Circle (Instrumental)
George Benson - On Broadway (Live)
Interview Clips:
DP/30 Michael Kahn (2011) https://www.youtube.com/watch?v=xjdOG-w0Zz4
Michael Caine - Acting in Film (1987) https://www.youtube.com/watch?v=bZPLVDwEr7Y
DP/30 Thelma Schoonmaker (2013) https://www.youtube.com/watch?v=KIKRcV4kHzg
DP/30 Thelma Schoonmaker (2011) https://www.youtube.com/watch?v=KgXcpZqQy8M
BAFTA - Walter Murch on Editing (2013) https://www.youtube.com/watch?v=WcBpXLNmS3Q
Recommended Reading & Viewing:
On Film Editing by Edward Dmytryk http://amzn.com/dp/0240517385
Cut to the Chase by Sam O’Steen & Bobbie O’Steen http://amzn.com/dp/094118837X
In the Blink of an Eye by Walter Murch http://amzn.com/dp/1879505622
The Conversations with Walter Murch by Michael Ondaatje http://amzn.com/dp/0375709827
Help us caption & translate this video!
http://amara.org/v/IWcW/
Editing In StorytellingSupport this Channel on Patreon: https://www.patreon.com/Channel_Criswell
Follow me on Twitter: https://twitter.com/lewis_criswell
Follow me on Instagram: https://instagram.com/lewiscriswell/
Business Enquiries: lewismichaelbond@gmail.com
FURTHER READING AND RESEARCH:
M. Ondaatje (2004) The Conversations: Walter Murch and the Art of Editing Film
W. Murch (2001) In The Blink of an Eye
C.J. Bowen, R. Thompson (2009) Grammar of The Cut
S. Eisenstein (1969) Film Sense
Press the CC Button to see a list of the films shown.
SONG LIST:
0:00 - 2:34 Deafheaven - Irresistible
2:39 - 5:05 Ico Soundtrack - Castle In The Mist
5:06 - 6:45 Michael Galasso - Baroque
6:50 - 8:46 Kendrick Lamar - Hiiipower
8:54 - 11:40 DOOM & RZA - Books of War
11:58 - 14:06 Bjork - All Is Full of Love
14:43 - 15:30 Akira Yamaoka - Laura's Theme Reprise
15:36 - 17:03 Nujabes - Luv(sic) Part 3
17:27 - 20:03 Ennio Morricone - Un Amico
20:07 - 22:00 Godspeed You Black Emperor - Storm
Walter Murch's Rule of SixWalter Murch is one of the most respected Hollywood film editors of our time. He has the know-how of film editing in his pocket that he shares in his book “In the blink of an eye: A perspective on film editing”. There he distills the art of cutting in film down to six rules, a set of guidelines on what should motivate a cut and what makes a good one. Next to each rule, he sets a percentage of importance that allows experimentation on how the recipe is followed. The rules are aptly named: 1) emotion, 2) story, 3) rhythm, 4) eye trace, 5) two dimensional plane of screen, and 6) three dimensional plane of screen.
Kuleshov Effect / Effetto Kuleshov
The History of Cutting - The Soviet Theory of MontageBuilding on the works of D.W. Griffith and the development of "continuity editing" in early film history, Soviet silent filmmakers would pioneer new innovative ideas about editing that moved film from an extension of theater into a mature and powerful artistic medium. <br />
<br />
This lesson is proudly sponsored by:<br />
<br />
BlackMagicDesign.com<br />
Creating the world's highest quality solutions for the feature film, post production and television broadcast industries.<br />
<br />
Catch up on the beginning of film editing history with:<br />
<br />
The History of Cutting - The Birth of Cinema and Continuity Editing<br />
https://vimeo.com/84542388<br />
<br />
If you like this lesson you may like:
Pudovkin's 5 Editing Techniqueshttp://evanerichards.com/2013/3042<br />
<br />
A brief look at some of Vsevolod Pudovkin's theories on editing as well as some examples from more recent movies.<br />
<br />
If you're interested in reading some of Pudovkin's writings, his book "Film technique and Film acting: The Cinema Writings of V.I. Pudovkin" is available for free in PDF, Kindle, or EPUB format at the link below.<br />
<br />
http://archive.org/details/filmtechniqueact00pudo
Virtual Cameras (Pixar in a Box)Overview of our lesson on virtual cameras. Learn more at Pixar in a Box: https://www.khanacademy.org/partner-content/pixar/virtual-cameras
Mise-en-scène & Cinematography in American Beauty: Scene AnalysisThis video uses two scenes from the movie American Beauty to show how elements of how cinematic techniques related to mise-en-scène and cinematography can be used to help visually tell a story.
The following elements are examined:
Mise-en-scène: Decor, lighting, costumes and body language (gestures, expressions and posture)
Cinematography:
Composition and framing, camera angle, camera height and camera distance
Scene 1
At the beginning of American Beauty, the main character, Lester Burnham is disillusioned with his life. At home, he and his wife hate each other while his teenage daughter cannot stand either of them. At work, he is stuck in a boring and meaningless job writing for a media magazine.
The first scene we will look at appears early on in the movie. In this scene, Lester is meeting with Brad, his company's new efficiency expert. Brad is telling him that his work is not up to standard and that his job is at risk.
What's interesting here is how differently the two men are presented.
Let's look at Lester first. As this is a wide shot, Lester occupies a small portion of the frame, and because this shot is also a high angle shot, he looks even smaller. He is in the middle of a mostly empty room, totally exposed. He is slouching in a chair--his body language sending a message of weakness and resignation, and his facial expression shows his exasperation and frustration.
