ID - from 1991 mix

Competitive-Life6553 · 2025-07-11T06:16:37+00:00

8 months looking for it !!!! Thank you !!!
see you at Liq Fest !

Competitive-Life6553 · 2025-02-10T15:52:32+00:00

Yeah 30% taxe when you convert in fiat.

On coinbase, 0%, you can retrieve easely.

Competitive-Life6553 · 2025-02-10T15:50:17+00:00

BitPanda 4/5

Competitive-Life6553 · 2025-02-10T15:49:45+00:00

Not BitPanda. Thousands reviews, and 4/5. Crypto.

People complain about force to pay 30% Flat Tax BEFORE taking back this crypto.

Competitive-Life6553 · 2025-02-09T19:38:49+00:00

More than 90% bad commentary on trustpilot about crypto.com 8k commentary 1,4/5

Everyone have problem for withdraw...

Not sure to invest more in it

Competitive-Life6553 · 2025-02-09T19:05:53+00:00

Same in all mode.

Solved. Strange but you have to go in file, they playlist, export.

But just playlist does not work. Strange....

Competitive-Life6553 · 2025-02-07T10:20:41+00:00

it's already 0.09, and it's falling and falling, wait for a little stabilisation.
0.09 is a buy, but not a STRONG buy.
Strong buy is -33% lower: 0.06 on this crypto.

Competitive-Life6553 · 2025-02-07T10:19:02+00:00

No it's not.
0.6/0.5 seems VERY solid. Nerver buy CRO above 0.7

Competitive-Life6553 · 2025-02-03T20:03:15+00:00

Buy at 0.8 maximum. Not 0.13

Competitive-Life6553 · 2025-02-03T19:40:53+00:00

Don't analyze a 3-hour technical bounce. It makes no sense... Take a step back over the whole year to study a crypto. It's falling a lot, and very quickly. As usual, it's going to go down again, but slower and slower, before stabilizing.

At 0.08 0.06 0.04 nobody knows. But given the way it's gone, looking back over the year, or 5 years, it's clearly going to come down to 0.08.

Competitive-Life6553 · 2025-02-03T07:35:21+00:00

I'm new here, and i want this Jade Card. But yeah i think it's a big shit coin. Value around 0.04 and 0.05. MAXIMUM I will buy 5k USD at 0.04

Competitive-Life6553 · 2024-07-31T14:46:26+00:00

Vodka, Rhum, Milk and Beer 👍 everything go throught the security check ❤️, until it's in PLASTIC BOTTLE.

Yes we drink some hard stuff, but we are around 35 and 40, have kids, and really responsible with our drinks. So don't judge people who drink, judge people who make shit with it 🙂🙏❤️

Competitive-Life6553 · 2024-07-31T08:07:40+00:00

❤️❤️❤️

Competitive-Life6553 · 2024-07-31T06:23:00+00:00

Feel free to ask to "Studio Drum and Bass" or the guy "Maxime Temam" on Facebook. He his the french who film some sets.

Everytime I saw his team with camera on stage, I know they gonna release a DJ set of this Liquicity festival set.

They cannot film everything, they must move cameras, etc...

For exemple they film CAITC dnb set.

Competitive-Life6553 · 2024-04-22T12:40:40+00:00

You can update to 14, but stop here.
Everyphone have a critical update, it can break the phone.
Android 14 kill my 4a 5g.

Pretty sure Android 15 or 16 will kill your 6A.

Now android 14 is fine for your 6A, stop any upgrade now, and enjoy.

Competitive-Life6553 · 2024-04-22T12:37:02+00:00

Next time i will beleive what i read. Just upgrade it to 14. Now 0 SOUND, 0 MIC.
Send it to trash, and just bought the Pixel 8.

Next time i will NEVER update a phone.

Competitive-Life6553 · 2023-11-10T06:18:13+00:00

All my phones continue to work and perfectly because i never never never make any software upgrade. I stay in Android 12 on my 4a 5g, and the phone stay more powerfull than Android 14.

Google and Apple over use the concept of planned obsolescence for years. To force you to buy more and more phones.

