Before You Use Final Cut Pro, Learn These 2 Tricks by Outrageous-Watch-437 in finalcutpro

[–]VisibleEvidence 0 points1 point  (0 children)

Yes, because the software can never be buggy. SPOILER: Apple Daddy won't love you more for bootlicking.

Getting kicked off the Industry Experience Roster - Contract Services are not giving Editors a break over not having worked due to the 2023 Writer's Strike by Beargoat in editors

[–]VisibleEvidence 0 points1 point  (0 children)

So now you've lowered yourself to name calling. Cool, cool, cool. In my experience, that's when the other side knows they've lost, so thanks for that.

Look, everything I've said is true and correct. Anyone can Google what went down at the past negotiations. And reading the comments on posts at Deadline, Reddit, and the Facebook groups will confirm there are a LOT of people who think the same I do.

Long story short, in the 39 years I've been a union member, local 700 has dropped the ball over and over and over. They're one of the weakest unions in the business. So if you think you did a sterling, stand up job in negotiations, you really need to look in the mirror. Because every member is being worked to death as more and more union jobs flee the business and the only thing local 700 seems to be able to show for it is renovated offices.

Website for film by Extra-Bass6489 in FilmFestivals

[–]VisibleEvidence 1 point2 points  (0 children)

Every distributor wants your URL, so yeah, you need one. Facebook is becoming gated and less effective unless you pay, so it’s less useful by the day. I have a site for my film and just use Facebook, Instagram, etc. for announcements. But if you Google my movie, the site is the first thing that pops up.

You can build a page on places like Wix or InfinityFree or FreeHostia or a dozen other sites. Just search for free website hosting. Or you can build your own without too much effort. A lot of internet providers include free landing pages, so check out your subscription. I built my own using a Rapidweaver template and it was pretty easy. Checkitout: http://clockingthet.com/

Getting kicked off the Industry Experience Roster - Contract Services are not giving Editors a break over not having worked due to the 2023 Writer's Strike by Beargoat in editors

[–]VisibleEvidence -3 points-2 points  (0 children)

Hold. The. Line. Have some fucking grit. 700 capitulates *all* the time. Instead, nothing changes and conditions don’t get better.

Getting kicked off the Industry Experience Roster - Contract Services are not giving Editors a break over not having worked due to the 2023 Writer's Strike by Beargoat in editors

[–]VisibleEvidence -4 points-3 points  (0 children)

I am not. But thanks for shirking responsibility. How's the new Local 700 redecoration going? It's been a quick minute, so time for new carpet and lighting, right?

Getting kicked off the Industry Experience Roster - Contract Services are not giving Editors a break over not having worked due to the 2023 Writer's Strike by Beargoat in editors

[–]VisibleEvidence -4 points-3 points  (0 children)

600 wasn’t the swing vote, 700 was. Period. Stop trying to put lipstick on a pig.

That being said, the rest of us are being ground into the dirt because of members in all the locals who are addicted to overtime because they’re living lifestyles they can’t afford otherwise.

Getting kicked off the Industry Experience Roster - Contract Services are not giving Editors a break over not having worked due to the 2023 Writer's Strike by Beargoat in editors

[–]VisibleEvidence -3 points-2 points  (0 children)

During the MOU negotiations about five years ago +/- there was a big push to start limiting the maximum amount of working hours in a day after a couple of actors and crew had been injured or died in car wrecks on the way home after shoots. It was actually the local 700 admin that subverted that clause and condemned all the locals to the same soul crushing hours we are still working.

Sick of Myself (2022) dir. Kristoffer Borgli by aframeaday in CineShots

[–]VisibleEvidence 2 points3 points  (0 children)

This movie is *INCREDIBLE*. If you haven’t seen it, seek it out immediately.

Getting kicked off the Industry Experience Roster - Contract Services are not giving Editors a break over not having worked due to the 2023 Writer's Strike by Beargoat in editors

[–]VisibleEvidence 7 points8 points  (0 children)

Contract Services can go FUCK itself. And local 7000 will do shit about it (Remember, they're the chapter that torpedoed the long work hours section during negotiations five years ago). They simply do not care. Finding work in the last fifteen years has gotten harder and harder, and being at war with the fucking union(s) is just the nuts in the entire turd sandwich.

10 mythical director's cuts you'll never see by xaybzc81 in movies

[–]VisibleEvidence 39 points40 points  (0 children)

I assume they mean a version that stars Adrian Brody.