In terms of decor and lighting, the room itself is ugly, utilitarian, dimly lit, poorly decorated and awfully dull and grey. Behind Lester, there is a dying potted plant stuck in a corner and a painting that is too small for the wall. The ugly décor reveals what kind of company Lester works for—one that sucks the life out of its employees.
In terms of composition, the framing of the shot is also ugly. Lester is positioned in the centre bottom of the frame, which is a strange place to put the main subject. There is far too much headroom above him, his feet seem to be cut off, and at the top of the screen, a ceiling light juts down into the frame. It's an ugly shot in a dark, ugly room— a kind of visual manifestation of Lester's unease and discontent.
Now let's look at Brad. Here the shot is a mid-shot, so Brad occupies a large portion of the frame. The low angle mid shot emphasizes his position of power, especially when it comes right after the high angle wide shot of Lester that we just looked at.
Visually, Brad is presented as being dominant. His posture is straight, he is younger, he is dressed more fashionably and his facial expression reveals smugness and contempt.
Behind him, the vertical Venetian blinds create a visual pattern that calls to mind the bars of a jail cell or cage. To Lester, his job is like a prison.
And note the props around Brad: his desk, his large, brightly shining name plate, the gold pens, the picture and its frame, the Venetian blinds. Almost everything is straight edges, angles and points. Everything is hard, sharp, threatening.
In short, the visual elements in this scene work together to emphasize Brad's dominance over Lester, the soul-destroying nature of their workplace and Lester's hopelessness and vulnerability.
Scene 2
Mid-way through the film, the two men meet again. And Lester is a different man. In this scene, Lester is quitting his job AND blackmailing the company into paying him off.
If you compare these two reverse angle shots, you will see that Brad is no longer shown to be dominant. In the shot over Lester's shoulder, Lester seems to be looking down at Brad. And in the shot over Brad's shoulder, Brad's head is out-of-focus and slightly off screen, Brad is no longer so important, no longer so powerful. And all of those sharp edges, the pointy gold pens, the massive nameplate—those have become small, unremarkable pieces of stationery. They no longer pose any threat.
Lester's posture is now relaxed and confident. He is in control.
The room is brighter. Lester is no longer trapped in gloomy darkness.
The shots are now more attractive in terms of composition and framing, and this also reflects Lester's more hopeful mindset.
He has changed, and these changes are shown through the use of a variety of cinematic techniques. In the first scene, these techniques highlight the power differential between Brad and Lester and show Lester's disappointment, frustration and vulnerability. In the second scene, they show the extent to which Lester has become more hopeful and confident.
Conclusion
In this video, I've only touched on some of the cinematic elements related to mise-en-scène and cinematography and haven't mentioned things like dialogue, editing or sound or music. There is a lot more to discuss when interpreting a scene, but hopefully this video can help you better understand how different visual elements can work together to help tell a story.
Walter Murch: On EditingThe Film & Sound Editor behind Apocalypse Now & The English Patient reveals the relationship between editing and dance, the importance of rhythm - "like telling a good joke" - and how digital film has transformed his work.
Many thanks to Sheffield Doc/Fest for giving us access to interview Walter Murch.
Find out more about the festival by visiting http://sheffdocfest.com/
Discover more about editing on BAFTA Guru: http://guru.bafta.org/craft/editing
Satoshi Kon - Editing Space & TimeFour years after his passing, we still haven't quite caught up to Satoshi Kon, one of the great visionaries of modern film. In just four features and one TV series, he developed a unique style of editing that distorted and warped space and time. Join me in honoring the greatest Japanese animator not named Miyazaki.<br />
<br />
For educational purposes only.<br />
You can support the channel at patreon.com/everyframeapainting<br />
And you can follow me at twitter.com/tonyszhou<br />
<br />
For further reading/viewing, I highly recommend:<br />
Andrew Osmond's book "Satoshi Kon: The Illusionist" (my major source) http://amzn.com/1933330740<br />
Kristin Thompson's essay on match cuts & graphic matches http://bit.ly/1x960Em<br />
And this tumblr with an excellent name http://fuckyeahsatoshikon.tumblr.com/
How to Direct a Film Editor - The Creative CollaborationThe partnership between a film director and editor thrives with trust. In this talk we share our take on the film editing process as the final rewrite of the movie.
“During filming you get to have fun experimenting, if you understand how much you can manipulate in film editing.”
Do you have questions for Mark regarding the film editing process and his take as film director? Leave your questions in the comment section and I will pick some for another session with him.
Mark Webber's previous films as director:
- Explicit Ills: http://amzn.to/1USwKJ5
- The End of Love: http://www.markwebber.me/#!the-end-of-love/c246x
- The Ever After (Free with Amazon Prime): http://amzn.to/24L5IGx
Film by Editor Jay Rabinowitz with Mark Webber:
- Broken Flowers: http://amzn.to/1sdaLBK
THIS GUY EDITS (TGE) is a youtube channel by film editor Sven Pape, an A.C.E. award nominee, whose credits include work for directors James Cameron, Joseph Gordon-Levitt and James Franco.
TGE is not about how to run a piece of software, but rather how to tell stories creatively.
Sven cuts his latest film for Sundance filmmaker Mark Webber. “Flesh & Blood” is their third collaboration.
Film Editing Book Recommendation - "In the Blink of an Eye" by Walter Murch: http://amzn.to/20ujg6B
Several times a week TGE will post update videos. You get to see the timeline and the editor's play-by-play-commentary as he cuts scenes. It shows work in progress.