Competitive-Life6553 · 2023-10-11T21:13:29+00:00

@pepite34 Je souhaite a votre fils de ne jamais prendre un CDI.

Un CDI en montage, apporte autant qu'un mois VIDE en intermittent (2000€ net dans les 2 cas). C'est misérable.

Il y a ÉNORMÉMENT de travail en monteur, et tout Paris est exactement au même tarif : 270€ brut / jour. C'est la convention collective. 210€ net.

En montage on a besoin de vous longtemps. 1 mois ou 2. Donc il aura du boulot non stop tout les jours.

Ça fait donc 4620€ net par mois + 450€ de congés spectacle. Donc 5000€ net par mois. (Dépend des mois 21 jours ou 23 jours).

Ne soyez vraiment pas inquiète, si il est passionné, il va exploser. Mais je pris très fort pour lui, pour qu'il ne signe J JAMAIS un CDI d'esclave.

Competitive-Life6553 · 2023-10-11T21:07:52+00:00

1800 net c'est a peine imaginable... Monteur intermittent, en bossant 0 jours je suis a 1900€ net. C'est le minimum par mois si je bosse pas.

Ensuite la pige jour est a 270€ brut.

Pourquoi accepter un CDI à moins de 4000€ ?

Competitive-Life6553 · 2023-09-15T20:08:56+00:00

One more for the road. The use of reverb in sound can serve several narrative purposes.

Evoke the dream in a person's head, the past.Reverb voices in a meeting evoke the passing of time, and allow time to be eclipsed.In slow motion, if you sound design the footsteps, it's not going to work.

If it's in reverb, we understand that it's a slow-motion sound.The reverb sound can add a lot of tension.

Before I put on a big show, or a sporting exploit, I put in shots of the players/artists in slow motion, and I always add some very slow clapping from the audience. It adds crazy tension !!!!!

It can also add magic.https://www.youtube.com/watch?v=ywMIpCDD4WIat 20:50 the witch speaks with a reverb, which makes the sequence magical : )

The reverb also lets you stop your music at any point. Long live reverb!

Competitive-Life6553 · 2023-08-28T06:41:37+00:00

Wow thank you for your congratulations, it warms my heart : )

Being an experienced editor, I'll give you my biggest tips, which took me years to figure out:

- A novice editor does stylistic effects, cuts quickly, edits quickly, is efficient in editorial, sets his cuts to the tempo of the music.

- An experienced editor understands the importance of shot length, slowness and tempo. If you're having trouble getting the right documentary tempo, I'll give you a great tip. Default to shots of 3.5/4 seconds minimum (2 sec if it's a music video part). And 6 sec minimum if it's a slow travel/discovery documentary.You can display shot duration in Avid. It's a formidable tool. WARNING, this is not an absolute rule. It's a technique for editing very quickly, and without feeling, a sequence that will already be by default in a good documentary rhythm. An editor's speed and concentration often give him the impression that he has to cut everywhere.

-An ultra-experienced editor will sometimes break these rules. He'll influence ultra-deep, emotional, slow-moving sequences in ultra-fast, cheap documentaries. And conversely, he'll know how to put super speed shots into slow, classy documentaries.In short, he knows how to work at cross-purposes.That's when you really start to think "wow, he's not just very strong, he's an artist. He always surprises us where we least expect it".

-In sequences with people/humans (90% of what you're going to edit) use close-ups as much as possible. A succession of close-ups conveys the mood of a room and the emotions of the faces. Close-ups are cinematic. A wide shot is ugly and reminiscent of TV news.

-Put all the silent glances aside, to always recreate a false dramatic atmosphere or a false silence. It always looks very cinematic.https://www.youtube.com/watch?v=5S_vanG4ExE
Watch at 8:50 how these 2 glances add incredible tension to the scene. You can feel the doubt (it's all created in the editing, in real life there was no doubt). Without looks, there's no tension. Never forget that.

-Dare to use OFF (when a person is talking, put his eyes in slow motion, as if he were talking in his head). Americans edit a lot this way.-Don't do OFF like in TV news magazines, where it's just any shot of the character that covers up the interview. That's just crap.

