Post-Production

I have edited a lot on a laptop with Adobe Premiere Elements. Time to buy something newer.

I like Adobe Premiere Elements because it is both powerful and easy to use. But I noticed the following with the present version.

1. The program will stop working after 3 years. Competing software don't do that.

2. The program requires far more powerful hardware than the competitors. Even for editing the same video format that I have edited on my old laptop, I need much more powerful hardware.

The best thing for me would be to move my old version of Premiere Elements to a new laptop, but I guess that is hardly practical. And it would stop me from buying a new camcorder which delievers a newer video format.

I am considering to download the newest version of various freeware on my old laptop and test them. If the newest version works on my old laptop, it will presumably also work on a new PC. I have made a short list :

AVS Video Editor , Cyberlink Powerdirector , VSDC Free Video Editor , Hitfilm 3 express

But I suspect that none if them is any good for editing sound.

I have found it difficult to learn DaVinci Resolve freeware, so I prefer something else.

I am not interested in Lightworks because the free version is limited to low resolution.

Earlier one could buy some software (from Sony Vegas if my memory is correct) which cost more than twice as much as Premiere Elements, but had great capability for editing sound. It appears not to be sold any longer, but I can imagine that something like that would be best for me. I mean, in no-budget filming, one must often spend time on improving sound and image while editing.

Yes, I also plan to have some audio freeware. I have used Audacity.

All advice is highly welcome.

For any beginning editors and filmmakers, this video breaks down the 9 most used editing cuts that you should know and understand-

https://m.youtube.com/watch?v=Wv3Hmf2Dxlo&pp=ygUSVmlkZW8gZWRpdGluZyB0aXBz

Hello Everyone! This is the second post in my Cinematic Sizzle Breakdown Series.

The goal of my Cinematic Sizzle Breakdown Series is to share some of my work in the sizzle reel market, and hopefully provide some valuable insights into what goes into these pieces. Furthermore, if you're in the market to have a sizzle reel made for your event, advertisement, or your own personal reel, please feel free to reach out. I'm particularly interested in working with brands such as Peacock, Max, Prime Video, Apple TV+, Paramount+, Netflix, and Hulu.

***

THE BREAKDOWN:

The Beginning: The was the second sizzle I had the honor of editing for the annual Celebration of Latino Cinema & TV, presented by the Critics Choice Association.

The Parameters: The client was looking for a 2 - 3 minute sizzle that featured 14 titles specific to the award winners.

The Process: The majority of titles for this event were powerful dramatic projects with a couple of comedies sprinkled in. This was one of my earlier sizzle projects and the first time I had an arguably more aggressive song than I typically use. I think the song worked well, but the client had mixed feelings at first. This was when I first learned that it is ideal to send sample songs ahead of time to ensure everyone is okay with the song used.

The Result: The client ended up being happy with the final video, and the sizzle played really well at the event itself, which really put the client at ease. The song amped up the crowd and was a great start to the event. The lesson learned here is that it is okay to takes risks if you're willing to accept the potential consequences. I'd take much bigger risks later in my career, but this was the first step in that direction. Push the boundaries when you can, with the client's needs in mind. Doing this gives you the opportunity to create something particularly special. I look forward to sharing riskier sizzles in future posts.

***

Thank you for taking the time to watch my sizzle, and I hope you found at least some of the information helpful. Subscriptions to my YouTube channel as well as shares are greatly appreciated. If you or anyone you know is in need of their own sizzle, please feel free to reach out to me at ben@bmoregrand.com. I'll see you at the next post!

Discussion Topic:

In today’s fast-paced industry, creating impactful instrumental music quickly is essential for composers. In this discussion, we’ll explore techniques for composing immersive music under time constraints, while capturing themes of mystery, resilience, and legend without losing depth or emotional resonance.

Topics include:

Structuring Themes Efficiently: Tips on structuring your composition to convey a full narrative within a shorter creation timeline.

Blending Genres for Impact: How to merge classical and cinematic elements to evoke strong imagery and emotions.

Focusing on Key Instruments: Choosing the right instruments and arrangements to build mood with minimal layers.

Capturing Essence Quickly: Methods to instantly connect with the listener and deliver a memorable experience.

This discussion aims to provide practical approaches for composers who want to elevate their music in tight schedules. Feel free to share your own tips and experiences!

Hello everyone, this article was sent to me in a newsletter and I found it interesting as it explains why, how and what to expect as you explore and navigate different areas of the music industry. I believe this can apply to different areas of audio (Boom Operator, Post-Production, Composing, Sync, Etc). Anyone relate to the article?

https://splice.com/blog/working-in-multiple-areas-music-industry/?utm_so...

Hello Everyone! This is my first post to Stage 32, and hopefully the first of many. My goal is to post at least one sizzle breakdown a month because I have commitment issues, but I'll be sure to post more frequently if I can.

The goal of my Cinematic Sizzle Breakdown Series is to share some of my work in the sizzle reel market, and hopefully provide some valuable insights into what goes into these pieces. Furthermore, if you're in the market to have a sizzle reel made for your event, advertisement, or your own personal reel, please feel free to reach out. I'm particularly interested in working with brands such as Peacock, Max, Prime Video, Apple TV+, Paramount+, Netflix, and Hulu.

THE BREAKDOWN:

The Beginning: I was honored to have the American Cinematheque reach out to me as they were looking to have a short sizzle made to open their inaugural Tribute to the Crafts event. This event is designed to celebrate all of the crew that put their hearts into each project but don't always get the recognition they deserve. They wanted something that did their honorees justice, while providing an energy to start off the show that would sustain throughout the entire event.

The Parameters: The client was looking for a 2 - 3 minute sizzle that featured 11 titles specific to the award winners.

The Process: The majority of titles for this event were powerful dramatic projects, which was suited well for a dramatic music piece to go along with it. The music is arguably the most important part of the process in any sizzle video. This was one of my earlier sizzle projects and I used this opportunity to experiment with cuts matched to heavier beat hits. Perhaps the best example of this is at the end of the sizzle. Many trailer music type songs have a building effect and land several heavy hits towards the end. It can be challenging to decide exactly how many cuts to implement for beat hits such as these, but I believe I found a nice balance on this one. I was also pleased with how the end card turned out by masking the text with footage behind it.

The Result: The client was thrilled with the end result, and shockingly no adjustments were requested after the first draft (very rare). Normally text for the title name is placed in these sizzles, but the client agreed that this one worked well without titles and because there weren't that many honorees. It was on this sizzle that I received perhaps my highest praise thus far when Joe Walker (Dune: Part One, Arrival, Sicario) mentioned that I have "Amazing milkshakes" during his acceptance speech. You can find the full event on the American Cinematheque's YouTube channel. We were also lucky enough to receive a Bronze Telly Award for this sizzle.

Thank you for taking the time to watch my sizzle, and I hope you found at least some of the information helpful. Subscriptions to my YouTube channel as well as shares are greatly appreciated. If you or anyone you know is in need of their own sizzle, please feel free to reach out to me at ben@bmoregrand.com. I'll see you at the next post!

As a DI Colorist, I’ve seen firsthand how the right color grading can elevate a project. But finding the perfect DI Colorist is not just about technical skills; it’s about aligning with the vision and emotional tone of the story. When hiring, consider their experience across genres, their understanding of color theory, and how well they collaborate with directors and cinematographers. It's also key to look at their reel for consistency in quality.

What do you think are the most important qualities in a great DI Colorist? Let’s discuss!