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    [–] Stone Posted A Picture Of The Federal Judge On His Case With Crosshairs ovideos 1 points ago in politics

    Man, I'm really sad to see what our country has become. I despise Stone, and Trump, and basically the whole Republican party. I think they're crooks and possibly traitors.

    But these "articles" about Stone "threatening a judge" are ridiculous. Either it's intentional misdirection by Republicans or the "liberal media" has truly gone down the toilet. I can't spend 24 hours without some fucking "news article" telling me what the newest "most horrible" thing is, and most of the time it turns out to be click bait crap.

    What a shit show this country has become.

    [–] Stone Posted A Picture Of The Federal Judge On His Case With Crosshairs ovideos 1 points ago in politics

    Multiple "news" outlets posting articles about an Instagram feed and implying it is something it is not, a threat that it is not.

    Seems hysterical to me.

    [–] Stone Posted A Picture Of The Federal Judge On His Case With Crosshairs ovideos 1 points ago * (lasted edited 3 hours ago) in politics

    Roger Stone is a fuckhead and probably a criminal, but this seems hysterical. That photo does not depict anyone in crosshairs. WTF?

    I understand the post doesn't say "in the crosshairs", but that's the implication of everyone's hysteria about it.


    [–] What a racist lady has to say after letting her cross the street first ovideos 5 points ago in trashy

    Umm, isn't it though?

    I mean seriously, I've heard crazy people say all sorts of horrible crap. She certainly seems more crazy than racist. But who knows, maybe she really is a racist hiphop hitwoman?

    [–] "Rough Cut" vs "Fine Cut" ovideos 39 points ago in editors

    I too have found myself getting annoyed by this often. But I've realized that it is really about a few things.

    It's a way for the director to make sure the person knows they can be honest and also not to worry about things like color or sound issues, and that it may be lower-res than they expect, etc. Some people really get distracted by things that seem easy to ignore to me.

    But also, I've come to realize it is often the director being self protective, kinda like showing someone a story you wrote and saying, "hey I wrote this thing, it's just something I jotted down", even though you spent 3 weeks writing drafts over and over and you're really excited about it. But you don't want people to know how hard you worked lest they give you false praise. I think that's a lot of what is happening.

    But yeah, sometimes I want to hear someone say, "yep it's almost done, we really like it, just tell us if you have any small issues." But saying that would definitely skew the response, so "roughcut" it is. Some people say "work in progress" which might sound less rough?


    Another 2 cents from me: Almost all documentaries are "rough cuts" in a way, because unlike scripted stuff it is often much harder to say definitively when it is done. There's always some other idea or scene or shot that people want in the final product. I think because docs are written in the edit room, it's harder for people to finally decide this is the best version. There's always a sense that just a few more weeks and something else could be tweaked to make it better.

    This is every filmmaker's problem, but I think the unstructured process of making documentaries accentuates it

    [–] Anyone else annoyed by the Errol Morris Chipotle ads on YouTube? ovideos 2 points ago in docproduction

    As I said, it wasn't the fact that he does commercials, it is the nature and in-your-face selling of his brand/voice that bothers me. This "fake doc" style chicken slinging seems crappy to me.

    Also, I'd not that I know lots of documentary filmmakers who make a living and earn far less than Mr. Morris makes for his documentaries. It's all a matter of perspective. Again, I'm not saying I'm bothered by him making commercials, just the Chipotle one stinks – but I think it's important to note that people can make a living at doc filmmaking, especially in this day and age with Netflix and Amazon and Youtube all looking for content. It's not as easy as commercials though, that's for sure.

    I'll forever think of Mr. Morris as "Burrito Boy" from now on.

    [–] Anyone else annoyed by the Errol Morris Chipotle ads on YouTube? ovideos 2 points ago in docproduction

    I mean, I don't begrudge a guy making some coin, but I'm a big fan of his and even for him this seems a little too much of a shill job. Maybe I'm unfamiliar with how much ad work he does, but to have his voice talking about chicken every time I watch a link is really degrading his "brand" for me at the moment.

    [–] Premiere to Avid... ovideos 7 points ago in editors

    I dunno, I have so many "shift+" shortcuts, I'm lost without my settings. I made them because I didn't like where they were on the default layout, or they weren't on the keyboard at all. I'm much faster and more comfy with them than without – can't imagine working for decades without customizing.

    [–] Premiere to Avid... ovideos 5 points ago in editors

    I just use option/alt-c, it brings the selection into the source monitor. I believe that's the same thing, right?

    Option/alt key does a lot of great things in Avid. Usually when I start using a new command (new to me) I make sure to try the "option" version and the "option-command" version.

    [–] The nuclear city goes 100% renewable: Chicago may be the largest city in the nation to commit to 100% renewable energy, with a 2035 target date. And the location says a lot about the future of clean energy. ovideos 3 points ago in Futurology

    While I'm sure that's true, it's not like nuclear power plants are made of grass and wood or something, I'm sure lots of toxic materials go into manufacturing a power plant.

