I worked for a day on Parenthood yesterday so I got to visit Universal for the first time, which was cool. Their crafty table was the most glorious thing ever, though. They had precut PB&J sandwiches in little plastic containers and I just wanted to steal all of them.
I'm also going to be working on Catherine Hardwicke's next movie at the end of the month which'll be great because money.
okay quick someone send me multiple pms because either i just had an amazing idea for a movie in my sleep or i'm getting really excited because i haven't believed in an idea or been inspired since july 2010
But totally my bad, I have been really tired after work lately (like I'm sleeping 10-12 hours after getting home) so I haven't gotten a chance to watch it yet.
I have a pretty lax memory so YaYa, message/contact me this Saturday and it'll happen.
Guys.
Help.
I was asked to help on a set where a friend of mine said the director didn't know how to actually direct.
After an insane 10 day shoot, I came home and looked up his other work.
Question: Do I tell them to change my name after seeing his earlier work http://www.youtube.com/watch?v=G5paP3cn1Qk&feature=plcp
I'm looking at filtering and colour-grading options for Bloodsucking Books
there's a simple filter in Magic Bullet Looks that just tweaks some saturation and adds a bit of a simulated film-grain but makes all of the footage look instantly better
will I totally suck if I just apply that filter to every clip?
I'm looking at filtering and colour-grading options for Bloodsucking Books
there's a simple filter in Magic Bullet Looks that just tweaks some saturation and adds a bit of a simulated film-grain but makes all of the footage look instantly better
will I totally suck if I just apply that filter to every clip?
What is the resolution of the footage
My husband says if it was done on a DV cam or DSLR then there isn't enough color information anyway so go for it
I'm barely a year in. Why I took the job in the first place, because it was somewhat paid, expenses were covered and who am I to resist someone saying "WeX, please come help me on this insane set"
I'm looking at filtering and colour-grading options for Bloodsucking Books
there's a simple filter in Magic Bullet Looks that just tweaks some saturation and adds a bit of a simulated film-grain but makes all of the footage look instantly better
will I totally suck if I just apply that filter to every clip?
What is the resolution of the footage
My husband says if it was done on a DV cam or DSLR then there isn't enough color information anyway so go for it
Also will you be showing it on a bit screen
1080p shot on a DSLR and only one showing on a big screen, otherwise it'll live online
WeX: keep your name on it! credits are credits
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DepressperadoI just wanted to see you laughingin the pizza rainRegistered Userregular
nobody really blames people except the director when the direction sucks, so you should be fine
just don't be all terrible and people will refer to you as a "bright spot"
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Quoththe RavenMiami, FL FOR REALRegistered Userregular
If shot on a DSLR then the filter should be fine, I guess! Might want to check some test footage on a big screen to be sure it looks ok to you?
Okay, everyone, I know how grating it is to watch student films because they're technically awful and lacking in substance
BUT
I'm applying to Universities Nov 1st and so I need to send a portfolio short for film programs and I was wondering if I could get some opinions on which of these two films I should send.
so I just got an email from the sound mixer I'm using detailing what he wants
I got halfway through it before my eyes started moving indepedently of each other
can someone who knows a bit more about sound mixing a) read the following email and decode it for me and b) tell me if this dude is right or if he's being pedantic/lazy
Coloring and titles are done last to allow for the sound mix to happen in good time.
Place holders and start and end title cards are fine but are essential to ensure sync with final
layback. If you change a single frame after the audio mix has been done it will have to be redone
again to ensure sync and audio quality.
I need a QT Mov 25fps render of the above (low res is fine but must not be mp4, h.246 or any other
codec which is used for internet streaming)
The QT should be rendered a guide audio track for reference and have a burned in TimeCode
window.
I need an OMF/AAF file of the audio used in the picture edit which has been synced to picture for
audio mix. Dialogue , music, sfx whatever you already have ready to go.
The OMF/AAF has to be checker boarded by scene and actor so that each actor has an "iso" track.
That is one track per actor within Premier/FCP.
The OMF/AAF has to have a checker boarded atmos track(s) - probably 4 channels panned L<>R
L<>R
The OMF/AAF has to have a checker boarded music track(s) - again probably 4 L<>R L<>R
The oMF/AAF has to have a (guide sfx or location wild tracks) checker boarded sfx tracks - again
probably 4 L<>R L<>R
You will easily end up with a dozen or more tracks to export as an OMF/AAF. They can be done in
"Stems" ie one OMF for dialoge, one for atmos, one for music, one for sfx as there is a 2GB limit on
an OMF file. I suggest you do this as your film is 40mins long.