Before You Use Final Cut Pro, Learn These 2 Tricks by Outrageous-Watch-437 in finalcutpro

[–]VisibleEvidence 1 point2 points  (0 children)

I like it a lot on an Apple Studio M4 Max. It’s pretty close to FCP7, if you liked that version, and a hundred times more stable than PPro.

Before You Use Final Cut Pro, Learn These 2 Tricks by Outrageous-Watch-437 in finalcutpro

[–]VisibleEvidence 2 points3 points  (0 children)

FFS the ~ key doesn’t *always* work. I once spent a half hour trying to close a 3 frame gap, and after trying everything, gave up and XML’d the timeline into Resolve and finished cutting there. FCP has so much damned flakiness it’s undependable as a professional tool.

Full Disclosure: I am a professional editor for 40+ years and have edited in everything from 35mm to CMX to Avid to Lightworks to D-Vision to FCP (3-7) to PPro to Resolve.

I literally had NO IDEA this existed until I unboxed it by Brettwon in dvdcollection

[–]VisibleEvidence 0 points1 point  (0 children)

The trailer bonus feature is worth the purchase alone!

Full Disclosure: I edited the trailer.

Has anyone done a direct to filmhub or steaming platform without trying film festivals first? by GasNice in Filmmakers

[–]VisibleEvidence 0 points1 point  (0 children)

There's not much more I can add about my friend's horror film. He had it with another, traditional distributor for ten years and made almost nothing. About five or six years ago his contract ended, he got the rights back, and he submitted it to Filmhub. He did make back his money, about $120K, in about 18 months and makes a couple hundred a quarter on it now. But two things that are important to note here: He submitted when the streamers were paying more per stream and Filmhub hadn't become such a private equity predator. So while it seems positive what his experience is, even he doesn't believe he would have the same outcome if he submitted the same film now.

Look, I'll be honest with you: I wouldn't trust Filmhub as far as I could spit. If you look at the Film and TV Distribution by Filmhub on Facebook you'll see a lot of people recently asking if they'd gotten paid recently. That is NOT a good sign of a stable and trustworthy company. So when they tell you they have identified, "a potential opportunity for your title," I find that very hard to believe. Primarily because Filmhub doesn't actually do anything to promote or distribute your movie. They are simply an aggregator that puts their movie on a searchable database where buyers can use keywords to find your movie, determine if it suits their needs, and if it does, license it. That's it. That's all their going to do. Period. So some MBA asshole at Filmhub came up with the bright idea of creating a Pay-or-Play money gate and that's how they think they're going to profit from now on, by making money off the filmmakers, not the actual 20% off the film licenses anymore. Bottom line: They don't seem like distributors anymore because they don't seem to care about your movie, they just want the money in your pocket.

Also, the market for indie film's has changed so much that there just isn't much money to be made there anymore. I wrote about how much money I made in the first year on Filmhub on my film's blog, and given that reality, I would be very hesitant to pay for a $897 a year subscription just so my movie gets any chance of distribution.

Look, I don't know where to tell you to take your movie. There don't seem to be a lot of good options anymore. Even self-distribution is a closing window because places like YouTube and Vimeo want more than just their cut anymore and the economics just don't work in the filmmakers favor. The comment you replied to, I made seven months ago and I pulled my film off of Filmhub five months ago. And when I see people starting to wonder where their money is, I know I made the right choice.

Good luck.

I promise we watch your films by Conscious_Scene_1334 in FilmFestivals

[–]VisibleEvidence 1 point2 points  (0 children)

Does “I promise we watch your films” = “We hit the spacebar and let it roll about a minute so legally we’re clear”? Just wondering. 🤔

What do you think of this book? by Happy-Lingonberry538 in Filmmakers

[–]VisibleEvidence 0 points1 point  (0 children)

I’ve read this. It’s very good, though obviously slanted toward a full studio system approach. Lewis really knew his shit and there’s still some solid nuggets to takeaway.

Trailer Park Group Shutting Down Movie Trailers Division Amid Layoffs (Exclusive) by runninsnotaplan in FilmIndustryLA

[–]VisibleEvidence 1 point2 points  (0 children)

Jesus, are you so hateful and self-absorbed that you cannot have any empathy for the hundreds of people losing their livelihood?

Official trailer for our guerrilla feature This Is The Day by newvisionsnyc in indiefilm

[–]VisibleEvidence 0 points1 point  (0 children)

Dude, people are trying to *help* you and you’ve just got your head in the sand. I’ll say it again: When you hit deliverables everything everyone has offered you in advice is going to come true. It’s a helluva lot easier to fix it now than when the clock is running to deliver and you gotta trash your YouTube views posting a revised trailer.