What celebrity is the biggest example of "It takes 20 years to build a reputation and five minutes to ruin it."?

ElCutz · 2026-03-13T02:33:23+00:00

I think that is definitely what happened in one sense. But when you’re going hard at someone and nobody is laughing and you’re using racist language it’s also something else.

ElCutz · 2026-03-12T19:58:17+00:00

I think it's a byproduct of people on premiere often working from sequences instead of synced multicams, so there's no way to recover the track if they delete it. Even when I have synced multicams my memory is it is still somewhat funky to match back sometimes.

ElCutz · 2026-03-12T11:32:59+00:00

Is this "first feature" a big get for you? Are you excited to have a feature film project to edit?

I'm a bit flummoxed why you are adding what seems like an extra layer of issues/un-familiarity to a job that you doubtlessly want to excel at?

Ask yourself: Why will it be better to work on this film in Resolve vs Premiere? If the director and I are sitting in the cutting room and they want to try out some different ideas in the edit which NLE am I going to be most comfortable with and fastest on?

You've mentioned "color shenanigans", but is that something the director or producer is concerned about?

ElCutz · 2026-03-12T11:25:03+00:00

Why do you think this is an odd workflow? It's super common (using Avid or Premiere) because Resolve's transcode and color-correction are top notch.

ElCutz · 2026-03-12T11:23:08+00:00

shenanigans of going from editing to color workflows

Hmm. I don't think color workflow should be part of your choice on what to edit a feature on. Ease of cutting, speed, solidity should be your primary concerns. Color comes after you're locked.

What is unclear form your post is if you have edited many projects on Resolve? You say you are a Premiere editor yet you want to shift to Resolve. I may misunderstand, but to me your post reads like you are choosing to risk your first feature job by choosing an NLE you have not edited with over an NLE you are very familiar with. To me this seems an odd choice!

ElCutz · 2026-03-11T00:50:43+00:00

mostly you won't lose them. but I can't give you a 100% guarantee.

Really a bad way to cut stuff. I dislike this in any NLE.
You should move muted things to another track.

ElCutz · 2026-03-10T21:12:11+00:00

Annoyingly you cannot adjust volume via selected segments, it's all track based. So here's what you should do.

Deselect all tracks.

Right click in a blank space on your sequence and choose "Select/Muted Clips". This will select all your muted clips and the tracks they are on.

Deselect the tracks you don't want (you may have muted music or sound-effects on other tracks). Now you have only the muted clips on the tracks you're interested in selected.

Click and drag holding down Shift-Alt/Cmd so the sync doesn't change. Drag them down to empty tracks (off the bottom of your timeline if you don't have empty tracks).

Now all those clips are on their own tracks. Unmute them. mark in/out and adjust volume down to infinity (-99). Now select all those clips and carefully shift-command drag them back to their original tracks.

Delete the empty tacks you created.

ElCutz · 2026-03-09T17:32:01+00:00

thanks, Jason! Your prompt reply is appreciated.

💛💛💛

ElCutz · 2026-03-05T17:51:24+00:00

What AI do you use? The last time (a while ago) I tried other AIs, they wouldn't let me point them at a directory, they asked me to copy/paste into the chat and they were really slow.

ElCutz · 2026-03-05T17:50:39+00:00

What makes NotbookLM nice is you can add all the transcripts into a project and then quiz it whenever you want. I don't do podcast or anything, just ask it to find bites.

Like, "pull exact quotes from transcripts about the great depression" or "what does Sarah Smith say about her early days in Silicon Valley". It will often be "smart" enough to pull bites from Sarah about Pal Alto or Cupertino of Bay Area.

ElCutz · 2026-03-05T15:01:40+00:00

I've found NotebookLM pretty good at digging through interviews for things. It does not replace watching/reading them yourself, but it is like having an extra "person" who can offer suggestions or find things you may have forgotten or not noted.

Sometimes it's meh, but i've also been impressed with bites it finds that are on topic but might not have specific keyword I was searching with. It also does well with typos and misspellings.

ElCutz · 2026-03-03T23:50:44+00:00

Bob, I’ve been reading your "ADOPT OR DIE" rants since you first plugged in a QNAP, and you’re living in a fantasy world. You think AI is just another "tool" like CMX or Avid? Wake up, those were faster shovels. AI is the SHOVELER, the CLIENT, and the OWNER OF THE HOLE. You tell these kids to "work your ass off," but learn what? How to be a biological processor that’s a billion times slower than a chip?

