If you drop the clapper arm instead of pushing it down, it will bounce up slightly and make another smaller clap sound that really makes it more difficult than it needs to be to sync!
Saw one of the new Shepard Fairey murals on Wythe and North 11th today.
Kim painted this! It hangs in our living room this very moment.
We are accepting Guest Blog Posts for ANY aspect of filmmaking. Like what you see on Boiling Sky? Email me at boilingsky / gmail and tell me what you have in mind. I’d love to share my audience and sweet sweet PageRank with your site!
Last month our buddies at Escape Pod made the final episode of their Channel101 comedy epic “The Stryker Files” – this is it! I stood around and play both a dead body and a robot, so there’s also that to look forward to. Enjoy!
I’ve decided to post some tips/tricks (Trips!) I’ve found to be really useful in working with Avid and as an Assistant Editor that will both remind me later down the road and hopefully help out someone desperately searching for answers late at night online.
Two Ways to Recover Your Original Source Clip Filenames:
If you’ve changed your clip names in Avid, and didn’t copy the column over into another column like “Take” or “Comments” for reference later, you may have already noticed the problems that arise from this seemingly innocent act.
For my current project, there are hundreds of archive clips that all need to retain their original archive clip ID in order to find the clip again and order masters from the archive companies. Having not always kept the original name somewhere in a column of the bin, I’m wondering “How the hell do I know what clip is what without having to open each up and visually reference based on the backed up media?”
1. Reveal File
Though you have changed the clip name in the bin, the MXF file Avid created on the import retains the original clip name in the first part of the MXF file name. Reveal File shows you the exact file on whichever hard drive you loaded it to.
Copy and paste just the obvious clip name part of the file (and not the other Avid generated numbers and letters) back into the Avid in a column like “Comment”, in order to export an EDL with that info in it.
But just so you know, the Avid does cut off the character count of your filename after what appears to be around 18 characters and then just ignores the rest. So I would still cross reference it with the backed up media if your filenames are longer than that.
2. Use FilmScribe and show column “UNC Path”
If you backed up your media, and imported it from where you backed it up from, FilmScribe (another option above EDL in the output menu) will tell you the file path from the imported file, which ultimately ends with the filename.
Copy and paste that last part into the Avid somewhere useful. And/or just give the archive person the FilmScribe printout/file/link. (Though I’d recommend keeping that information that you’ve just worked on relocating somewhere in the bin as well)
If the original location from where the file was imported was changed or deleted or moved somewhere else, I’m not sure if it still retains that information. You could always use the reveal file method instead.
However, both methods are a pain in the ass, so now that you’ve learned it’s a bad idea to get rid of the original clip names all together, don’t do it again! I’m making a habit of putting that info into the “Take” column, which wasn’t being used in our project. Maybe make your own column called “Clip Name” so that there isn’t much of a chance someone accidentally changes the column’s info on you. Then make sure to remind everyone on the project who may load something without you knowing, to keep up the same protocol.
We made a “fake commercial” for the March Channel101 screening, which was fakely sponsored by Tim Burton’s Alice in Wonderland.
It only seemed fitting, given the crazy trippiness of the film, to make a Japanese commercial, reminiscent of Mr. Sparkle or the Japander streamed commercials with like Arnold Schwarzenegger going bonkers and graphics flying everywhere.
The stock footage site Artbeats is giving away one free clip (in either NTSC, PAL, or HD) a day (forever?). All you have to do is register for the site and then choose your resolution and download. Registering is free and basically painless. I just found out literally minutes ago, so I’m not sure about the variety of subject or any other specifics. The clip today is an aerial pan over the Badlands. Who knows when I’ll use it, but I’ll find a way! All I know is that it’s a great idea that I’m going to take advantage of!
You can also request to have the clip shipped to you, on dvd I would guess, but you have to pay for the shipping.
They also say the clips are exactly the same as the ones they sell, or otherwise noted if they have been shorted for download time or whathaveyou.
I’m hesitant to link the “about” page because it seems like the url might change day by day depending on what clip is free, but here it is just in case it stays the same: http://www.artbeats.com/free_clips/SMA128/about
Annnnnd because I’m interested, here are the nominees for the Visual Effects Society (VES) Awards.
Outstanding Visual Effects in a Visual Effects Driven Feature Motion Picture
Joe Letteri, Senior Visual Effects Supervisor
Joyce Cox, Overall VFX Producer
Eileen Moran, VFX Producer
Richard Baneham, Animation Supervisor
Dan Kaufman, VFX Supervisor
Stefanie Boose, VFX Producer
James Stewart, Creature Supervisor
Peter Muyzers, On-set VFX Plate Supervisor
Roger Guyett, Visual Effects Supervisor
Burt Dalton, Special Effects Supervisor
Shari Hanson, Visual Effects Producer
Russell Earl, Visual Effects Supervisor
TRANSFORMERS: REVENGE OF THE FALLEN
Scott Farrar, Visual Effects Supervisor
John Frazier, Special Effects Supervisor
Scott Benza, Animation Director
Wayne Billheimer, Visual Effects Producer Continue reading