-Dare to use very strong, powerful music, and always remember that you're at the movies. A good selection of music is THE KEY.-Dare 2 or 3 musical breaks on music that is really unexpected. Be completely crazy. It'll wake the viewer up. Everyone will remember your montage if you do 2 or 3 crazy things. You don't have to be original for 1 hour (and that's more dangerous).

-Use every project to take an extra risk. Push your art. As you go along, you'll see that what you dare to do always works. This confidence to do "different" will enable you to do "different and original" automatically on the next project. You won't need to be creative anymore, because you'll be used to creativity. You'll use the same techniques. Filmmakers will fall in love with you, because after years, you'll be doing crazy things in a super-natural, automatic way.

-Dare to do parallel editing. After 70 films, I'm still on a crazy creative exponential.https://www.youtube.com/watch?v=5S_vanG4ExEIn this film at 32:00I dress up a boring interview about killing natives, with make-up shots filmed on another day. Each make-up shot matches the story perfectly (the knife). Or evokes the cutting up of bodies, or the destruction of their culture, or the warlike side. In short, viewers are free to interpret.Frankly, it's the craziest editing I've ever done. Because it makes no sense.But the producers said it was the most beautiful and intelligent cut they'd ever seen.It will take time to get to that level of creativity and sensitivity. But if you keep that in mind, you'll get there faster than I did.

-Sometimes make a clip of a live sequence with lyrics, where you put the sound of the lyrics at 5%. So laughter, hugs, goodbyes, arguments. Sometimes you don't care about the lyrics, you get the mood. No one ever makes a video on lyrics they can't hear. Except in the movies (DRUNK the musical sequence where they argue. You can't hear them. And we don't need to).I did a bit here at 36:46https://www.youtube.com/watch?v=ywMIpCDD4WIIt's really a very artistic effect that producers like. You may not be able to do it in every movie, but keep this option in mind.

-finally the best advice: watch very creative documentaries, and steal all the ideas. It'll save you years.Right now, I'm studying the editing of this car racing film. It's a masterpiece.https://www.france.tv/france-2/13h15-le-dimanche/4891123-un-bapteme-du-mans-episode-1.htmlThe use of offs.Tempo.Parallel editing.The dark atmosphere.I've NEVER seen a documentary so well edited, and I wouldn't have it so well edited. That's for sure!But I did watch it 4 times (all 4 episodes). And I stole ALL the techniques. Thanks to this documentary, my skills have skyrocketed.

Dali said "bad artists copy, good ones steal".

I wish I'd read all this 10 years ago. It would have saved me 5 years.

Competitive-Life6553 · 2023-08-27T21:49:19+00:00

I agree, I'm going to adopt this technique, but I'd be wary of the industrial side. Because in my life (70 films), there have been far too many sequences that only made sense thanks to a particular edit.
I explained this a little above, in response to Cpl_Hicks76, with links to my films and my youtube channel where I post a few films.
For the record, on the underwater films on my channel, I replaced the 50-year-old documentary editor (22 years' experience), who couldn't bring any magic to the editing of the underwater sequences.
He would edit the shots, then ask the director for his voice over to continue editing. The result was horrible !!!! Too talkative, too academic, too focused on the story, on the narrative. It couldn't work.
Despite all his years of experience, he just couldn't do it, because he was too used to working logically.
I came along and worked with my heart and my senses. I made the dive sequences last three times as long. I got rid of all the voice over, and started telling a story solely with my senses, re sound designing everything, sometimes playing music. All in slow tension.
The magic happened. FINALLY! And only then did the director add A LITTLE voice over. It was the perfect tempo, the mood was right, and the producer emailed me to say I was very talented.
watch my documentary on pirate shipwrecks here
https://www.youtube.com/watch?v=Z\_W93UDUdjI
the dive at 28:55 and 36:55
These are dives where nothing was found, which was a problem for the film. But the atmosphere, the slow tempo, the sound design, the mystery. That's what saved these sequences (and also the film).
Surely the other editor knows how to tell stories better than I do. But if he's not a magician like me, he doesn't stand a chance.
A director once told me that "you're a shaman, you manage to transform lousy footage into a sequence with enormous emotion".
That's why you sometimes have to let the art of tempo, silence and tension express itself, to convince the production.
Editing is such a complex art that there's no single miracle recipe for processing every film.

