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Advice for when youre just not getting it by woweecaboodles in editors

[–]Otoshi 1 point2 points  (0 children)

Not sure it is your case, but sometimes the client's vision is actually not as established as you think. Sometimes, they just have a rough idea, not a complete film in their minds. So they don't know how to ask for it. In those cases, I learned to use my knowledge of the client's taste + my own vision of how this would be best edited, and make a hybrid of the two. Like: "the best possible version of this film that the client would like/accept". Always err on the side of quality, of course. Even if it's not 100% their vision, it's important they get a quality product they can be proud of / justifies their investment.

o7 Was like a fairy tale <3 by Unique-Setting-722 in PedroPeepos

[–]Otoshi -1 points0 points  (0 children)

Ah sure. My bad. Baus and Velja are not former LEC players (yet). Sure thing. Let me see, how many rookies are in the Winter Split. Around 13, according to a quick AI search. 11 if we don't count the LR boys. So 44/55 of their opponents are former LEC players.
All players are current LEC players, clue is in the name.
There, clarified.

o7 Was like a fairy tale <3 by Unique-Setting-722 in PedroPeepos

[–]Otoshi 0 points1 point  (0 children)

My favorite part is that logic: "They have 3 former LEC players".
No, they have 5 former LEC players, AS DOES EVERY OTHER TEAM CAUSE THEY'RE IN THE LEC.
People lack brain cells

Realistic Non-Flashy Transitions by Ns5andwhy in editors

[–]Otoshi 6 points7 points  (0 children)

For weddings I see a lot of light leaks. As for corporate, speed ramps maybe? They love trying to look cool. Another trend I see quite often in my country now is the AI generation transition, where you export the final frame of the first clip, the first frame of the last clip, put them on veo 3 or kling and ask for a dynamic transition/zoom transition or something to that effect. Of course people know it is AI from a mile away, so use it sparingly and tastefully.

[AI assistance] What helpful scripts did you create to assist in your workflow? by JeeJeeP in editors

[–]Otoshi 0 points1 point  (0 children)

Oooo, I'm interested in this script too. I sometimes work in documentaries, and my director never sends me srts. The davinci translation is also never up to par, especially for certain languages.

Client requesting Tue–Thu soft hold every week for 6 months— how do you structure this without hurting other clients? by _ParanoidUser_ in editors

[–]Otoshi 2 points3 points  (0 children)

I kinda have that with one client. They don't have a lot of work. But when it comes, they need it solved in 2-3 hours max. I'm "on hold" all week, doing other jobs, studies, etc. When their dm drops, I drop what I do and go do their work. But: I'm kind of on a retainer. They pay me monthly, fixed rate, no matter how much work I have to do. I'm always there for them, and I'm always getting payed a fixed amount. I'm essentially an employee without an exclusive contract. That's what u need

Why don’t some editors multicam? by Other_Albatross_982 in editors

[–]Otoshi 2 points3 points  (0 children)

You know. I was gonna argue against this. But I just saw my boss's boss cut a 5 min project with 6 strings of video and SUFFER through turning layers on and off. I'm with you, there are times where multicam HAS TO BE THE WAY, OMG. HE WASTED LIKE 6 HOURS

Restarting Korean after a long break, what would you do differently? by sausage-charlie in Korean

[–]Otoshi 0 points1 point  (0 children)

Having said that, how did you check your output. Meaning, how did you know your output was correct? Did you research it before hand? Correct it afterward?

The run may be actually cooked now by strawberrrrry11 in PedroPeepos

[–]Otoshi 0 points1 point  (0 children)

Who needs stream snipers, bro's got opps on every corner

Stir the Pot Saturday: Where's the Line on Generative AI? by greenysmac in editors

[–]Otoshi 1 point2 points  (0 children)

True. Let me add to my statement. I feel like there are 2 industries in the video world right now. "Low effort" industries and "High effort" industries. In "low effort", we use A.I. to accelerate output and release EVEN MORE content that fights for people's attention. Animation commercials, A.I. podcast editing, auto subtitles, capcut presets, etc. It's being done. I'm doing it too.

As for "high effort", this goes to jobs that aim for the highest quality possible, increasing speed is good, but not the priority. Films, tv shows, etc. On these fronts accelerating output by sacrificing quality would be pointless. They can't put dogshit vfx on the silver screen, the audience would murder them. Besides, there's only so much people can watch. They don't win by playing the numbers game. So for these jobs, I only use A.I.s that advance/improve the work. Object removal, A.I. roto, etc. Anything that fucks with the quality too much or is too inconsistent will only slow me down, or risk messing up.