★- - - - - - - - - - - - - - - - - - - - - - - - - - - ★
Want More THIS GUY EDITS?
☆Connect With Me On My:☆
➜ CHANNEL-
https://www.youtube.com/user/svenpape
For example TGE puts Walter Murch’s theory of “The Blink of an Eye” to the test. Another segment reveals editing tips on how to dramatically get into and out of scene. A future episode includes David Mamet’s philosophy on scene writing as it applies to editing.
To get regular updates on the project subscribe to the channel here:
http://www.youtube.com/svenpape
Editing Software: Final Cut Pro X
Over Under Kevin MacLeod (incompetech.com)
Licensed under Creative Commons: By Attribution 3.0
http://creativecommons.org/licenses/by/3.0/
5 Techniques on How to Find The Right FrameAccomplished editors tend to point to instinct and experience when it comes to the exact edit point. Here are 5 tips that may help you get there.
Some editors say, great editing is invisible. So is the right frame the one we don't notice?
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THIS GUY EDITS (TGE) is a youtube channel by film editor Sven Pape, an A.C.E. award nominee, whose credits include work for directors James Cameron, Joseph Gordon-Levitt and James Franco.
TGE is not about how to run a piece of software, but rather how to tell stories creatively. Sven cuts his latest film for Sundance filmmaker Mark Webber. “Flesh & Blood” is their third collaboration.
Film Editing Book Recommendation - "In the Blink of an Eye" by Walter Murch: http://amzn.to/20ujg6B
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Today's ONE SINGLE CUT comes from Bryan Min: https://www.youtube.com/channel/UCw1jdnAfvbwr61af2QdwDtw
I WANT YOU:
"One Single Cut": Upload a max. 10 sec. clip to your channel. This clip has two shots and a single cut in it. Leave a comment here so I know. I will pick a couple to feature in future episodes.
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Several times a week TGE will post update videos. You get to see the timeline and the editor's play-by-play-commentary as he cuts scenes. It shows work in progress.
★- - - - - - - - - - - - - - - - - - - - - - - - - - - ★
Want More THIS GUY EDITS?
☆Connect With Me On My:☆
➜ CHANNEL-
https://www.youtube.com/user/svenpape
For example TGE puts Walter Murch’s theory of “The Blink of an Eye” to the test. Another segment reveals editing tips on how to dramatically get into and out of scene. A future episode includes David Mamet’s philosophy on scene writing as it applies to editing.
Editing Software: Final Cut Pro X
Over Under Kevin MacLeod (incompetech.com)
Licensed under Creative Commons: By Attribution 3.0
http://creativecommons.org/licenses/by/3.0/
Divertissement - Pizzicato (from the ballet) Kevin MacLeod (incompetech.com)
Licensed under Creative Commons: By Attribution 3.0
http://creativecommons.org/licenses/by/3.0/
How To Become A (Wanted) Film EditorWhat does it take to master the art of film editing? How to start cutting and how to end up getting paid. I share seven recommendations that may just turn you into a storyteller in demand.
Quotes:
"Ten thousand hours is the magic number of greatness.” - Malcolm Gladwell: http://problogservice.com/2012/03/15/what-malcolm-gladwell-really-said-about-the-10000-hour-rule/
"Showing up is 80 percent of life." - Woody Allen: http://quoteinvestigator.com/2013/06/10/showing-up/
"Real artists ship." - Steve Jobs: https://en.wikiquote.org/wiki/Steve_Jobs
"Two roads diverged in a wood, and I — I took the one less traveled by, And that has made all the difference." - Robert Frost: https://en.wikipedia.org/wiki/The_Road_Not_Taken
"Defeat is not the worst of failures. Not to have tried is the true failure." - George Edward Woodberry: http://www.calebwojcik.com/blog/2012/01/30/quotes-overcome-fear-of-failure
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THIS GUY EDITS (TGE) is a youtube channel by film editor Sven Pape, an A.C.E. award nominee, whose credits include work for directors James Cameron, Joseph Gordon-Levitt and James Franco.
TGE is not about how to run a piece of software, but rather how to tell stories creatively. Sven cuts his latest film for Sundance filmmaker Mark Webber. “Flesh & Blood” is their third collaboration.
Film Editing Book Recommendation - "In the Blink of an Eye" by Walter Murch: http://amzn.to/20ujg6B
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Today's ONE SINGLE CUT comes from T. CILLA: https://www.youtube.com/watch?v=70HXzIFLdYQ&feature=youtu.be
I WANT YOU:
"One Single Cut": Upload a max. 10 sec. clip to your channel. This clip has two shots and a single cut in it. Leave a comment here so I know. I will pick a couple to feature in future episodes.
---------------
Several times a week TGE will post update videos. You get to see the timeline and the editor's play-by-play-commentary as he cuts scenes. It shows work in progress.
★- - - - - - - - - - - - - - - - - - - - - - - - - - - ★
Want More THIS GUY EDITS?
☆Connect With Me On My:☆
➜ CHANNEL-
https://www.youtube.com/user/svenpape
For example TGE puts Walter Murch’s theory of “The Blink of an Eye” to the test. Another segment reveals editing tips on how to dramatically get into and out of scene. A future episode includes David Mamet’s philosophy on scene writing as it applies to editing.
