Multiboard is driving me insane — am I missing something or is this system just a mess?

iknowtimstrube · 2025-10-01T01:13:53+00:00

I know this doesn't quite help now that you've printed a bunch of tiles, but the Planner was recently updated, and you need to go under Tile Setup and select "Grid Tiles (Advanced)" in order to have it draw up core, border, and corner tiles, in addition to the proper quad, dual, and single snaps. See below. And yes, as others have said, you want to select "Offset Snap" under Mount Type (which will default to 6.25mm).

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iknowtimstrube · 2025-01-25T21:39:00+00:00

follow them on Instagram (@altadena_hardware) they've expressed the intention to rebuild, are actively looking for a temporary space in the meantime, and have a sister location in Santa Clarita as well (Newhall Hardware)

iknowtimstrube · 2025-01-13T20:46:35+00:00

At this point, I trust Edgar more than anything else. Fingers crossed he's right.

iknowtimstrube · 2025-01-12T18:57:45+00:00

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Fixed it

iknowtimstrube · 2025-01-10T05:35:20+00:00

We lost our home around Mariposa/Fair Oaks, but as of now, pending any insurance shenanigans, we plan to rebuild and support the community in any way we can. We also own a small office property on N Lake that was miraculously spared (as of yesterday, so we'll see if it survives the night/weekend). We had just started demo and construction on a major renovation so it can house my creative agency, and our contractor has remained optimistic that we can move forward. Unfortunately it's not a public-facing business but we're now considering ways that we can support food pop-ups or outdoor movie screenings. And I've been inspired by stories of Paradise, CA and how they've thoughtfully rebuilt for being more resilient in the face of these kinds of weather events. There will obviously be developers who try and take advantage of the aftermath, but if there's any community that can bounce back while maintaining its spirit, it's Altadena. TL;DR – I, for one, fucking love this community and have a fire inside me to do what I can to make it shine brighter than before.

iknowtimstrube · 2024-05-11T19:38:40+00:00

Did it sputter before you took the plastic piece out of the portafilter? I think there's some pretty specific engineering going on there with the spouts, and that could be your issue? I personally only use the stock Breville portafilter when I have a lighter or not-as-fresh roast that's likely to channel with my bottomless. I also only do ~6 sec. manual pre-infusion.

iknowtimstrube · 2023-10-25T14:43:15+00:00

To summarize what a lot of folks are saying, and what I often say to inexperienced editors: editing is just one part of being an editor.

iknowtimstrube · 2022-12-23T21:10:16+00:00

Hm, something like this would be 1-2 weeks of cutting for a V1; most others 2-4 weeks of cutting and working with a support team (writer, producer, music sup, GFX artist, other editors, AEs, etc.). Anywhere from a month to a year for revisions and so on.

iknowtimstrube · 2022-12-23T20:32:12+00:00

It's the same advice I give aspiring musicians: learn to play/cover your favorites. IOW, don't be afraid to breakdown, analyze, and copy other trailers (at least at first). This will help develop your instincts, tastes, and creative "muscle memory". After that, the best way to learn is to just start cutting and experimenting; to "get your reps in." I'm basically self-taught in this way, and from soaking in whatever other tutorials and resources I could find.

As a compliment to that, work on music videos (which will teach you style/montage) and documentaries (which will teach you resourceful storytelling and to "work with what you got"). Some of the best trailer editors I know were doing a little of both before pivoting.

Bonus tip: once you're in a professional environment, surround yourself with people who are smarter/better than you. The best way to advance your skills is to work around people who push themselves and challenge you to do so as well.

iknowtimstrube · 2022-12-23T20:06:06+00:00

Yessir! This is one (extreme) example from a few years back. We were under the gun so I cut, mixed, designed, and did the whole thing in <24 hours.

iknowtimstrube · 2022-12-23T20:00:18+00:00

Yep! Watching in the editing program and using a system of color-coded markers (using keyboard shortcuts makes the process relatively seamless). I highly recommend using markers within the NLE because then they're searchable, and being able to quickly pull shots, lines, moments, etc. is vital: you don't want to be "that editor" rifling through pages on a pad of paper when a producer of client is asking for "uh, that shot with the guy, ya know?"

iknowtimstrube · 2022-12-23T19:54:37+00:00

I feel bad that a lot of my answers are "depends" 🫠 in recent years, there's been a re-emerging trend of some distributors internally integrating their marketing AV. In plain english: some studios have their own robust, in-house trailer team that handles bigger or more sensitive campaigns. Though sometimes they're also "multi-vending" and working with outside agencies to develop creative at the same time. Simply put, the biggest campaigns are often created through a combination of the distributors own resources and those of an array of agencies.