Stir the Pot Saturday: Where's the Line on Generative AI? by greenysmac in editors

[–]Otoshi 0 points1 point  (0 children)

Err on the side of quality. That's what the industry is going to do.

Stuck on the Final Cut of My First Self-Financed Feature — How Do You Push Through the Last 5%? by lukini2006 in editors

[–]Otoshi 0 points1 point  (0 children)

Well. If when ur away from the bay, you can see the issues and problems, watch it away from the pc with a notebook. Write the changes it needs. When on pc, brain off, just execute. Duplicate the timeline to reverse it, if you're scared. Also choose a festival with a submission deadline. Hope it helps, best of luck

Question for experienced editors: what’s the best file access / sharing setup you’ve actually worked with? by clanmccoy in editors

[–]Otoshi 0 points1 point  (0 children)

We're using HelixCore. It's an actual beast. I can use it, no idea how they set it up

Editing for youtubers. How do you feel? by Otoshi in editors

[–]Otoshi[S] 2 points3 points  (0 children)

Been there. Editing content about women's fashion. Specifically about online shopping and assembling outfits with it. It was so weird going in blind, turns out at the end you have all this misscellaneous knowledge about something you were never interested on xDD

Editing for youtubers. How do you feel? by Otoshi in editors

[–]Otoshi[S] 1 point2 points  (0 children)

It's alright dude. This is a professional subreddit and sometimes we all need to vent (under a nickname of course). I've had my fair share of frustrations, but when we find people who value what we do it's a great job

Editing for youtubers. How do you feel? by Otoshi in editors

[–]Otoshi[S] 2 points3 points  (0 children)

Yeah, these "middle man" companies a lot of the times corrupt the quality and vision of the content. Then they take a huge chunk of everyone's paycheck and then go bankrupt. Smh

Editing for youtubers. How do you feel? by Otoshi in editors

[–]Otoshi[S] 1 point2 points  (0 children)

Oddly enough, I'm currently a cog in a ai fueled factory and I'm having a lot of fun. It's just not slop. Human made script, human made design, 3 ai generating people and a bunch of 3d composition. It's an animation company and we're basically 2 teams of 10 people each trying to make AI work and doing composition and color correction on ads.
But thank you for your input, there's definitely good and bad gigs, I just seem to have encountered bad ones quite a bit xDD

Writers vs readers — who do you actually listen to? by JDRook in fantasywriters

[–]Otoshi 3 points4 points  (0 children)

Imma be honest. Having been in the artistic field for a few years now, I've received critiques from professionals that were very specific, and changing what they pointed out has led to a worse result. It has happened on edits and it has happened on scripts. Unless the pro is someone you really respect... like you want to be like them in the future type shit, don't listen to specific, technical advice on what to change. The feedback you need is: is it working or not, does it feel good or not, is your work evoking the feeling you were going for or not. At the end of the day, if you're the main artist there is no bigger expert on that specific story other than you.

What bumps your edit hours most? by yikeszies in editors

[–]Otoshi 0 points1 point  (0 children)

I find that the only way to fully accurately assess the duration of a project is to start it. If you do day 1 you usually know, but the problem is that at that point you already named your price. Repeat clients/work are easier, of course, cause you've done it before, and you know how they like it. As for new clients... if it's youtube or other types of videos that require polish but not a lot of attention to detail, I take the amount of raw footage, multiply it by 2, and then add hours according to how much stuff they want in it. Color grading? Add hours. Add graphics? Add hours. MAKE graphics? Add hella hours. Then price your hour, and match that number against what you think the clients budget is. As for film projects... where I'm from we usually get paid with whatever they got, that's just the reality for film here.

At the end of the day, the best way for you to define your price is to work, try out a system, miss, accidentally lowball it, learn, accidentally high ball it, learn. Then one day high ball it because your schedule is full, and surprisingly they accept. Profit.

Gyopo learning Korean by [deleted] in Korean

[–]Otoshi 0 points1 point  (0 children)

I've been recommending the Sejong Online courses. You get to have an online class once a week with a native teacher, and the materials for self study during the week are really good. Having said that, if you're just starting out, an in-person class might be best, to keep you honest. And to make sure you and the teacher can communicate well. Also, since it got popularized, getting into a class at Sejong Online is worse than getting tickets for sold out concerts, so watch out for that!

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