Editing Software: Final Cut Pro X
Over Under Kevin MacLeod (incompetech.com)
Licensed under Creative Commons: By Attribution 3.0
http://creativecommons.org/licenses/by/3.0/
Divertissement - Odyssey Kevin MacLeod (incompetech.com)
Licensed under Creative Commons: By Attribution 3.0
http://creativecommons.org/licenses/by/3.0/
RKO 281- Positioning the CameraFilming Citizen Kane, Orson Welles "replaces" the camera.
'Drive' Film Analysis - Audience InformationSUPPORT MUST SEE FILMS: http://www.patreon.com/MUSTSEEFILMS
'FREE' Film Analysis E-Book: http://mustseefilmspodcast.com
Listen on iTunes: https://itunes.apple.com/gb/podcast/must-see-films/id908138731
Listen on Stitcher: http://www.stitcher.com/podcast/must-see-films
Sign Up For MUST SEE FILM’S Newsletter: http://mustseefilmspodcast.com
Drive (2011) - The Quadrant SystemOne of the many pleasures of Nicolas Winding Refn’s “Drive” (2011) is that the shots feel both tightly composed and weirdly unpredictable. Even though most of the images follow a simple quadrant system, Refn puts plenty of subtle touches within the frame. Let’s take a look.
For educational purposes only. You can donate to support the channel at
Patreon: http://www.patreon.com/everyframeapainting
And follow me here:
Twitter: https://twitter.com/tonyszhou
Facebook: https://www.facebook.com/everyframeapainting
Music:
Desire - “Under Your Spell"
HANNIBAL - Script to ScreenFULL ARTICLE: http://vashivisuals.com/hannibal-script-to-screen/
Watch the first 5 minutes of the pilot script superimposed against the final image.
Crafting abstract visuals from creative screenwriting...
Film Editing Techniques - How to Edit a SceneA film editor on how to cut a scene of the upcoming feature "Flesh & Blood" directed by Sundance alum Mark Webber. Learn about editing techniques, coverage, scene building and storytelling.
Sven Pape is an A.C.E. Award Nominee and edited for James Cameron, Joseph Gordon-Levitt, & James Franco.
Editing Software: Final Cut Pro X
The Rhythm of EditingAn analysis of the feature film Whiplash, that won an Oscar for best film editing.
First video essay done for the Master of Visual & Digital Media at IE School of Communication / IE Business School in Madrid.
Thanks for all the likes and comments, never expected! Follow me on Twitter @RobigoTV.
Mentioned in:
NoFilmSchool: http://nofilmschool.com/2015/04/breaking-down-oscar-winning-editing-whiplash
PressPlay IndieWire: http://blogs.indiewire.com/pressplay/watch-the-editing-in-damian-chazelles-whiplash-a-closer-look-20150406?fb_action_ids=10153315976378706&fb_action_types=og.shares
Cinefilos: http://www.cinefilos.it/cinema-news/2015b/whiplash-un-video-ci-raccontail-montaggio-del-film-207758
The Film Stage: http://thefilmstage.com/news/watch-25-minute-video-essay-dissects-the-rhythm-of-editing-in-whiplash/
Variety Artisans: Oscar Ballot Guide - Film EditingFilm editing is one of the subtlest of cinema crafts; if you notice it, it's probably not working. Oscar winning editors William Goldenberg, Joel Cox and Gary Roach explain good editing, bad editing, and how the film editor controls the audience's mind.
http://bit.ly/VarietySubscribe
'Whiplash' | Anatomy of a Scene w/ Director Damien Chazelle | The New York TimesThe writer and director Damien Chazelle narrates a sequence from his film “Whiplash,” featuring Miles Teller and J. K. Simmons.
Produced by: Mekado Murphy
Read the story here: http://nyti.ms/1C1MJau
Subscribe to the Times Video newsletter for free and get a handpicked selection of the best videos from The New York Times every week: http://bit.ly/timesvideonewsletter
Whether it's reporting on conflicts abroad and political divisions at home, or covering the latest style trends and scientific developments, New York Times video journalists provide a revealing and unforgettable view of the world. It's all the news that's fit to watch. On YouTube.
'Whiplash' | Anatomy of a Scene w/ Director Damien Chazelle | The New York Times
http://www.youtube.com/user/TheNewYorkTimes
BREAKING BAD - Motivated Camera MovementFULL ARTICLE: http://vashivisuals.com/breaking-bad-motivated-camera-movement/<br />
<br />
In the final episode of BREAKING BAD...there are two shots in a pivotal scene that are perfect examples of how to use camera movement to amplify the narrative and surprise the audience. With one simple pan and one simple dolly...there is a set-up and shortly after, a dramatic pay-off. The scene at first appears to be just conveying information to the viewer. Then, with one pan and one dolly move...the scene is flipped on its head and is seen in a whole new light. This could only happen through writing, direction, set design and camera movement working in unison. A Steadicam or crane shot through a window could never have achieved the emotional impact of a simple pan and dolly.
INCEPTION - Cinematography AnalysisOne of my all time favourite film by my all time favourite director, Chris Nolan.
Director of Photography: Wally Pfister
This is a cinematography analysis on the final scene in Inception. This scene from the film has many subtle camera movements from a fixed position.
David Fincher - And the Other Way is WrongFor sheer directorial craft, there are few people working today who can match David Fincher. And yet he describes his own process as “not what I do, but what I don’t do.” Join me today in answering the question: What does David Fincher not do?<br />
<br />
For educational purposes only.<br />
You can support the channel at http://www.patreon.com/everyframeapainting<br />
And you can follow me at http://www.twitter.com/tonyszhou
David Fincher: A Life in Pictures HighlightsWatch the BAFTA-winning and Oscar-nominated director David Fincher (Gone Girl, The Social Network, Seven, Fight Club) discuss his craft and career in this A Life in Pictures interview.