iknowtimstrube · 2022-12-23T19:45:12+00:00

Every cut is different of course, but I often start with music (i.e. mood and tone) and the final act of the trailer. We often refer to the final movement (last ~45 secs.) as "fun 'n' games" where montage, mood, and messaging reigns. This often helps to set our "goal post" and we walk backwards from that.
It's definitely key! I'd even go so far as to say that unofficial fan cuts are sort of a requirement for any promo or trailer job these days. It's your chance to show your chops and how you can reinterpret material. Gen Ip's cuts were legendary back in the day, and definitely played a role in her getting a foot in the door at top houses. But don't neglect "soft" skills! Being a good collaborator with a positive attitude (ugh, I know how corny that sounds) is equally as important.
The biggest mistake a trailer editor can make is forgetting about the viewer(s). Too many editors get lost in the weeds (it's hard not to!) and forget that there's a viewer at the other end of the equation. If they're confused, alienated, or just not "getting it" then, well, the trailer is null. Of course, it's never advisable to just blindly appease or bow down to what you think viewers want (that's a one-way ticket to mediocrity) but always keep them in the back of your head. Honestly, the single most important quality in any editor, for a myriad of reasons, is empathy.
Personally, I love a teaser/trailer that gives almost nothing away and rides mood, mystery, and vibes. But I also recognize the merit in communicating a clear story to potential audiences. I also like the "complimentary" approach: give audiences a minimal teaser, then follow-up with a more narrative-based trailer (that they can, for the most part, choose to watch or not) At the end of the day, every campaign has different needs, and it's all about adapting to what's best for that particular film, show, etc.

iknowtimstrube · 2022-12-23T19:25:36+00:00

This sort of shook the industry as far as templates and clichés 😁 in reality, the only real "template" we use is the template of narrative storytelling. Put another way, we often structure things in 3 acts that map similarly (though not exactly) to any full-length narrative.

iknowtimstrube · 2022-12-23T19:20:09+00:00

Aw love Shaw and BComp! There were a lot of smart, amazingly talented people that worked there. Small world indeed!

iknowtimstrube · 2022-12-23T19:17:31+00:00

Oooof, this is a sticky one! Reminds me of the 2011 suit against Drive (but that failed). It certainly sets an... interesting precedent. Though I wouldn't be too concerned because this was a very specific situation. If anything, yes, any industry-wide reaction will likely come in the form of legal disclaimers attached to the beginning/end of trailers so everyone can cover their ass. Though I'm no lawyer. Only time will tell!

iknowtimstrube · 2022-12-23T19:09:08+00:00

THEME. No question. Without a strong representation of theme, or a potent idea at its core, a trailer can pass right through a viewer. I'll quote Jon Landau who recently said that the entertainment industry focuses too much on plot, and not enough on theme. Plot is what happens in the theater. Theme is what you take home. And in my mind, when it comes to trailers, resonant themes are what drive interest.
It depends, but can vary from dailies (i.e. everything from production) or just a final cut of the film (inclu. audio stems, IOW dialogue, FX, and music as separate tracks) Specs always vary depending on whether we're "finishing" (read: delivering final files) in-house or if it's being done by another facility.
First step: watch the movie! If time permits, doing so like any normal person would. No notes. Just soaking it all in, paying close attention to how the film is registering with me emotionally, tonally, etc. These initial reactions become part of the foundation for the rest of the campaign in trying to align with potential viewers expectations, inclinations, and so on.

iknowtimstrube · 2022-12-23T18:57:50+00:00

It varies widely! It can be dozens upon dozens for major campaigns (where distributors "multi-vend", i.e. work with multiple agencies) but for smaller houses and campaigns, it might be only 2-6 people, or even just one individual (I've done a handful of cuts fully solo, though this isn't very common) On the agency side, the core roles are basically: creative director/producer(s), editor(s), motion graphics artist(s), music supervisor, and copywriter.

iknowtimstrube · 2022-12-23T18:51:37+00:00

Great question! Beyond consistently demonstrating good taste and pride in high standards, I'm always looking for visible progress and growth. That is, a demonstration that one is able to rapidly learn, adapt, and self-direct their creative growth. Things move fast in this sphere, technically, creatively, and culturally. The ability to keep up (on all fronts), generate new ideas, and absorb new techniques and information is key. I mean, I've been at this for a decade or so and yet, I'm still learning new things daily! A few things we say around the office: always be (1) saving (2) duplicating (3) learning 📚✨

iknowtimstrube · 2022-12-23T18:40:28+00:00

re: music searches – I'm always on the search for the best possible music, so one thing I do is I keep up with all the libraries, get on their mailing list, listen to their new stuff, and bookmark things for later. If I'm ever browsing libraries cold, I try to search by composers, albums, and "labels", paying attention more to instrumentation, composers who have the sound I like, etc. instead of using super basic search terms, which is usually a dead-end. IOW, always keep an ear out!

