Sign of the Times
- Thread starter NEWSSHOOTER3
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NEWSSHOOTER3
Well-known member
nguyen.jason
Active member
I thought it was a good piece. I liked how you framed some of your shots with the plants infront of the actual target that you were (or I thought you were) aiming for. I like how you lead the car nat before you actually saw the car instead of just popping it up. Good job
NEWSSHOOTER3
Well-known member
Thanks
Thanks. I think audio mixes are one of the most under used "effects" in editing. While most people rarely notice things like this, I think its one of those little things that makes people "like a piece, and not really know why?" Its one of those "felt good" effects that I often recommend to photojournalists.
And, it can be as simple as highlighting an audio channel and doing a "20-30 before cut" dissolve. And, while we're talking about it, I strongly recommend a 2/1 audio dissolve on all audio channels!
Thanks. I think audio mixes are one of the most under used "effects" in editing. While most people rarely notice things like this, I think its one of those little things that makes people "like a piece, and not really know why?" Its one of those "felt good" effects that I often recommend to photojournalists.
And, it can be as simple as highlighting an audio channel and doing a "20-30 before cut" dissolve. And, while we're talking about it, I strongly recommend a 2/1 audio dissolve on all audio channels!
NEWSSHOOTER3
Well-known member
145
145 clicks and only TWO critiques? Really... help a brother out...
145 clicks and only TWO critiques? Really... help a brother out...
redcoat
Well-known member
I liked the opening super over the first shot. I know that probably wasn't your decision, but I don't think I've ever seen that done before.
The shots of devastation were timed well with James opening words. I could already tell you have a great sense of pacing. at 0:20 I really liked the action of James leaning into frame. Subtle, but nice touch.
I thought the car sound at 0:29 overlapped with James' trailing off "down" too much. I personally would have liked a little more separation and started the car noise slightly later. It would have given me a little more time to consider the sadness I think his statement conveyed.
Did you ever go in closer on James during the interview? I like the interview setup with him on the stoop, but for statements that could be emotional, I would have liked to see some closer framed shots.
Similar to how you overlap audio, I like how you don't cut immediately to your subjects when they begin talking. You leave that extra second or two of video up with them talking under it, and then go to them. I also do this on a regular basis and feel like it is one of those "feel good" edits. But I'm not sure if I could explain very well why I do it. How would you explain why this is a good practice?
Did you light Scott's interview?
I noticed that most of the foreclosure sign shots were out of focus with something in focus in the foreground. I like the effect, but did you have a motivation for this? Sometimes I like to think in theoretical terms, so do you have a theory on something you were trying to convey by doing this? Or was it more just your personal style?
If you intended for that last yellow foreclosure sign to fade away in the exact position that James was in the next shot, I'm gonna be WAY IMPRESSED! My eye was led directly from the sign, to James sitting way far back in the shot in front of all those steps. However, if that yellow sign had been in focus rather than the mailbox--which was vying for some attention--maybe your control of the viewers eye would have been even stronger.
...just tryin' to help a brother out
The shots of devastation were timed well with James opening words. I could already tell you have a great sense of pacing. at 0:20 I really liked the action of James leaning into frame. Subtle, but nice touch.
I thought the car sound at 0:29 overlapped with James' trailing off "down" too much. I personally would have liked a little more separation and started the car noise slightly later. It would have given me a little more time to consider the sadness I think his statement conveyed.
Did you ever go in closer on James during the interview? I like the interview setup with him on the stoop, but for statements that could be emotional, I would have liked to see some closer framed shots.
Similar to how you overlap audio, I like how you don't cut immediately to your subjects when they begin talking. You leave that extra second or two of video up with them talking under it, and then go to them. I also do this on a regular basis and feel like it is one of those "feel good" edits. But I'm not sure if I could explain very well why I do it. How would you explain why this is a good practice?
Did you light Scott's interview?
I noticed that most of the foreclosure sign shots were out of focus with something in focus in the foreground. I like the effect, but did you have a motivation for this? Sometimes I like to think in theoretical terms, so do you have a theory on something you were trying to convey by doing this? Or was it more just your personal style?