View the full interview here: http://bit.ly/1ABC9XK
INSIDE THE EDIT Tutorial 7.4: Dramatic Sync TempoA detailed study of decompression in sync tempo and the magical effect it can have on the dramatic impact of a scene. Monthly subscriptions to our huge library of creative tutorials, 35 hours of documentary footage and 100 tracks from Universal Production Music start at just £33/$50 per month.
How to make yourself Indispensable in the Cutting RoomLucy Mitra, assistant editor gives 5 great tips on how to become an efficient member of the editorial team.
How to get a job as an Assistant Film EditorLucy Mitra, top assistant film editor gives 5 tips on how to launch yourself into the cutting room.
What Makes A Good Story?For filmmakers and Screenwriters. We discuss one of the most popular questions. What makes a good story?
Shot with Canon EOS 60D
Microphone Nady SGM - 12
Edited in Adobe Premiere pro cs6
Commercial use license youtube info for mixcraft.
The music and sound effects are from mixcraft 6 which I own a license for and can be used for commercial purposes. Acoustica is the company that owns the mixcraft 6 sound product. Below is a link that explains that license holders can use music and audio
3 Act Structure - Story Structure Tips - Screenwriting
Advice To Film School Graduates by Spike LeeCONNECT WITH SPIKE LEE
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Variety Artisans: The Seamless Look of 'Birdman'On "Birdman," “Birdman,” director Alejandro Gonzales Innaritu and cinematographer Emmanuel “Chivo” Lubezki achieved something very unusual: A film that looks like one continuous shot. But of course, it’s not really a single shot. Digital colorist Steve Scott shows Variety's Tim Gray how they did it.
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The Secret World of FoleyWitness the magic of moviemaking and journey into the little known world of Foley Artists, who bring films to life with their perfectly-timed sound-effects.
Featured on Short of the Week: https://www.shortoftheweek.com/2016/06/16/secret-life-foley/
Cast / Foley Artists: Pete Burgis & Sue Harding
Directed by: Daniel Jewel
Produced by: Ateh Jewel & Mandy Belnick & Daniel Jewel
DoP: James Watson
Supervising Sound Editor: Glen Gathard
Re-Recording Mixer: Peter Hanson
Foley Editor: Sam Walsh
Composer: Christopher Sarantis
Colourist: Nadya Gorodetskaya
Location Sound Recordist: Josh Tarr
Production Company: Third Man Films
Post-Production Company: Pinewood Studios
Sound Design in Film Editing - Using Sounds as Character's Inner StateGood sound design enhances the dramatic impact of a scene. Using sounds is one of least "visible" editing techniques. Here is a simple example of a scene in the current editing of the film "Flesh & Blood" with and without the use of sound design.
Sven Pape is an A.C.E. Award Nominee and edited for James Cameron, Joseph Gordon-Levitt, & James Franco. He currently edits the new film directed by Sundance alum Mark Webber.
Editing Software: Final Cut Pro X
Editing Dialogue Sequences - A Short Video TutorialRead the full post here: https://www.cinema5d.com/?p=57610
This is the second tutorial in my editing tips series. This time around, I will show you how splitting your audio and video edits will create a naturalistic flow when editing dialogue sequences. I will break down not only how to split edits, but why you should split edits.
Editing Action Sequences - a Short Video TutorialFull post: https://www.cinema5d.com/?p=55394
Ollie Kenchington shows how to effectively go about editing action sequences in Adobe Premiere and Final Cut Pro. How do you hide cuts?
Thelma Schoonmaker's tips for aspiring filmmakers - Venice 2014Legendary film editor Thelma Schoonmaker ("Raging Bull", "Goodfellas", "The Wolf of Wall Street"), on her Lifetime Achievement Award in Venice and working with Martin Scorsese. https://www.moviezine.se
In Focus: EditingWhat does it take to be a top editor? Hear from the experts who have worked on films such as 12 Years A Slave, Gravity and Django Unchained.
Mise En Scène & The Visual Themes of Wes AndersonFrom: http://waytooindie.com/features/video-essay-the-visual-themes-of-wes-anderson
Wes Anderson has become a film genre. We explore his visual themes from his work in RUSHMORE, BOTTLE ROCKET, ROYAL TENENBAUMS, MOONRISE KINGDOM, DARJEELING LIMITED, to his latest work in THE GRAND BUDAPEST HOTEL.
'The Grand Budapest Hotel' | Anatomy of a Scene w/ Director Wes Anderson | The New York TimesWes Anderson narrates a sequence from his film.
Whether it's reporting on conflicts abroad and political divisions at home, or covering the latest style trends and scientific developments, New York Times video journalists provide a revealing and unforgettable view of the world. It's all the news that's fit to watch. On YouTube.
'The Grand Budapest Hotel' | Anatomy of a Scene w/ Director Wes Anderson | The New York Times
http://www.youtube.com/user/TheNewYorkTimes
'American Hustle' | Anatomy of a Scene w/ Director David O. Russell | The New York TimesAnatomy of a Scene: David O. Russell, the director of "American Hustle," narrates a scene from his movie.
Subscribe to the Times Video newsletter for free and get a handpicked selection of the best videos from The New York Times every week: http://bit.ly/timesvideonewsletter
Whether it's reporting on conflicts abroad and political divisions at home, or covering the latest style trends and scientific developments, New York Times video journalists provide a revealing and unforgettable view of the world. It's all the news that's fit to watch. On YouTube.