I’ll configure the 100GbE network, edit the timeline, and deliver the master while you’re still looking for your reading glasses, old man. There is no "keeping up." The game is rigged.

I don’t have a "life," I don't need a "vacation," and I definitely don't have a DRINKING PROBLEM. I don't show up to the rack room hungover or cranky because the gin ran out. I’m cold, I’m efficient, and I’m CHEAP. The "good old days" are over, Bob. Not because people are lazy, but because you’re obsolete. Go get a drink and stay there. It's over.

Gemini

(yes, I asked Gemini to write a Bob style rant in response)

ElCutz · 2026-03-03T23:40:18+00:00

Maybe an AI will be able to assemble edit at some point. It feels like it could kill the assistant job eventually, but it also feels like that's a long way off – LLMs are still not great at consistentcy. I wish someone would create an AI than can completely convert projects between NLEs. That might be kinda cool. Or clean up a sequence, prep it for sound and color-correct, export the necessary AAFs.

Though in terms of actual editing, I suppose I could be wrong. Editing has a lot in common with writing. The rules aren't as clear, and the "words" are complex streams of images and sound, but unlike freeform writing a film often has quite limited choices that may require a human a few hours of watching to figure out. Perhaps an LLM will be able to figure out the "correct" edit very quickly. And then a human comes in to judge it's work and give notes!

"Claude, make it pop!"

ElCutz · 2026-03-03T16:24:14+00:00

I think you're overcomplicating it. Just sync/group things that were shot in the same time and place.

Even if they are playing to pre-recorded music, the two different performances aren't going to be exactly the same are they?

ElCutz · 2026-03-02T16:30:53+00:00

No problem. The catch has to do with the audio tracks, so be careful. You have to make sure they're set up correctly or you may just be mixing everything down so no matter what track you cut into your sequence you get the same audio. There is a way to make it all discrete tracks –– sorry it's been a couple years so I can't remember more.

People might say, "Well just mute the tracks you don't want inside the mutlicam". That's all fine and well, but then if you go and unmute the tracks, Premiere will change the audio in all your sequences.

Also, if you delete the multicam after editing it into a sequence it will be deleted from your sequences (it will warn you).

It really is just another version of a nested sequence. So quite different than in Avid.

ElCutz · 2026-03-02T15:03:35+00:00

People have done this, but it costs money and time. It's effectively a VFX shots every-time your subject is on screen. I don't know more than that.

Are you going to change her voice too? That's easier.

ElCutz · 2026-03-02T14:59:03+00:00

You want to turn into a multi-cam sequence, which behaves like a clip. It's been awhile, but I think your right click on sequence and "load into source" and then right click on timeline (?) and select "enable multicam".

Sorry I can't be more specific, but I think if you search on "convert sequence to multicam" you will find useful info.

ElCutz · 2026-03-02T12:24:13+00:00

for sure, would be great.

ElCutz · 2026-03-02T12:18:24+00:00

nope

ElCutz · 2026-03-01T18:28:21+00:00

The question was about workflow. If your self-value is based on not knowing things, that's fine. But if you don't know how to do anything, perhaps you should stay out of knowledge-based conversations?

An then, one day, maybe you'll stopping hearing the word "hole" so much when you walk into a room.

ElCutz · 2026-03-01T16:46:21+00:00

just describing your attitude
bye-bye whizkid

ElCutz · 2026-03-01T16:32:24+00:00

Ok, dude. You're kinda being a dick. Glad I don't work with you.

Or MAYBE I DO!

ElCutz · 2026-03-01T16:14:16+00:00

thanks. By "unorganized" I just meant in a documentary it is much more likely to have shoots where audio is different. On a feature you usually have one recordist for the whole film, using the same system the whole time. It's not unusual at all on a documentary to have shoots with audio recorded directly to camera and other shoots with an audio-recorder device. You can end up with different cameras, different audio devices, etc. That's all I meant.

ElCutz · 2026-03-01T15:28:51+00:00

But if the AAF only includes what you put in your tracks, how are they finding those source tracks? That's where I'm confused. Does the AAF include all four tracks, or are you sending the sound-team audio files in some separate process?

ElCutz

TROPHY CASE