You are most welcome to all my effects library. However, every SFX you want to use or have me
source has to have a Time Code reference. Ie to save time and money you should have an EDL just
for sfx - written down printed with TC in/out points. I then simply search for each sequentially, drop
in change if required, mix, render , cross off the list. The less time I have to search databases
looking for sfx the more time I can spend on Noise reduction, sound design and mixing etc.
As far as timing goes the second two weeks of october are fine but I will be limited somewhat to
sessions on the weekends and out of hours. If I can get the bulk of the work done in the final week
of september that would be ideal - if only because I can spend a concentrated amount of time on it
and not have the project drag on for ever.
The way the audio mix would work is you give me the above materials. I get a period of time to put
it all together and do a "demo mix" for you to listen to and take away with you. You write some time
coded notes on any changes required and come back at a later point to tweak. A final mix is
rendered in stereo 48k/24bit unless otherwise advise and you would import it at 00,00,00,00 into
FCO/Premier. This process would take a week at least and after the handover no changes to the
"sound" or volume of the mix should be made to ensure sync and audio quality. Audio levels wil be
mixed with a 1k odb tone at the start and will peak between -12 and -6 db.
I will pencil you in for the second two weeks of October - but if there is any part of the music
dialogue or sfx that is ready to go I will look at it in the last week of september.
I was going to watch your stuff Zim, but then I scrolled down, saw your banner and again got distracted. So I fear that my opinion is now biased by being too close to Amy Pond.
@Yaya seems to make sense. The jist is he just wants multiple audio tracks for mixing as well as the timecodes/which sound for where you want sound effects to go. Only thing I'm not sure of is what a checker boarded track is.
@Yaya seems to make sense. The jist is he just wants multiple audio tracks for mixing as well as the timecodes/which sound for where you want sound effects to go. Only thing I'm not sure of is what a checker boarded track is.
that's what confused me too
I thhiiiiinnnkkk he just means separated by actor?
http://www.pharoahaudio.com/audioprep.html There's a section here on it. Seems like it basically means have a different track for alternating audio sources so if one had background hiss he could remove the hiss without having to also alter clips that do not have the issue.
So my intern put together this script that we shot several months back, and now she's hoping to use the trailer for the full piece for some class she has now in college (they grow up so fast!).
Problem is, we were super rushed on production time due to circumstances beyond our control, and I keep finding more and more things wrong with the trailer. It would be super awesome if someone completely not involved could take a look at it and let me know if I'm just being overprotective of her work, what really does need fixing, etc.
You're doing an extremely VFX-Intense piece of work, and you're worried because you're being super critical? Nah dawg, that's just par-for-the-course.
The good news is, I like what I see. There's things wrong with it, sure. But nothing that wouldn't outright prevent me from checking out the film itself to see if it's just me.
My main problem with it, and it's so minor you shouldn't really worry about it, is I feel like I want to hear the SFX of the various powers. There's a couple of times where I feel liek there's too many fireballs flying around and I couldn't tell if they were all supposed to be produced from the one superheroine or not.
Again, minor detail, so I wouldn't really worry about it. When you're doing something like this, it's easy to be super picky about every little thing.
My main problem with it, and it's so minor you shouldn't really worry about it, is I feel like I want to hear the SFX of the various powers. There's a couple of times where I feel liek there's too many fireballs flying around and I couldn't tell if they were all supposed to be produced from the one superheroine or not.
Again, minor detail, so I wouldn't really worry about it. When you're doing something like this, it's easy to be super picky about every little thing.
That's my biggest complaint as well. I'm also not a terrible fan of the tracking on the fireballs, but it was really our first time doing something that intense and we didn't spend as much time as we should have. Yay deadlines! The good news is we learned a butt-ton of how to do VFX and also how badly it hurts to have to do stunts on gravel.
And Money Matters...wow. I think I could look over a lot of that if the pacing wasn't so slow. But then again, I'm the king of editing what was supposed to be a 10 minute piece into 5 minutes of breakneck stuff, so I'm probably on the other end of that spectrum.
Also the guy falling out of the doorway made me chuckle, but I'm not sure that was the intended response.
I got a question for you guys, what do you do when you hate a movie you are working on? Not like doing grip work (no offense) or something where it doesn't totally feel like your movie, but part of the creative process behind the film you are currently hating.
I just did a 50hr film fest, and we won, and we ended up doing a radio interview for it, and this is for a film I referred to as "the tampon commercial" the entire time of shooting. Cause that is pretty much what it was. I wrote it, and honestly, I wrote TWO different scripts because I hated the one they wanted so much. And thats a lot of writing for a 50 hour.