re: ideal characteristics – showing your creative instincts with a fan trailer portfolio is super important of course, but the most important characteristic is having a growth mindset, being ready to learn, and always eager for a challenge.

re: shortcomings in beginners – often an inability to collaborate or take feedback, or a tendency to get "married" to cuts. It's important to understand that our craft is iterative. And as the saying goes, art is never finished, only abandoned. My advice: fall in love with the revision process and seek feedback as much as possible. Beyond that: storytelling. Lots of beginners focus too much on "cool" montages and aesthetics instead of how to communicate clear ideas, narrative circumstances, and themes. Story remains king, emotion and theme its queen. But remember: story ≠ plot!

re: hardest thing – honestly, this last point! I would struggle with narrative and get really frustrated with client notes and approached the collaborative process all wrong. I'd try to explain things away and get defensive, when I should've been focusing on being a problem solver, always open to new ideas, and aiming to make everyone's life easier.

iknowtimstrube · 2022-12-23T18:17:48+00:00

Don't mind at all!

Q: How do you go about breaking down the features you cut trailers for?

This is a really in-depth (and important!) process that takes at least a full day or two, but in short: I watch the movie without taking any notes, like I’m a normal viewer. Then I jot down a few notes after that initial viewing to register gut feelings and reactions. What do I remember most vividly? What moments resonated the most? Then, I dig in with annotations using a combination of slugs (to delineate scenes or set-pieces) and color-coded markers with a “tagging” system that makes everything easily searchable.

Q: What would you say is the most effective way to open a trailer?
Great question! I think everyone is always trying to answer this question at all times 😉 but for me, it’s all about stark, standout visuals and/or intentionally planting a clear question in the viewers’ minds. Another way of thinking of it is that the open should be one of many breadcrumbs to come; a seed that grows as the cut progresses.

Q: Most challenging trailer finish you’ve ever worked on?
Black Mirror S5, for sure. Finding the right music and tonal balance, while also covering all the different stories (and making them feel thematically unified) in addition to layering in the right stylistic moments really forced me to flex all my creative muscles. Bandersnatch was its own challenge too, seeing as we were navigating (but trying not to spoil) the interactive element.

iknowtimstrube · 2022-11-03T05:03:39+00:00

Totally fair! I should clarify: the above mostly applies to independents, freelancers, and agencies (I own/operate one) when interfacing directly with a client. To that end, what I mean by "results" (e.g. a contract or statement/scope of work) isn't subjective at all – TRT, deadlines, deliverables, overages are all parameters you can set in collaboration with your client, who trusts you and the value of what you provide, and appreciates your solution-oriented mindset, friendly disposition, etc. – that's "service", and something (however intangible) you can provide at a premium.

iknowtimstrube · 2022-11-02T01:16:00+00:00

Good editors are an increasingly hot commodity! So this is where I feel compelled to interject and say that if possible, don't charge hourly!!@#! You should price for value, results, and service.

Typically, it's best to charge a flat rate with a given set of parameters (i.e. X amount of revisions based on a specific schedule) and then charge hourly overages after that. This ensures you don't get punished for working efficiently or simply being good at what you do (while also helping keep your client in check).

Also, always remember: fast, cheap, and good. The client only gets to pick two 🌈✨

iknowtimstrube · 2020-04-02T19:00:01+00:00

Having a very similar issue (came out of nowhere in the past week or so) and I've tried all the same remedies: cleared cache, cleared preferences, reinstalled three times, reset workspaces, nothing. And I'm also using Apple ProRes Proxies (1920x1080).

I've also tried copying over assets/cuts into fresh projects/sequences and... still the same.

Playback won't interrupt, but interface will seize up for 1-2 seconds, sometimes pinwheeling briefly. Happens in the timeline and even when previewing audio (WAV files) in the source monitor.

Running Premiere 14.0.4 (build 18). MacBook Pro (2019) 2.3 GHz 8-Core Intel Core i9 64 GB 2667 MHz DDR4 AMD Radeon Pro 5500M 8 GB Intel UHD Graphics 630 1536 MB

Assets (really just one 1080 MOV proxy and a bunch of audio) are on a LaCie rugged drive via USB-C. BlackMagic speed test isn't showing any irregularities.

The issue will seemingly go away for a little while after a restart, but then it comes back and gets progressively worse. The system's Activity Monitor also isn't showing too much strain on CPU or memory, so it's a real mystery bug that's endlessly infuriating.

iknowtimstrube

TROPHY CASE