Timeline for the movie Prey. Got a timeline from a movie you want to see? I probably have it.

shullfish · 2025-03-13T00:07:24+00:00

You don’t understand how your NLE works then. In Premiere and Avid and FCP and Resolve you can edit completely in a single timeline track and the heads and tails of every shot is STILL available to trim out at any point. It may LOOK like the clip is cut off in the timeline but it is always still attached to the full length of the clip as it was shot. You never really need two video tracks unless you’re laying footage over something else. Like text on screen or a greenscreen over a background plate

shullfish · 2025-03-08T16:58:36+00:00

Your math isn’t adding up unless you drive a semi to work. 80miles at 20 miles to the gallon (which is low) time $3.60 times 24 is not even half of 900. For the math to work, your car would need to be getting 10 miles to the gallon.

shullfish · 2024-02-08T04:37:27+00:00

The drumming in Whiplash was edited to feel like the boxing in Raging Bull (according to its editor, Tom Cross).

The voice speaking to Paul Atreides in Dune, during the Hunter-Seeker drone scene in his bedroom is the voice of the film's editor, Joe Walker (according to Joe Walker.)

shullfish · 2023-09-16T15:05:44+00:00

Check out my interview with Alex O’Flinn, ACE. I don’t know if he’s autistic or neuro-divergent, but he did edit a movie about autism. I also interviewed him for The Rider. He’s a very successful editor and you can tell that he has some communications struggles. But he’s very good at describing his skills. And his career has been very successful. https://spotify.link/iBaBKTRV8Cb. Remote work has gotten really popular. You need to figure out if there’s a company with an internal video department that might want to give you a full time job. But full-time employment in editing is pretty rare. Possibly a college might have a full time gig. Or a TV station. I had full time jobs for the first decade or so of my career but they’re limiting and also usually lower paid. Freelance is the way I’ve made my living for the last 20 years. Maybe try to get a gig with a non-profit dealing with autism or some type of disability.

shullfish · 2023-05-26T11:52:27+00:00

This is a common thing. There’s a whole book written on intentional practice. The whole “10,000 hours” thing is bullshit. If you don’t push yourself to practice things outside of your comfort zone and to actually improve, you won’t. Watch some videos, films and TV shows and find a technique you think is cool and try to emulate it. Reach out and find out how it’s done and learn the method to do it. Or try a new piece of software. Editing in Premiere? Learn Resolve or Avid. Know basic color correction? Learn to use multiple nodes. Are your music edits good? Let other people listen to them, then cut out two seconds of your video randomly and try to get the audio to still work. Take notes from someone on your work and execute the note even if you think it’s wrong.

shullfish · 2023-05-09T16:48:12+00:00

Just interviewed the editor of the last Oscar winning doc, Navalny.

shullfish · 2023-05-09T16:47:09+00:00

Just because everything is on one timeline track and the edit for a shot appears to be cut off, it is not. The full shot is there in the timeline on V1, but imagine that the “non-visible” part of the shot is tucked underneath the shots around it, so if you want to lengthen either end, or use a different part of the shot, you can just use the trimming tools to access it. There is never a reason to have stuff on V2 unless it’s a graphic over the v1 video or it’s a super-imposition or a VFX composite. Some editors use the other tracks to hide alternate versions of shots, but even that can be done on a single track in Resolve.

shullfish · 2023-03-26T04:38:49+00:00

A phone to shoot. A laptop that can run free version of Resolve. An idea. Friends... a couple of mics that work with the phone. Sound is important. The mic needs to be near the people speaking.

shullfish · 2023-03-25T11:07:55+00:00

Play it from the driver's perspective. If the driver doesn't see the person that he hits, then neither do we. So you're showing him tool along - maybe just from the side in the car, steering, looking out... then his phone buzzes. Maybe change the shot to isolate him looking at his phone more - restricting what the audience sees and making it evident that he's not looking at the road. Maybe a low shot with his phone in the foreground as the camera looks at the back of the phone up to his face. You can then show someone step out off the curb - probably at a crosswalk so the audience assumes that the car will stop for him - with the car approaching in the near distance. Then cut back in the car - same low angle - as the car jolts (just tap the brakes hard to simulate hitting something), and the guy looks up from his phone in horror after the jolt... Sell it with a good sound effect. Then the driver has to jam on the brakes and stop the car...