Now I just found out another film I acted in just got accepted into the Raindance Film Fest in London. The film is about 14 minutes long, and I have no idea what it is even trying to be about. Am I being a dick/snob? Or maybe just an idiot who doesn't get it. The second film takes place entirely in a car, and all we talk about is Cheers the show, and porn. Someone help me feel slightly proud that this is getting into things, cause right now I'm having a hard time being satisfied.
For any of you guys that PA on real sets, the bare minimum of your job is to call out "Rolling!" and "Cut!" and repeat what the AD says. If you're not doing that after a week, then good luck finding work.
I just... one of these kids is going to UCLA and I'm flabbergasted at how he got in.
Shit rolls down hill. PAs are the bottom of the hill. Besides calling out things, they are official blame receptacles. I have seen them tie in hours with transpo dept. And NO ONE ties transpo's hours.
It sucks too, most of them paid the most for film school, from my experience. And then I have them get me a drink. And I feel terrible. But I'm thirsty.
After a not so great morning, I found out a script me and DrIan wrote made it to the second round/top 10% of entries in the Austin Film Festival screenwriting comp. Don't think we're in the semifinals but we're still thinking of doing a roadtrip to Austin now since we do get some perks.
how do you know if you should cut a scene for time or not
I can get Bloodsucking Books Part 1 down to an even twenty minutes if I cut it, and the scene I want to cut...it's not vital to the story but I think it adds a lot of character depth
anyone have any ideas, or should I just show you dudes the fine cut and tell you the scene after?
Posts
BTW, congrats!
I'm also going to be working on Catherine Hardwicke's next movie at the end of the month which'll be great because money.
Or I would jump on one of the studio tour rides and hand them out like Santa Claus.
QuestionMarkMan gives me so much to look forward to. Sandwiches and film mmmm
hey
@Zonugal and at someone else
can you put your hands up in here so I can send the Bloodsucking Books rough cut to you
I need impressions and notes before the fine cut
YaYa, you know I can never die.
But totally my bad, I have been really tired after work lately (like I'm sleeping 10-12 hours after getting home) so I haven't gotten a chance to watch it yet.
I have a pretty lax memory so YaYa, message/contact me this Saturday and it'll happen.
Help.
I was asked to help on a set where a friend of mine said the director didn't know how to actually direct.
After an insane 10 day shoot, I came home and looked up his other work.
Question: Do I tell them to change my name after seeing his earlier work
oh wow and that crazy camera spin at 1:05ish
hmm
WeX where are you in your career exactly
I'm looking at filtering and colour-grading options for Bloodsucking Books
there's a simple filter in Magic Bullet Looks that just tweaks some saturation and adds a bit of a simulated film-grain but makes all of the footage look instantly better
will I totally suck if I just apply that filter to every clip?
What is the resolution of the footage
My husband says if it was done on a DV cam or DSLR then there isn't enough color information anyway so go for it
Also will you be showing it on a bit screen
1080p shot on a DSLR and only one showing on a big screen, otherwise it'll live online
WeX: keep your name on it! credits are credits
just don't be all terrible and people will refer to you as a "bright spot"
BUT
I'm applying to Universities Nov 1st and so I need to send a portfolio short for film programs and I was wondering if I could get some opinions on which of these two films I should send.
If none of you watch them I'll totally understand and probably put it to a FB poll vote or something :P
I got halfway through it before my eyes started moving indepedently of each other
can someone who knows a bit more about sound mixing a) read the following email and decode it for me and b) tell me if this dude is right or if he's being pedantic/lazy
Place holders and start and end title cards are fine but are essential to ensure sync with final
layback. If you change a single frame after the audio mix has been done it will have to be redone
again to ensure sync and audio quality.
I need a QT Mov 25fps render of the above (low res is fine but must not be mp4, h.246 or any other
codec which is used for internet streaming)
The QT should be rendered a guide audio track for reference and have a burned in TimeCode
window.
I need an OMF/AAF file of the audio used in the picture edit which has been synced to picture for
audio mix. Dialogue , music, sfx whatever you already have ready to go.
The OMF/AAF has to be checker boarded by scene and actor so that each actor has an "iso" track.
That is one track per actor within Premier/FCP.
The OMF/AAF has to have a checker boarded atmos track(s) - probably 4 channels panned L<>R
L<>R
The OMF/AAF has to have a checker boarded music track(s) - again probably 4 L<>R L<>R
The oMF/AAF has to have a (guide sfx or location wild tracks) checker boarded sfx tracks - again
probably 4 L<>R L<>R
You will easily end up with a dozen or more tracks to export as an OMF/AAF. They can be done in
"Stems" ie one OMF for dialoge, one for atmos, one for music, one for sfx as there is a 2GB limit on
an OMF file. I suggest you do this as your film is 40mins long.
