It can be done!

[doughboy]

But which one are you using for work?

[SSJVegita0609]

But which one are you using for work?

Avid.

<=== Has all the insider info

[Knowname]

Editors are absolutely directors of the post production aspect of the film. Its very common in Hollywood for a director to drop 250 hours of tape on an editors door and say "I'll check up with you in 9 months."

It can run the entire spectrum of relationships. Some directors hover over your shoulder for the full 12 hour day every day and tell you what to do, how to do it, when to do it, ect. Sometimes you are nothing more than a very well paid button pusher. Other times however you literally take on a co-director role. Being a a good editor is really about being the director's friend. You have to find out how he/she thinks, get to know him, develop a relationship. Only when you are intimate with the director can you be intimate with your film and then good stuff can happen. If you dont know what they are REALLY talking about, then you cant cut what they want.

On the other hand, sometimes a director has only a moderate idea of what they want and you have to throw suggestions to them. I worked on a film where I pretty much COMPLETELY re-wrote the script through the editing process because the scripted cut was flat. Does that make me a writer/director/editor? No, just an editor.

lol, well I wish ya luck there, man! And thanks for the info, yeah I think you translated my post perfectly -_- that alone right there is worth a TON of public relation points lol.

[Douggie]

Beowulf, that's really cool! Thanks for the info, but how do you develop a relation with the director (as it production and post-production are 2 different worlds)?

Does this all mean you're in IMDB? I wish I could have my name on IMDB one day!

[trythil]

Film editors toss around abstract ideas in hushed reverance like "oooh man, maybe we can be REALLY CRAZY and just make it like a music video thing or something! And maybe just maybe we can TIME some of those SCENE CHANGES on that CYMBAL CRASH to make it change RIGHT ON THE BEAT!". ROFL, we've been doing that for years.

I have trouble believing that you didn't just make that up. The sort of hyper-fast cuts that is so common in AMVs was being done on MTV twenty years ago. Cool experiments in motion and synchronization have been around for almost as long (see, say, Mike Jittlov's "Wizard of Speed and Time".) The Matrix's gun battle scenes were all about internal sync. How could all that go unnoticed for so long?

we do things a completely different way which (judging by the reactions I've goten to my professional work so far), is a style that can really change the film world, and hollywood as a whole, a couple years down the line.

I again disagree. It seems that the trend in AMVs is "attach some sort of visual effect to as many beats as you can regardless of whether or not you maintain coherency by any metric except maximization of inter-frame differences"; and, I gotta say, it would probably really suck to walk into a film and then be assaulted with flash or fade transitions (to seemingly random clips, even) on every note in a fast run.

Or, even better, absurd use of lens flares, Trapcode Shine, and piano keys.

[Douggie]

I again disagree. It seems that the trend in AMVs is "attach some sort of visual effect to as many beats as you can regardless of whether or not you maintain coherency by any metric except maximization of inter-frame differences"; and, I gotta say, it would probably really suck to walk into a film and then be assaulted with flash or fade transitions (to seemingly random clips, even) on every note in a fast run.

I think trythil might be right, experiments syncing with music, sounds and movements has been done since the earliest films. And I'm really wondering, there's still A LOT to learn when you've edited AMVs only. I mean, some can have trouble, other people have the talent to edit a movie, instead of an AMV. How about you, Beowulf? Not only in the department of not using special FX intensively - as trythil said, but let's say natural rhythm/flow/pace of edits (there isn't music everytime - and not even lyrics to match your visuals), creating suspense, (dis)continuity (spatial/temporal/etc.), etc. I find AMVs especially in continuity lacking (as AMVs are mostly a collage and a story is most of the time non-existant), so I can imagine people having trouble or overseeing that. I don't know about you, Beowulf, if you already had experience with movies already?

[Beowulf]

Film editors toss around abstract ideas in hushed reverance like "oooh man, maybe we can be REALLY CRAZY and just make it like a music video thing or something! And maybe just maybe we can TIME some of those SCENE CHANGES on that CYMBAL CRASH to make it change RIGHT ON THE BEAT!". ROFL, we've been doing that for years.

I have trouble believing that you didn't just make that up. The sort of hyper-fast cuts that is so common in AMVs was being done on MTV twenty years ago. Cool experiments in motion and synchronization have been around for almost as long (see, say, Mike Jittlov's "Wizard of Speed and Time".) The Matrix's gun battle scenes were all about internal sync. How could all that go unnoticed for so long?

we do things a completely different way which (judging by the reactions I've goten to my professional work so far), is a style that can really change the film world, and hollywood as a whole, a couple years down the line.

I again disagree. It seems that the trend in AMVs is "attach some sort of visual effect to as many beats as you can regardless of whether or not you maintain coherency by any metric except maximization of inter-frame differences"; and, I gotta say, it would probably really suck to walk into a film and then be assaulted with flash or fade transitions (to seemingly random clips, even) on every note in a fast run.

Or, even better, absurd use of lens flares, Trapcode Shine, and piano keys.

No, I'm not making it up, why would I make something up an make a huge post about it detailing a fake scenerio? From what I gather, Hollywood is a big lumbering giant, and some people have been trying more overt AMV style editings, like Man on Fire and The Matrix example you mentioned, but by and large everyone hasn't.

As far as you not thinking AMV editing can change Hollywood, just wait around.

[CHAMELEON_D_H]

Congrats Beo!

I sure do hope the "WOW what a great idea this AMV thingy" is working here as well, as AMV's are what I'm about to show to my school interview next week.

[madbunny]

No, I'm not making it up, why would I make something up an make a huge post about it detailing a fake scenerio? From what I gather, Hollywood is a big lumbering giant, and some people have been trying more overt AMV style editings, like Man on Fire and The Matrix example you mentioned, but by and large everyone hasn't.

I'll vouch for that. I used to work in the industry, and it's a real old boy network. Mostly, the fancy stuff doesn't get done mainly thanks for punishing deadlines. The real world usually doesn't have the time, or the willingness to care about a movie trailers coolness the way that AMVers do about their videos. Pretty much, you have to make whats handed to you, and it has to be fast, and good.

Congrats Beo! Working with people that are at the top of their game, and in a studio with money to burn is a treat and a privilage that should be enjoyed.

[x_rex30]

we do things a completely different way which (judging by the reactions I've goten to my professional work so far), is a style that can really change the film world, and hollywood as a whole, a couple years down the line.

I again disagree. It seems that the trend in AMVs is "attach some sort of visual effect to as many beats as you can regardless of whether or not you maintain coherency by any metric except maximization of inter-frame differences"; and, I gotta say, it would probably really suck to walk into a film and then be assaulted with flash or fade transitions (to seemingly random clips, even) on every note in a fast run.

Or, even better, absurd use of lens flares, Trapcode Shine, and piano keys.

I agree with you a lot here.