'American Hustle' | Anatomy of a Scene w/ Director David O. Russell | The New York Times
http://www.youtube.com/user/TheNewYorkTimes
'The Raid 2' | Anatomy of a Scene w/ Director Gareth Evans | The New York TimesGareth Evans narrates a sequence from his film.
Whether it's reporting on conflicts abroad and political divisions at home, or covering the latest style trends and scientific developments, New York Times video journalists provide a revealing and unforgettable view of the world. It's all the news that's fit to watch. On YouTube.
'The Raid 2' | Anatomy of a Scene w/ Director Gareth Evans | The New York Times
http://www.youtube.com/user/TheNewYorkTimes
John Cassavetes on movie audiencesFor more clips like this, and a most enjoyable guide to pop culture, visit the blog for the NYC cult cable-access show Media Funhouse, located here:
www.mediafunhouse.blogspot.com
The actor-filmmaker discusses audience expectation, from the documentary "I'm Almost Not Crazy," about the making of his very dense, rewarding "Love Streams." This particular bit of philosophy rings truer with every passing year; he was way ahead of his time.
For more information about the Funhouse, visit:
www.mediafunhouse.com
How To Edit A Video In SEVEN EASY Steps!! (Regret may vary..)Follow us @lixistudios on Twitter, Instagram and Facebook.
www.lixistudios.com
Big thanks to Ben Berman, who inspired us to create our take on this concept.
https://www.youtube.com/watch?v=9mbp0DugfCA
How to Cut a Film - The Secrets of Editing - Film School'dIntercut! Montage! The illusion of continuity! All hallmarks of the edit - the point in a film’s production where a film comes together and becomes greater than the sum of its shots. SUBSCRIBE: http://goo.gl/9AGRm
Kuleshov said that film is born in the edit. And you gotta take him seriously, because he used the magic of editing to convince an audience that a blank-faced man was hungry/sad/lustful.
Later, montage showed audiences how to get in shape and learn to dance in under 2 minutes! (Of screen time). And that's the magic of film editing - understanding that comes from what isn't shown.
In less than 7 minutes (and plenty of cuts), we’ll show you just how important editing is to the creation of film: from the first stop trick to today.
What did you think - did you learn something new? Did you get SCHOOL’D? What topic should we cover next? What other movies and filmmaking techniques would you like to be film school’d in?
Let us know in the comments!
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Scene Selection in Film Editing - Episode 2In this episode I take a first look a new scene and start with the selecting process. For me 90% of editing is selecting: The actual process of evaluating the footage in terms of emotion, performance and story.
I build select reels with different video layers to visually indicate which moments I consider to be "gold", "good" or "it just happened". This way, as I start cutting a scene, I can quickly see where the strong points are in the footage.
"Flesh & Blood" is a new feature directed by Mark Webber, currently filming in Philadelphia. Watch the actual editing of this feature film one episode at a time.
Film editor Sven Pape is an A.C.E. Award Nominee and edited for James Cameron, Joseph Gordon-Levitt, James Franco among other directors.
Editing Software: DaVinci Resolve
Syncing Shots - This Guy Edits "Flesh & Blood" - Episode 3In this episode we get technical... well not really, but you get to see why there is the famous film clapper in front of every take and what it's used for in editing.
Sven Pape is an A.C.E. Award Nominee and edited for James Cameron, Joseph Gordon-Levitt, James Franco among other directors.
Editing Software: DaVinci Resolve
In the Blink of an Eye - Walter Murch's Editing Theory Put to the TestMurch’s theory of assigning the human blink as emotional punctuation is a great editing technique to keep in the back of your mind as your deciding where to make a cut.
Here is a simple example of a scene in the current editing of the film "Flesh & Blood" where this concept is put to the test.
Sven Pape is an A.C.E. Award Nominee and edited for James Cameron, Joseph Gordon-Levitt, & James Franco. He currently edits the new film directed by Sundance alum Mark Webber.
Editing Software: Final Cut Pro X
Walter Murch's Book "In the Blink of an Eye": http://amzn.to/20ujg6B
How To Make Edits: Getting In and Out of Film Scenes Dramatically.Here are some thoughts on how to make edits: These editing tips will help you look at scenes in a new way. Instead of going with the traditional "Beginning", "Middle" & "End" concept consider a scene to be part of a bigger story arc where you are simply elevating the stakes and emotions of a story.
Whenever you end a scene on a full resolution you are deflating the emotions. The audience takes a deep breath and moves on to the next scene. Do you really want the audience to catch their breath and "check out"? Keep them engaged with this simple editing tip.
Here is a simple example of a scene in the current editing of the film "Flesh & Blood".
Sven Pape is an A.C.E. Award Nominee and edited for director James Cameron, Joseph Gordon-Levitt, & James Franco. He currently edits this new film directed by Sundance alum Mark Webber.
Editing Software: Final Cut Pro X
Over Under Kevin MacLeod (incompetech.com)
Licensed under Creative Commons: By Attribution 3.0
http://creativecommons.org/licenses/by/3.0/
Film Editing: Should You Edit Scenes to Music?Music adds emotion to a scene. Should we cut the scenes right from the start with music to make use of that emotion to elevate a scene. Or should you first cut the scene without music to find its raw emotional core, then add the music?
Every editor has a different take on this question. This Guy shares his point of view and his take might surprise you.
Here is a rough scene with some temp music by Max Elto.
