Post-Production

You're welcome, @Ashley Renee Smith. This is one of my favorite vlog series.

Stage 32 also has a great webinar coming up on this very subject that I highly recommend for all community members. It's such a critical dynamic that often gets overlooked. Here's a link so everyone can check it out: https://www.stage32.com/webinars/The-Final-Cut-Optimizing-The-Director-E...

Oooohhh... I am going to check this out too... I am very interested in learning about HOW this happens with the editor... the one thing I have learned about myself IS I am constantly editing everything! If I makes posts or, writing a book, its a constant almost annoying and YET very rewarding to do... though it is such a challenge. Can't wait to dive into this... THANKS Maurice for posting!

That looks like a great webinar for directors and editors, Sam Sokolow. The webinar covers a lot. Thanks for sharing.

You're welcome, Sherri ZImmerman.

It's incredible how color grading can change the look of a still and footage, Karen "Kay" Ross. It'd be so hard to enjoy a movie or show without color grading.

Love post and this is a great piece! Thanks for sharing, Karen "Kay" Ross!

Okay, need lots of education here on this one! I'll check this out for the knowledge... thank you Karen...

Very cool stuff here, Dustin Quinteros - thank you for the share!

Thanks for the share! It wasn't until I started shooting and editing goofy home videos that I really realized how much work goes into the editing process.

I hear you, Lisa Lee, on the time and work that goes into the editing process. Over the past four weeks, I've spent on average about ten hours on each of four short (1-8 minutes) projects. In the beginning some of time was getting used to Final Cut Pro, but even after feeling efficient with FCP the work to shape the footage remained and made time fly.

Ty Strange I have a very love/hate relationship with editing. I despise it, but I also get a strange satisfaction from it ha. Will you be posting your shorts on Stage 32?

Lisa Lee, my shorts are purely a learning/training exercise to acquaint myself with my new cinema camera and post-production editing software. When the production value of future training projects reach an acceptable level, I'll certainly post them.

Corridor Crew is one of my favorite channels. I love watching and working with people who love what they do. Their stuntman react is also fun and educational!

I love them too, Dustin Quinteros! I've been watching them since the Corridor Digital channel first started. They're a great resource!

Todd Vaziri always gives such great insight. Thanks for sharing Ashley Renee Smith

I'm glad you enjoyed it, Lisa Lee!

This is great, Sam Chambliss! Thank you for sharing this helpful resource with the community! With so many changes rolling out in the new Davinci Resolve, do you anticipate a lot of editors using Davinci over other programs moving forward? If so, can you explain what you think will be the biggest draws for editors?

We've been seeing a lot of editors and content creators making the shift to Resolve over the last year. The fact that you can get a professional-level app for free is pretty incredible and lets anyone learn how to use high-end software. Add to that the one-time price of $300 for the studio version, and there's no reason not to use it (in my opinion).

The biggest draw, though, is that you can do everything within the app. You don't have to round-trip to an audio app or go over to a VFX app to do those stages of production. It all lives in Resolve. And it's only going to get better.

Exciting news! Looking forward to joining ResolveCon and expanding my DaVinci Resolve skills. Thanks for sharing!

Benjamin Parker Awesome! Will you be watching on stream or joining us live?

Thanks for sharing Sam Chambliss! I'll definitely be streaming this later.

Emily J, I've had so many projects that I've enjoyed, cast and crews that I've treasured: "Sex And The City" during the massive culture zeitgeist of the time was a surreal ride unto itself. We are all bound together with that experience forever. Working with Terry Winter on "Boardwalk Empire" and "Vinyl" were incredible experiences. Working with Jonathan Ames, Ted Danson, Jason Schwartzman and Zack Gallifianakis on "Bored To Death" was a zany wonderful fever dream of a show that didn't last as long as it should have. Working on "Fosse/Verdon" was such an honor, because I was working with theatre royalty at the top of their game, and because we got to go to the Emmys together! But all in all, I would say that "Nurse Jackie" has been my favorite project so far because I was on that show from the pilot through to the finale, (7 Seasons, 80 episodes) on the ride with that entire cast and crew for the entire journey. Walking onto the set to check in with everyone, seeing how the day is going, approaching video village and hearing, "Oh Brad will fix it." I'm like, "Excuse me, Brad will fix what?" They tell me what's up, and I say, "Oh, okay. I got you." Those people truly became family, and I will treasure that experience for the rest of my life.

I don't have a particular question...just come here to say I LOVE The Diplomat and can't wait for season 2. It hits' all the right notes.. exciting, funny, and fabulous music (I'm a composer, so that's a definite plus for me!) Thank you for creating it.