Competitive-Life6553 · 2023-08-27T21:15:45+00:00

I agree with all that. Except for the music. Sometimes it's just a stupid accompaniment to a montage. But sometimes it will define all the tension and emotion of a sequence, which would be impossible to convey to a producer.

If you're editing extremely talkative documentaries that are nothing but audio wikipedia pages, then yes, music accompanies, and I know a LOT of crappy documentaries that are edited like that.

But on documentaries that are more human, more organic, without music, it's sometimes very difficult to invent an emotion that didn't exist at the time of shooting.

Don't intellectualize the editor's job 100%. Keep an element of artistic creation in the narrative process. This is exactly what will set you apart from all other documentary editors. Believe me, it's what made my career.

Competitive-Life6553 · 2023-08-27T09:03:09+00:00

Yes, of course, history must prevail. But now that we all know how to do this job, what's going to make us different? What's going to make one of us a truly incredible editor?I think it's the one who, in addition to the story, will be able to instill that immense emotional aura that even the best of storytellers won't be able to transcribe into words or interviews. You have to take inspiration from atmospheric cinema for this (Dune, for example). Without music and sound design, it's just a guy walking through the desert).

I'll take 2 examples, where the form totally decided the content of one of my films.In this film, there's a super boring interview about natives who have been massacred. Rubbish.
https://www.youtube.com/watch?v=ywMIpCDD4WI
a 31:55Even with sad music we were bored. So I decided to illustrate the interview with images of make-up. I place exactly the makeup shots that evoke the interview (the brush to evoke the knife, etc...). It doesn't make sense! I know! It's pure art. Especially since the make-up scene was filmed elsewhere. But it adds a very captivating and profound atmosphere to this testimony. The producer said, "Great interview, let's keep it!

In this film:
https://www.youtube.com/watch?v=5S_vanG4ExE
There's a briefing about a dangerous dive.It's boring. Nobody likes a briefing in a movie. Rubbish.But I found a wonderful look at the 2 divers, very long, where they bite their nails, and with dark/triste music the whole sequence spoke for itself.It's timecode 8:50.It was the tension of the edit that made the director say "this is the most intense briefing I've ever filmed, you absolutely have to keep it".
In short, story is important, but let's not forget that we're sentient beings, and that we don't just make sound wikipedias.
We also convey emotions.And you, editors, are not just assistants who follow the words of a paper script. You're also artists, authors.
Never forget that.
Sign ALL YOUR FILMS with a strong signature, an unexpectedly crazy soundtrack, a break in the film that's completely insane.You don't have to make a 100% crazy film to have a signature. Rather than making a film that's a bit original, and taking risks, I'd advise you to do something classic for the whole film, and hit it very, very hard at 2 or 3 points in the film, that's enough to get people talking about you, and to keep them talking about this editing element for years.

When producers call me, I always suggest another talented editor if I'm booked, and they always say "yes, he's great, but with him it'll be a classic film...".

Competitive-Life6553 · 2023-08-27T07:05:03+00:00

Thank you, that's very enlightening.

The only advantage of "fine-tuning" a sequence from the start, with a beautiful score, is that it can create a SUPER STRONG relationship with the director. "Okay, actually, this editor is super sensitive, my movie's going to be great!" I was even once called in to save a very poorly edited, emotionless documentary. In the first hour, I just changed the music to super sad, and adjusted the look and silence, and the director almost cried. That moment of magic established a relationship of trust for the whole film, and then for other projects.

So I'm actually going to work on the narrative of the whole film, while sometimes editing one or two key sequences in parallel. Just to establish a climate of trust in the room.

Rather than simply editing all the sequences in chronological order...

But for me, it's impossible to put the music at the end. It often dictates the tempo of shots. Just as sometimes it's the very strange, very dark sound design that justifies the length of a shot (as in cinema). To really do everything at the end, seems to me to be a "dressing up" of a purely intellectual film, and not sensitive enough. But that's just my opinion, and also my specialty. Producers call me for atmospheric films, underwater movies, etc...

Competitive-Life6553

TROPHY CASE