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ProTools most usual Crashes Solved

ProTools 12 most usual Crashes Solved

Most of the crashes I have experienced in ProTools 12 are video engine problems as well as having other issues with the program when playback and preferences related issues.

So in this post I will keep it short and simple for a step by step guide on how to solve my top pick of ProTools 12 most common crashes.

Problem: ProTools 12 won’t playback video or at all

Solution 1: Eliminate videos from timneline
  1. Eliminate all videos from the timeline
  2. Import the video that you want in your timeline in DNXHD format (it is a format that ProTools handles well, unlike H.264 format)
  3. Import audio from video (you normally import the audio of the video as a reference)
  4. Unable the video playback engine and turn it on again (If you cannot open this window, when ProTools is starting you press the “n” key on your keyboard while it is loading. Then the playback video engine window will directly pop up)
  5. Check if you can run smoothly ProTools
Solution 2: Erase all preferences from ProTools 12
  1. Open your finder window, or documents window in Windows and click the tab View and check “view all hidden elements”
  2. Press the windows + “R” keys
  3. Write down on the search bar %appdata%
  4. Open the “Avid” folder
  5. Erase the “PROTOOLS” folder entirely
  6. Restart your computer
  7. Open ProTools and check if it runs smoothly

Problem: ProTools 12 won’t playback, STOP and PLAY BUTTONS flashing

Solution 1: Erase PROTOOLS.EXE file
  1. Open folder with this address; C:\WINDOWS\Prefetch
  2. Erase the file called ‘PROTOOLS.EXE-a bunch of numbers and letters.pf’
  3. Restart ProTools

Problem: Plugins inside ProTools don’t run smoothly

Solution 1: Playback Engine window
  1. Open the Playback Engine window inside ProTools 12
  2. Bump up the samples to 1024
  3. Bump up the cache to 3GB (depending on your computer it may vary)

The key principle here is that if you have a lot of plugins running in ProTools and you have set low sample rate, ProTools will probably crash.

So that’s it!

That’s my top pick for the top most common crashes in ProTools 12.

Hope it has brought some value to you and see you next time!

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How to MIX your movie. Set your Mixing Workstation. (How loud DX, BG, SFX?)

How to MIX your movie. Set your Mixing Workstation. (How loud DX, BG, SFX?)

In this post I won’t ramble on on how a movie should be mixed by following some industry standard principles which apply to all the films ever made.

 

In this post I will keep it short and simple.

 

The big question: How should I MIX my movie?

 

There is contradictory information on the internet.

 

But most people agree that a mix for a movie or film should work around dialogue that is thought to be the most important and central part of your mix. You will mix around dialogue as a reference and for that you need to first set your reference.

 

Set loudness in your MIX (Step by Step Guide)

 

For that you will need a sound level meter. The reason why is because every DAW (Digital Audio Workstation) has a negative (therefore relative) VU meter (Volume Meter). This means that it will measure in negative dB’s, something impossible in real life as our ears and brain only listen positive values of sound in dB.

 

So, how do you set your relative scale (VU meter in your DAW) with dialogue as a reference, so that the sound that is reproduced in the projection room sounds great?

 

Simple.

 

Follow the following steps:

 

  1. Download a wav. File with “pink noise” at 1 kHz.
  2. Place the downloaded pink noise in your timeline of your DAW.
  3. Turn your VU meter on and place it where your head would be if you were mixing with your speaker.
  4. Measure how many dB’s the pink noise is playing at.
  5. Vary the volume of your speakers with the physical volume knob of your speakers (if you have one) and the volume that your PC is outputting. Do this until you reach an average of 80 dB and you’re ready to mix.

 

(Do not touch the volume of your speaker nor of your PC. If not you will need to repeat the steps explained above)

 

How loud should dialogue be?

 

Well, you’ll find on the internet that a movie should be mixed in a way so dialogue sits around 76dB and other people will tell you that you should mix in a way so that dialogue sits around 60dB.