    The previous link shows wind and nuke are very close in terms of carbon. The interesting number is solar having over 3x the carbon footprint of nuke.

    [–] Oscars: Academy to Reverse Decision and Award ALL Categories on the Live Broadcast ovideos 4 points ago in editors

    "Welcome back to the Academy Awards. Scarlett Johansson won for Best Actress, and here's an excerpt from her speech... Now ladies and gentlemen the nominees for best sound editing are...."

    Never gonna happen.


    I think the academy intentionally chose editing and cinematography because those are the two biggest awards that they could possibly do during commercials, the two biggest "below the line" awards so to speak. They figured if they could do Cinematography and Editing, then each year they could choose other "below the line" awards.

    But turns out they couldn't do it.

    [–] Avid MC – Drag & Drop color correction no longer working (?) ovideos 1 points ago in editors

    Yep. That was originally what I was doing. Adding edits above a scene and then dragging one of the color-effects from effect panel onto timeline.

    [–] Avid MC – Drag & Drop color correction no longer working (?) ovideos 1 points ago in editors

    Trashed MCSstate, made a brand new project and new user, problem still persists.

    It's even stranger because I can drag a color effect from the effect palette and it seems to work. I say "seems" because then when I drag a color effect onto the blank color-filler in the timeline, it applies, but also puts an edit in the filler. All very weird.

    I'm going to chalk it up to "some bug" and move forward. I'm an offline editor, so this is really just me trying to clean up my tracks for the colorist/online by moving color up to a separate track. I'll let them clean it up. Bah!

    [–] Is it me who is out of touch, or are the clients wrong? ovideos 3 points ago in editors

    Well instead of calling up Sony, you might suggest they find a Music Supervisor who may have some good ideas of less well known indie bands, etc. Also, sometimes bands/musicians will charge less for projects they are into, or for exposure if they like the film.

    Sure, even a wealthy forty-something filmmaker probably can't afford Taylor Swift, but you might be surprised what they can afford, and a Music Supervisor is the way to figure that out, not calling up Sony.

    [–] Does anyone know which NLE was used to edit each of this years Oscar nominees? ovideos 10 points ago in editors

    Black KKKlansman -- Barry Alexander Brown

    BROWN: I cut on a flatbed Steenbeck. Spike and I both went into digital kicking and screaming. We wanted to stay on film and we came into digital very, very late. I think maybe 25th Hour (2002) was our first film that we did digitally.

    HULLFISH: That’s a good six or seven years after many people in New York and Hollywood had switched to digital.

    BROWN: We just went kicking and screaming. We didn’t want to do it, but then it would have just been so hard to complete the film because of the delivery process for sound editors.

    HULLFISH: Have you been on Avid ever since, or something else?

    BROWN: Avid ever since and I love it.

    The Favourite -- Yorgos Mavropsaridis

    Q: Have you always been an Avid editor?

    A: Because I’m quite old, I started on the Moviola and did about 20 films with it before transitioning to Avid Media Composer in 1992. I’m still with it.

    Green Book -- Patrick J. Don Vito

    Q: Ok, let’s turn to tools. You use Avid Media Composer. Do you have any tips or tricks that you would like to share?

    A: It’s not a trick, but when I start a movie I have one of the assistants set up Script Sync, which is really helpful for when you’re in the room with the director and the producers and want to quickly get to different line readings. Basically, you put the clips on the script itself and you can click on a line and hear every single line reading of that line. I know editors sometimes take every single line reading of dialogue and cut them next to each other in a sequence. I prefer to use Scrypt Sync and make select rolls.

    Vice -- Hank Corwin

    The editing itself was done at Sony Pictures on Avid systems and lasted just over 10 months.  “‘Vice’ was one of the toughest movies I’ve ever worked on.” Corwin says. “Every time we tried to editorialize, the film would spit it out. We ended up with a film I’m very proud of.”

    Bohemian Rhapsody -- John Ottman

    My switchover to Avid was kind of a crazy story because I cut Usual Suspects on film and then I was cutting our next movie, Apt Pupil (1998) and I’d cut about a third of it on film. I was so overwhelmed by the amount of footage coming in and I recognized that stylistically the film required lots of interesting visuals, over-lapping images and so forth, that I thought I had to go to Avid

    [–] Avid MC – Drag & Drop color correction no longer working (?) ovideos 1 points ago in editors

    Well I can add an edit, or I can drop it between two other segments.

    Right now I can drop LUTs and Effects, but not Color Effects. For some reason color-effects are not behaving as they did before. They used to behave as any other effect, and I'm scratching my head as to what could've caused that behavior to change. Just switched to another user setting and still not working.

    [–] AVID & Tentacle Sync workflow ovideos 1 points ago in editors

    I thought the whole point of tentacle was everything would have the same timecode, right?

    You should be able to just autosync everything into sequences and create syncmaps. Can you elaborate where you are running into problems?