You are most welcome to all my effects library. However, every SFX you want to use or have me
source has to have a Time Code reference. Ie to save time and money you should have an EDL just
for sfx - written down printed with TC in/out points. I then simply search for each sequentially, drop
in change if required, mix, render , cross off the list. The less time I have to search databases
looking for sfx the more time I can spend on Noise reduction, sound design and mixing etc.
As far as timing goes the second two weeks of october are fine but I will be limited somewhat to
sessions on the weekends and out of hours. If I can get the bulk of the work done in the final week
of september that would be ideal - if only because I can spend a concentrated amount of time on it
and not have the project drag on for ever.
The way the audio mix would work is you give me the above materials. I get a period of time to put
it all together and do a "demo mix" for you to listen to and take away with you. You write some time
coded notes on any changes required and come back at a later point to tweak. A final mix is
rendered in stereo 48k/24bit unless otherwise advise and you would import it at 00,00,00,00 into
FCO/Premier. This process would take a week at least and after the handover no changes to the
"sound" or volume of the mix should be made to ensure sync and audio quality. Audio levels wil be
mixed with a 1k odb tone at the start and will peak between -12 and -6 db.
I will pencil you in for the second two weeks of October - but if there is any part of the music
dialogue or sfx that is ready to go I will look at it in the last week of september.
that's what confused me too
I thhiiiiinnnkkk he just means separated by actor?
I'd pop in this thread with more technical help but so many users probably know more than me, so I just keep quiet. :P
Problem is, we were super rushed on production time due to circumstances beyond our control, and I keep finding more and more things wrong with the trailer. It would be super awesome if someone completely not involved could take a look at it and let me know if I'm just being overprotective of her work, what really does need fixing, etc.
The good news is, I like what I see. There's things wrong with it, sure. But nothing that wouldn't outright prevent me from checking out the film itself to see if it's just me.
My main problem with it, and it's so minor you shouldn't really worry about it, is I feel like I want to hear the SFX of the various powers. There's a couple of times where I feel liek there's too many fireballs flying around and I couldn't tell if they were all supposed to be produced from the one superheroine or not.
Again, minor detail, so I wouldn't really worry about it. When you're doing something like this, it's easy to be super picky about every little thing.
It could be worse, it could be Money Matters:
That's my biggest complaint as well. I'm also not a terrible fan of the tracking on the fireballs, but it was really our first time doing something that intense and we didn't spend as much time as we should have. Yay deadlines! The good news is we learned a butt-ton of how to do VFX and also how badly it hurts to have to do stunts on gravel.
And Money Matters...wow. I think I could look over a lot of that if the pacing wasn't so slow. But then again, I'm the king of editing what was supposed to be a 10 minute piece into 5 minutes of breakneck stuff, so I'm probably on the other end of that spectrum.
Also the guy falling out of the doorway made me chuckle, but I'm not sure that was the intended response.
I just did a 50hr film fest, and we won, and we ended up doing a radio interview for it, and this is for a film I referred to as "the tampon commercial" the entire time of shooting. Cause that is pretty much what it was. I wrote it, and honestly, I wrote TWO different scripts because I hated the one they wanted so much. And thats a lot of writing for a 50 hour.
Now I just found out another film I acted in just got accepted into the Raindance Film Fest in London. The film is about 14 minutes long, and I have no idea what it is even trying to be about. Am I being a dick/snob? Or maybe just an idiot who doesn't get it. The second film takes place entirely in a car, and all we talk about is Cheers the show, and porn. Someone help me feel slightly proud that this is getting into things, cause right now I'm having a hard time being satisfied.
Any suggestion?
For any of you guys that PA on real sets, the bare minimum of your job is to call out "Rolling!" and "Cut!" and repeat what the AD says. If you're not doing that after a week, then good luck finding work.
I just... one of these kids is going to UCLA and I'm flabbergasted at how he got in.
It sucks too, most of them paid the most for film school, from my experience. And then I have them get me a drink. And I feel terrible. But I'm thirsty.
how do you know if you should cut a scene for time or not
I can get Bloodsucking Books Part 1 down to an even twenty minutes if I cut it, and the scene I want to cut...it's not vital to the story but I think it adds a lot of character depth
anyone have any ideas, or should I just show you dudes the fine cut and tell you the scene after?