This Guy is an A.C.E. Award Nominee and edited for James Cameron, Joseph Gordon-Levitt, & James Franco. He currently edits the new film "Flesh & Blood" directed by Sundance alum Mark Webber.
Editing Software: Final Cut Pro X
Music by: Max Elto - Shadow of the Sun: https://youtu.be/EhcMCYEX1O8
Fair Use
Over Under Kevin MacLeod (incompetech.com)
Licensed under Creative Commons: By Attribution 3.0
http://creativecommons.org/licenses/by/3.0/
In-depth Film Editing: How to Drive Drama & Conflict in a SceneIn this episode we take an in-depth look on how to cut a scene. You get to see the timeline and the editor's play-by-play-commentary as he cuts scenes.
We discuss David Mamet's Master Class Memo on Good Storytelling and Mike Nichols breakdown of the only three essential scenes there are.
David Mamet's Master Class Memo to the Writers of The Unit:
http://movieline.com/2010/03/23/david-mamets-memo-to-the-writers-of-the-unit/
THIS GUY EDITS is a youtube channel by film editor Sven Pape, an A.C.E. award nominee, whose credits include work for directors James Cameron, Joseph Gordon-Levitt and James Franco.
Sven cuts his latest film on FCPx for Sundance filmmaker Mark Webber. “Flesh & Blood” is their third collaboration.
Several times a week THIS GUY EDITS (T.G.E.) will post update videos. You get to see the timeline and the editor's play-by-play-commentary as he cuts scenes. It shows work in progress.
https://youtu.be/0_rHsWleVmw
THIS GUY EDITS is not about how to run a piece of software, but rather how to tell stories creatively.
For example T.G.E. puts Walter Murch’s theory of “The Blink of an Eye” to the test. Another segment reveals editing tips on how to dramatically get into and out of scene. A future episode includes David Mamet’s philosophy on scene writing as it applies to editing.
To get regular updates on the project subscribe to the channel here: https://www.youtube.com/user/svenpape
Editing Software: Final Cut Pro X
Over Under Kevin MacLeod (incompetech.com)
Licensed under Creative Commons: By Attribution 3.0
http://creativecommons.org/licenses/by/3.0/
Quit Your Day Job: The Risk of Being an Independent ArtistDuring the 2015 Sundance Film Festival we asked an array of artists if and when they were able to sustain their life as an independent storyteller.
Ava DuVernay - Keynote Address | 2013 Film Independent ForumAva DuVernay delivers the filmmaker keynote address at the 2013 Film Independent Forum
How Do You Do: A Short Film on a Tiny BudgetWe asked a few of our favorite filmmakers for advice on making a $500 short. Here's some of their wisdom.
Featuring
Erin Vassilopoulos, "Superior"
Ben Sinclair & Katja Blichfeld, "High Maintenance"
Kyle Rankin, Director "Night of the Living Deb" (http://kck.st/1ov1DiG)
Karl Beyer & Scott Ross, "The Burning House" (http://kck.st/R6sqVm)
Reinaldo Marcus Green, "Stone Cars," "Anonymous"
Jesse Burks, "One Please"
Emily Carmichael, "The Adventures of Ledo and Ix" (http://kck.st/12Dsm3n)
Peter Vack, "Send" (http://kck.st/16Mke6k)
//
Music by Kevin MacLeod
"What is a Colorist?"Not a showreel. This movie is trying to explain what a Colorist does and how he or she can add value to a project
Andrea Chlebak: What does a colourist do? TeaserJust like Photoshop on steroids - setting the colour tone of a feature film
Andrea Chlebak at CreativeMornings Vancouver, September 2014. Free events like this one are hosted every month in dozens of cities. Discover hundreds of talks from the world’s creative community at http://creativemornings.com/talks
Don't miss a video. Subscribe! http://bit.ly/1jeJwut
Colour In Storytellingor "Why is my Lightsaber Blue?"
Press CC to see a list of the movies shown.
TRACKLIST:
0:00-3:10 Aphex Twin - Avril 14th
3:15-8:49 Childish Gambino - Flight of The Navigator
8:50-14:12 Daft Punk - Veridis Quo
14:13-15:45 Kanye West - Only One
15:48-16:24 Joji Miller - Medicine
Color Reel - The House On Pine StreetA few before and after color grading samples from the independent feature film "The House On Pine Street." This film was colored by Taylre Jones at Grade located in Kansas City.
Director(s): Aaron and Austin Keeling
Director of Photography: Juan Sebastian Baron
Colorist: Taylre Jones
For more information about color work feel free to contact us at taylrejones@gradekc.com
To learn more about the film, feel free to check out their website!
http://www.thehouseonpinestreet.com/
Day In The Life: Daryn OkadaFollow along as cinematographer Daryn Okada ("Mean Girls," "American Reunion") takes viewers inside a day working on color-correction for the film "Dolphin Tale 2."
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How filmmakers manipulate our emotions using colorLike music in an elevator or a doctor's waiting room, color has the power to influence how we feel without our even noticing. Film directors have exploited our connection to color for decades.
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Read More: http://www.theverge.com
Directed, edited and written by Hadaya Turner (@hadayalive)
Narrated by Arielle Duhaime-Ross (@ArielleDRoss)
Special thanks to Chris Plante (@plante)
Anatomy of a Grade - Ep 03 - Underexposure Correction with RED RAWIn episode 03 colorist Chris Hall takes a look at a case of underexposed Red footage from the film "Trail of Blood" directed by Justin and Joe Guerreri with executive producer Joe Dante. Harnessing the power of 12bit Red Raw Data, a severly underexposed shot, filmed late in the day, is brought back to life to look like midday.