If you intended for that last yellow foreclosure sign to fade away in the exact position that James was in the next shot, I'm gonna be WAY IMPRESSED! My eye was led directly from the sign, to James sitting way far back in the shot in front of all those steps. However, if that yellow sign had been in focus rather than the mailbox--which was vying for some attention--maybe your control of the viewers eye would have been even stronger.
...just tryin' to help a brother out
Deft Depth
Active member
I really like the pacing in this story. You let it breath in some areas before the main character's SOTs. Sometimes I get so caught up in making every thing frame-tight that I forget it's okay to leave a little bit of air between tracks and bites.
Did you use a wide-angle lens for some of his interview?
Great audio mixing. I always hear such a huge difference when nat sound breaks bleed into the shot instead of abruptly just "popping" in. One question, what is a 2/1 audio dissolve? Is there another name for it? It may just be a matter of semantics between Avid and Edius.
Wonderful day-turn work.
Did you use a wide-angle lens for some of his interview?
Great audio mixing. I always hear such a huge difference when nat sound breaks bleed into the shot instead of abruptly just "popping" in. One question, what is a 2/1 audio dissolve? Is there another name for it? It may just be a matter of semantics between Avid and Edius.
Wonderful day-turn work.
NEWSSHOOTER3
Well-known member
Thanks Redcoat
Yeah, not my super... if it were up to me, I'd eliminate supers all together...but its a necessary evil.
I see what you're saying about the overlapping audio here. Another "beat" might have softened that up a little bit. In explaining it, the overlapping audio/video is done for the same reason. I want people to think about what they're seeing for just a bit before the next "audio statement". Its all a sense of timing and, in a hurry, its sometimes a matter of how much "trim" I have!
No, I didn't move a whole bunch, in or out, on the interview because I had my wideeye on and its not a shoot through. However, having the sense that this guy was really enjoying talking to myself and the reporter, I knew that I would have time to get all I needed, while leaving him mic'd, after the interview.
Scott's intereview was lit with a simple "Rifa" in a bag that I carry with me, also using some careful positoning under the celing lights. That actually came out nicer than I anticipated.
The signs out of focus just kinda happened. I shot a small few signs, a couple of different ways and I have always been a fan of not "racking" and leaving the intended object slightly out of focus... just something that someone suggested along the way.
And, while I'd like to say that it was fully my intention to carefully "follow the bouncing ball" nearly all the way through, I really started noticing when I was nearly done editing.
I really appreciate it, Red, I'm off to pay it forward...
Yeah, not my super... if it were up to me, I'd eliminate supers all together...but its a necessary evil.
I see what you're saying about the overlapping audio here. Another "beat" might have softened that up a little bit. In explaining it, the overlapping audio/video is done for the same reason. I want people to think about what they're seeing for just a bit before the next "audio statement". Its all a sense of timing and, in a hurry, its sometimes a matter of how much "trim" I have!
No, I didn't move a whole bunch, in or out, on the interview because I had my wideeye on and its not a shoot through. However, having the sense that this guy was really enjoying talking to myself and the reporter, I knew that I would have time to get all I needed, while leaving him mic'd, after the interview.
Scott's intereview was lit with a simple "Rifa" in a bag that I carry with me, also using some careful positoning under the celing lights. That actually came out nicer than I anticipated.
The signs out of focus just kinda happened. I shot a small few signs, a couple of different ways and I have always been a fan of not "racking" and leaving the intended object slightly out of focus... just something that someone suggested along the way.
And, while I'd like to say that it was fully my intention to carefully "follow the bouncing ball" nearly all the way through, I really started noticing when I was nearly done editing.
I really appreciate it, Red, I'm off to pay it forward...
NEWSSHOOTER3
Well-known member
Thanks Depth
Oh, the 2/1 audio dissolve is a transition- Two frames before, and one frame after the cut... audio only. Not sure how that works in all systems, but does that make sense?
I really appreciate you checkin' it out!
Oh, the 2/1 audio dissolve is a transition- Two frames before, and one frame after the cut... audio only. Not sure how that works in all systems, but does that make sense?
Deft Depth
Active member
Yeah definately...those parameters can be adjusted pretty easily in Edius.
jim sitton
PRO user
I'm a fan of all your work.
Jim
Jim