Thank you, Arhynn. I love the show too, although I can't take credit for Season 1. They brought my producing partner and I to work with Season 2.

Brad Carpenter Gotcha! Well, I look forward to seeing what you do with it!

Thanks for all your valuable insight and information, Brad Carpenter!

I think you did very well, and I'm assuming you shot this gorilla style (no permits, no closed streets?) I would say it would have been nice to have a few more cut away shots, maybe tires squelching (mount a GoPro on the fenders) and at least one shot from inside of the Mac Truck,. I would play more with sound design too, you can cheat a lot with proper audio cues, but overall, nicely done.

It's a good effort. Needs a bit more snap, more angles, quicker cuts and a sense of danger and trajectory.

Viewers will notice putting the car in Park in the middle of the chase and the lack of continuity between highway and city streets, semi behind the vehicle then not. It's glaring.

The main thing I noticed is, the shots looking back at the red BMW are down town, the shots looking from the driver's point of view, more or less, are in a rural area and the car seems to have changed color to black.

I love Studiobinder, and I think this might be of some help.

https://www.youtube.com/watch?v=YriUMCnIGUw

Thx for the link, Whitney Moore!

As is often said, “Editing is where the movie is made.” What editing software are you using, Clive Cooper?

Here here, Clive Cooper! I absolutely love the editing process and am also in awe of the magic that editors can do. I've always thought films are made 3 times - when they are written, when they are shot and then when they are edited and the last step is where it really happens. Love your post and acknowledgment of these amazing artists!!

Thank you for sharing these insights, Brad Carpenter! I'm glad that you and your team will be able to weather the storm together.

You're absolutely right that it's a great time to network! How we all utilize this time to learn and grow will make all the difference when it comes to an end.

This is an excellent perspective from inside the post production workings during these strikes - in fact, of the whole process. Thank you for sharing, Brad Carpenter!

You're right, Brad Carpenter. Now's the time to network (and get what we can done like you and your team are doing). What's ADR and Loop Group? And shout-out to whoever came up with the term Loop Group.

I know, I love the name Loop Group! It's a pool of 6-12 Union actors that we use for each episode to voice the background actors. It's a blast to watch, because they prepare according to time period and context, then they improvise conversations based on the visual interactions we see on screen. When you record sound on a set, it is ideally just to get clean recordings of principal dialogue. We then build out the reality of that dialogue to recreate reality. Getting good background dialogue is key to that process. ADR stands for Automated Dialogue Replacement. We use it to replace dialogue for technical reasons, subtle changes in performance, or to add additional over-the-shoulder dialogue that conveys new story information. One of the sticking points the SAG-AFTRA negotiations is to keep these tasks from being done with AI. It's already technically possible to load in an actor's vocal performance, then have them say whatever you need them to. Aside from the extensive creative issues this creates, it would also rob actors of the income they would normally get for doing their episodic ADR sessions.

Oh, that's cool, Brad Carpenter. Thanks for explaining. "When you record sound on a set, it is ideally just to get clean recordings of principal dialogue. We then build out the reality of that dialogue to recreate reality." I thought all of the dialogue was taken care of on set.

I've heard about SAG-AFTRA's issue with AI. "It's already technically possible to load in an actor's vocal performance, then have them say whatever you need them to." What if studios and companies used an actor's voice to say something the actor wouldn't approve of? That has to be a concern for actors.

Thanks. Florin Şumălan - I haven't seen it yet but I cannot wait to and no only more so!

Sam Sokolow , I think this is another good episode; enjoy your watching and listening!

Ok. It looks like this is a way to do it: https://www.blackmagicdesign.com/nl/products/davinciresolve/collaboration The students involved in the editing need to download DaVinci Revolve 18, the school pays 5 dollars a month - which gives 10 people the possibility to be involved in the project. The editors have the mother material on their own disc. The Blackmagic Design makes it possible to share the projects proxy. The students open the proxy in the project and link the material from their own disc. Is it as simple as that? Hopefully - still need to try...

Hidde Simons I’d like to throw in Screenflow as a potential editing tool for these youngsters! I cut 3 docs on it.

Hi Fran, thanks. I checked it out. It looks like Screenflow is just for Mac users. I know the students are both PC and Mac users. This makes things more difficult. Do you know if this is true?

Hidde Simons yes that’s correct - it’s currently MAC only - there are some great options for PC that you’ve mentioned but Screenflow is a fairly affordable option for Mac users.

Yes. Anything that will add to quality without adding costs will be used.

Agree with Lindbergh - if it's about using technology to assist artists when creating and it can increase quality then it can catch on. Green screen can still be tricky at times so advancements are usually welcome.

It's been used for a while now here and in other editing workflows. I guess some people are playing catchup since they just learned the term AI.