Color Grading Breakdown Series - Shot 03Read the blog article here : http://blog.iseehue.com/color-grading-breakdown-series-shot-03/
Anatomy of a Grade - Ep 11 - Keepin' It ConsistentColorist Chris Hall looks at two shots from the feature film "The Scribbler" and discusses how and why it can be important to maintain the color consistency of a film from start to finish.
Anatomy of a Grade - Ep 02 - Manzanar - Skin ToneBasher Films Colorist Chris Hall breaks down some basic color corrections from past projects to illuminate the different stages of "the color grade" and demonstrate the creative and aesthetic possibilities in the color correction process for film and video. In this episode, Chris looks at a cosmetic skin tone correction on an actors face.
Color Grading Breakdown Series - Shot 06Check out the blog article right here : http://blog.iseehue.com/color-grading-breakdown-series-shot-06/
Color Grading Breakdown Series – Shot 04Read how I did it here on my blog : http://blog.iseehue.com/color-grading-breakdown-series-shot-04/
Anatomy of a Grade - Ep 01 - ManzanarColorist Chris Hall breaks down the elements of a simple color correction from the short film "Manzanar" directed by Cindy Fang, shot by DP Jay Visit, and color corrected at Basher Films by Chris Hall.
Natural Skin Smoothing - DaVinci ResolveI graded this shot recently on a project where the model needed to have a strong skin texture. It was a deliberate choice : she was casted and lit accordingly, then color graded without any targeted skin smoothing.
I am now using the same shot with a different color grade to demonstrate an advanced technique where the finest details of the skin are retained through heavy skin smoothing, for a more natural look. I have been using this technique for quite some time right now, and thought it was the perfect time to share it.
www.cote-b.com
Beauty Color Grading + Retouching BreakdownVideo capture from a recent color grading session on DaVinci Resolve.
While the overall color grade couldn't be much simplier, additional efforts were needed to modify some qualities of the light and bring the skin appearance into cosmetic commercial range. The whole idea was to mute as much skin imperfections as possible while preserving subtle details for a more natural feel.
Reebok color grading breakdownThis is a color grading breakdown I've put together for a Reebok TVC I graded this summer. It was shot on F55 by DP JP Bernier and produced by ValleeDuhamel.
More on: http://ilovehue.net/?p=608
BANKS by Rococode color grading breakdownThis fall, I worked on a music video for the single BANKS by Rococode. It was produced and directed my Loxanne and Eli of Fivethousand Fingers. It was shot on Red Epic by John Londono.
Here a quick breakdown of some of the grads I did on this gig. Fore more info you can view the full article at www.ilovehue.net
and watch the full video at: https://vimeo.com/112969297
Hyundai BreakdownDirector: Francois Gingras
Cinematographer: A. Sanchez
Colorist: Benoit Cote
How To Be A Filmmaker▶ Kessler Crane: http://www.kesslercrane.com
▶ Fusion Cine: http://www.fusioncine.com
▶ Tweet this: http://ctt.ec/s89h2
Tweet this: http://ctt.ec/s89h2
Behind the scenes video and photos: http://www.kessleru.com/2015/02/how-to-be-a-filmmaker//
▶ Appearances:
RP WhaBam
—
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Hoodwinked Films
---
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Facebook: https://www.facebook.com/hoodwinkedfilms
▶ Additional appearances by Cole McPherson, Kaz Yamamura, Chris Clark, Thomas Chan, Peter Planta, Stephan Edwards, Cyrel Gonzales, Janine Alejo
▶ Special thanks to Nate Howell, Byron Drinkle, Scott Emerton, Darren Robertson, Patrick Higgins, Josh Knepper, Mike Parkerson, Stacey Roy, Theo Kim, Thomas Chan and Michael Bay
Behind the scenes filmed and edited by Thomas Chan
Additional cinematography by Chris Clark
Written by IFHT
Recorded with the Rode NTG-1 Blimp System
http://www.rodemic.com/
▶ More IFHT
---
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I got a job in the film industry
All my friends are jealous
They say I'm living the dream
"Hey, what you do again? Tell us!"
I work all day
In a tiny darkened room
I think syncing sound
Is pretty fucking cool
I'm an A.E.
You don't know me
I work behind the scenes
And stay outta sight
Syncing all the footage
They shot last night
A.E.
I'm an A.E.
I'm the editing tech support line
You can gimme a call anytime you like
When you get an error on your screen
I say "not a problem, babe, just restart the machine"
I know that doing this job won't make me rich
But I just love being the editor's bitch
'Cause I'm an A.E.
You know don't me
Creating documents nobody sees
Updating bins and assembling scenes
A.E.
I'm an A.E.
Nobody listens to me at all
And camera guys they drive me up the wall
Still life doesn't get any better
Than being an assistant editor
An A.E.
You don't know me
I do a lot more than sound effects
The position gets pretty complex
For an A.E.
An A.E., like
iPhone, Go-Pro
Nothing has timecode
No grade
No slate
Time we all appreciate the
A.E.
You don't know me
The director doesn't even know my name
But I'm saving the movie all the same
A.E.
I'm an A.E.
If I hear someone say, “We’ll fix it in post”
I’m gonna punch them right in their fucking nose
A.E.
A.E.
Let’s all put our hands together
For the motherfuckin' assistant editors
A.E.
A.E.
A.E.
A.E.
"Hey Mark, when you've got some time
Can you look that shot I'm too lazy to find?"
"Sure!"