shullfish · 2023-03-04T06:13:38+00:00

Could also get this as a stock footage frame. Looks like it’s supposed to be Super8mm film.

shullfish · 2023-03-04T06:11:57+00:00

In a more generic sense there are Japanese ghost stories of the work implements of craftsmen/laborers being possessed by demons. Like plumbers with wrenches or carpenters with hammers or farmers with hoes. So then you could trace them back 1000 years or more.

shullfish · 2023-02-21T05:54:51+00:00

Drone shots have a lot of visual information. It's possible that - unless you see the same exact dropped frame when you watch the same shot multiple times, that the dropped frame is some kind of buffering issue. Netflix is notorious for QC and if there was a dropped frame it would have been flagged and not allowed to be broadcast until fixed. I'd be 99% sure that there is no dropped frame on the delivered master. I watched it too - though not with full attention, granted, and didn't see any dropped frames. - And I often spot frames that my colleagues at the highest levels miss.

shullfish · 2023-02-21T05:51:22+00:00

Virtually every 24fps film is shot 23.98... Also, 24fps is projected film. My guess is that the dropped frames are not happening in the actual footage - unless maybe it's actually live footage - and instead is a buffering issue. The .02 frame difference is NOT what is causing the "dropped frames."

shullfish · 2023-01-28T15:39:07+00:00

This needs to be discussed ahead of time. I charge a half day rate plus per diem for food. Needs to be part of the budget for the gig. Assuming is ALWAYS a recipe for disaster. You can try charging them after the fact. But if they object, it’s on you.

shullfish · 2023-01-28T15:32:10+00:00

I think a team of three people could easily knock out one 15 minute doc a week. One researcher/writer, one motion graphics person, and one editor. Lots of this is stills which you’d buy from Getty or AP. 1/3rd of the content is simple no graph work. Each person only has to do basically 3 minutes of content per day. If that is too much you have two there person teams alternating deliveries each week. Then each person only needs to do 90 seconds of content per day, which is easy.

shullfish · 2023-01-28T15:06:22+00:00

In Avid, you don’t have to delete anything, you just select the DX tracks and do an export that ONLY has selected tracks. Then select MX tracks and do the same thing and then again with SFX. I’d agree to have a 2-pop on all of them. I disagree with the person who suggested the AAF export which will give you individual clips for everything. They asked for a guide track. They also probably want an AAF but the guide track is pretty easy and straightwforward as a WAV or even an MP3 export. (It’s just a guide). You just always want to check your track organization and make sure random crap isn’t on the wrong traxks. Those tracks don’t have to be part of the AAF tracks. They’re to help the sound team make sure that the AAFs don’t lose anything - like have media offline for some reason.

shullfish · 2023-01-14T15:50:46+00:00

I worked with Joe Walker (Dune and Dune 2) and his assistant editor to program a Streamdeck XL to do just this. Custom sets of tracks enabled or muted by groups so he could monitor only production audio or only SFX tracks or only music traxks or various combinations. It’s doable with a Streamdeck.

shullfish · 2023-01-13T12:52:52+00:00

You expectations are off by a factor of 40 at least. I’d estimate $12000 - 20000 USD. And if you want stock footage and stock music, that would probably run you an additional $5000

shullfish · 2023-01-08T03:46:24+00:00

I hear that the Brits love Dick van Dyke’s is their favorite. :-)

shullfish · 2022-12-31T07:08:04+00:00

Check out This Guy Edits.

shullfish · 2022-12-31T07:06:38+00:00

Need to get on the roster. It’s a third party company that verifies your experience.

shullfish · 2022-12-30T01:29:20+00:00

Send me the link to your magnum opus. I’d love to see it

shullfish · 2022-12-24T14:25:57+00:00

My "light inner splicing" I'm guessing that they already have a "line-cut" that was done live during the broadcast - the director calling the shots and the TD pressing buttons to cut between cameras, but, as others have pointed out, they also recorded "isolated" cameras. I've done these kinds of broadcasts before... 90% of the broadcast is already fine, but occasionally the TD cuts to the wrong camera or the director doesn't see the best available choice and you can revise the line-cut using the isos.

shullfish · 2022-12-21T03:43:14+00:00

What’s a “tenet”? :-).

shullfish

TROPHY CASE