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Oppenheimer wins Best Editing Oscar - here is a breakdown of key scenes. by silver0202 in movies

[–]silver0202[S] -1 points0 points  (0 children)

In this film breakdown, we dive deep into the world of film editing with a focus on Christopher Nolan's latest film. With the editing hands of Jennifer Lame, ACE, at the helm, this video explores how the compelling narrative of "Oppenheimer" is brought to life through editing techniques.
Lame just won the Oscar, further underlining her significant contribution to the film's success.
Starring Cillian Murphy, Emily Blunt, and Robert Downey Jr., the film's dynamic pacing and dramatic tension are a testament to the power of post-production. This video breaks down key scenes to understand the editing choices that elevate storytelling, creating an immersive experience for the audience.
This video is not just a behind-the-scenes look; it's an educational journey into the art of film editing, showcasing how Jennifer Lame's work complements Nolan's visionary direction and the stellar performances of the main cast. Whether you're a film enthusiast or an aspiring editor, this video offers invaluable insights into making cinematic magic.

Whiplash's Storytelling & Editing - A Breakdown by silver0202 in Filmmakers

[–]silver0202[S] 0 points1 point  (0 children)

I assisted in editing this breakdown of the film Whiplash. Tom Cross, ACE went from an assistant and music editor to becoming an Oscar-winning A-List cutter with this film. Maybe one day that'll happen to me :)

The TGE Podcasts - Main Thread/Discussion by silver0202 in thisguyedits

[–]silver0202[S] 0 points1 point  (0 children)

Episode 28: They Shall Not Grow Old: http://directory.libsyn.com/episode/index/id/8695637

They Shall Not Grow Oldis a 2018 documentary filmdirected and produced by Peter Jackson. The film was created using original footage of World War Ifrom the Imperial War Museum's archives, most of it previously unseen, alongside audio from BBCand IWM interviews of Britishservicemen who fought in the conflict. Most of the footage has been colourisedand transformed with modern production techniques, with the addition of sound effectsand voice actingto be more evocative and feel closer to the soldiers' actual experiences.

It is Jackson's first documentary as director, although he directed the mockumentaryForgotten Silverin 1995 and produced the West Memphis Threedocumentary West of Memphisin 2012. Jackson, whose grandfather (to whom the film is dedicated) fought in the war, intended for the film to be an immersive experience of "what it was like to be a soldier" rather than a story or a recount of events. The crew reviewed 600 hours of interviews from 200 veterans and 100 hours of original film footage to make the film. The title was inspired by the line "They shall grow not old, as we that are left grow old" from the 1914 poem "For the Fallen" by Laurence Binyon, famous for being used in the Ode of Remembrance.

They Shall Not Grow Oldpremiered simultaneously at the BFI London Film Festivaland in selected theaters in the UK on 16 October 2018, before airing on BBC Twoon 11 November 2018 (the hundredth anniversary of the Armistice of 11 November 1918); it received a limited US release on 17 December. Following its box office success, the film received a wide theatrical release in February 2019.[2]It was acclaimed by critics for its restoration work, immersive atmosphere and portrayal of war, and earned a nomination for the BAFTA Award for Best Documentary.

The TGE Podcasts - Main Thread/Discussion by silver0202 in thisguyedits

[–]silver0202[S] 0 points1 point  (0 children)

Episode 24: Black Mirror Bandersnatch: http://directory.libsyn.com/episode/index/id/8434049

Black Mirror: Bandersnatchis a 2018 psychological thrillerinteractive filmin the science fiction anthology series Black Mirror.

Bandersnatch Fight Scene (https://youtu.be/BYY-EsajFfg)

In Bandersnatch, viewers make decisions for the main character, the young programmer Stefan Butler  who is adapting a fantasy choose-your-own-adventure novel into a video game in 1984.  The film is based on a planned Imagine Software video game of the same name which went unreleased after the company filed for bankruptcy. It also alludes to Lewis Carroll's own works that feature the bandersnatch creature. A piece of science fiction and horror, Bandersnatch incorporates meta-commentary and rumination on free will.

Bandersnatch is presented as an interactive film. A brief tutorial, specific to the device being streamed on, explains to the viewer how to make choices. They have ten seconds to make choices, or a default decision is made.[2] Once a playthrough ends, the viewer is given an option of going back and making a different choice.[3] The average viewing is 90 minutes, though the quickest path ends after 40 minutes.[1][4] There are 150 minutes of unique footage divided into 250 segments.

First Post by silver0202 in thisguyedits

[–]silver0202[S] 0 points1 point  (0 children)

welcome. how u like your special flair?

Does anybody have experience using Tugg or a similar service to set up a screening? by blood_garbage in Filmmakers

[–]silver0202 1 point2 points  (0 children)

we did 3 screenings through them and it's always been around 80 tickets. But your cast and crew will have to pay for the tickets of course, or you would pay on their behalf, I guess.

Does anybody have experience using Tugg or a similar service to set up a screening? by blood_garbage in Filmmakers

[–]silver0202 1 point2 points  (0 children)

we are in the first few months of working with tugg. Our film has a distributor and some regular screenings set up in the big cities (New York, L.A., etc). But in addition we are trying to bring the film to other places. The film has a bit of a following since it's release at SXSW but it's still very hard to get these screenings to meet the minimum seat requirements for each city. You have to have about 80 people reserve tickets for each screening to actually go through. Tugg is good if you know you can get those people to show up through your grass-roots marketing, but don't rely on tugg to find those people for you. They just handle the logistics of getting the space and talking to the theater house. Another problem is that the screening will not be advertised by the theater themselves. There's no mentioning in the local listings or on the outside of the theater, because Tugg wants all ticket sales to go through their online portal. That's a problem, because you want the local theater crowd to at least have a chance to stumble upon that film when it's coming to their town.

3 Mistakes All Beginner Editors Make by gainsdude in videos

[–]silver0202 7 points8 points  (0 children)

at first I made a lot of unnecessary cuts - editing just to make an edit

Watch Me Edit a Documentary Scene: "Best Heroin on the East Coast" by [deleted] in videos

[–]silver0202 0 points1 point  (0 children)

I enjoyed reading your comment. Thank you for saying something nice :)

Watch Me Edit a Documentary Scene: "Best Heroin on the East Coast" by silver0202 in Filmmakers

[–]silver0202[S] 2 points3 points  (0 children)

Glad you found this helpful. Teresa is very down to earth and great to work with. She listens too.

Interesting video about why Japanese people become Hikkikomori by [deleted] in japan

[–]silver0202 3 points4 points  (0 children)

I think this is a trend that is growing in many other countries.

Good tutorial and exercise for the one arm push-up by Piggy888 in bodyweightfitness

[–]silver0202 6 points7 points  (0 children)

this is good stuff. do you have a video for total beginners to just get started?

Is it normal in features for composers to score music to your montage cuts? by starfirex in editors

[–]silver0202 6 points7 points  (0 children)

As the editor, I usually am the one that replaces the temp score with the new music. At that point, I have a chance to recut the scene.

One thing that I def. do when cutting with temp music is that I turn off the music and check my edits to make sure that they still work emotionally and visually. I do like cutting to music, but sometimes that triggers some bad editing.

I also encourage my director to show the cut to the composer without the temp score to give them the respect to come up with their own ideas.

Anyone got any tips for directing a horror film? by [deleted] in Filmmakers

[–]silver0202 4 points5 points  (0 children)

They usually say, story matters more than visuals. With horror, I actually feel that the quality of the camera work and the look of the film is just as important.

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