 

My take on this is that number should only be a guide to the professional and trained ear of a mixer.

A mixer is not constantly measuring everything he mixes, he just adjusts the volume of dialogue so it lies at a comfortable level.

And guess what, dialogue usually lies between 60 dB and 76 dB.

 

These values may change and vary, as it is not the same thing as the character talking at conversational volume to him whispering something to someone else’s ear.

 

How loud should my loudest sound effect should be?

 

Your loudest sound effect should lie around -1dB or -5dB.

 

How low should be lowest sound effect should be?

 

It depends.

 

Some people on the internet will say to you that the lowest sound effect should be around -40 dB as in cinemas you have a dynamic range of about 40 dB.

 

But to be fair, I have made test with award winning movies like Raging Bull from Martin Scorsese and the ambience noise can sit around -50 dB to -60 dB.

 

So the key principle here is: whatever sounds reasonable for you in that particular situation.

 

Hope it has been helpful and see you guys next time!

 

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How to Record Foley like a PRO (4 Steps)

How to Record Foley like a PRO (4 Steps)

First of all if you don’t remember what foley was and you need to take a peek, do it here. In here I cover what foley is and where in the process of audio post-production lies exactly.

Well, let’s suppose you are about to begin the foley process of your film and it’s the first time you go around it and you don’t know where o start. Ok, don’t stress out, in here you will find a pretty decent guide on how to start as soon as you finish reading this post.

Step 1

Get your gear together.

What you will need essentially is:

  • A PC that is capable of running smoothly Pro Tools or any other sound editing software. This is essential when doing foley as you will be playing the movie and recording simultaneously.
  • A mixing table or a pre amp that is connected to your PC. You will control through this device the amount of gain your output signal is carrying.
  • An XLR cable. This will connect your mixing table/preamp to your mic.
  • A microphone. For this specific case of recording foley, that means recording extra audio for the already recorded audio on set, what you really want is that the audio that you are recording on the post-production phase resembles as closely as possible the audio that the boom operator picked up on set. This way you prevent the audio from post differ too much to the sound of the dialogue tracks recorded on set.
  • A mic stand. This is pretty cheap and you can find easily on the internet.

I leave you here the link to the mic stand, the mic, the mixing table and every piece of gear we used for the film DOPPEL. But the more you can expend in better gear, the better.

Step 2

Find a safe acoustic environment in where you will create all the sounds for foley.

You have essentially two basic options when it comes to this point:

  • Find someone that is willing to offer you that already treated space. (This is least likely option)
  • Create a safe acoustic environment that will become your new foley studio. For that it’s key that you have an understanding of how sound waves propagate and try to kill any sound reflections coming from the walls of the room you want to do the foley process.

This is a video in which I cover how you can create your own home studio.

Step 3

Get your Pro Tools session ready.

For that I here leave you guys a video that covers all the steps necessary from having an inexistent organisation to being organised like PRO inside your new Pro Tools session.

Step 4

Record your sounds for each and every object/prop, movement and footsteps of your characters for your movie.

In Pro Tools it’s dead easy to record sounds for foley for your film.

You just need to import your video to the new session you’ve created inside Pro Tools and hit the recording button on the track you want to record and hit the recording button sitting on top of your timeline in Pro Tools.

Here there is a visual explanation of what I am talking about…

Things to take into consideration before hitting the record button: how to set your gain for recording and knowing when to apply effects to your audio clips.

How to set your gain for recording it’s dead easy but difficult to guess if you are not really into audio.

Here I leave you guys a post in which I talk about how to set your gain for recording.

In short, what you want is for your output signal to be around -12dB (peaking), that way you have enough room for the audio not to peak at 0dB. You don’t want to set your gain to high because you will get distorsion. And neither you want to set your gain too low because you will get pink noise coming in from your mixer and your mic (from almost any device that it’s standing between the sound you want record and your PC.

There are many videos on the web on how to apply effects to your clips but the golden rule for audio is: “the less you touch, the better”.

But if you are compelled to applying effects to your audio clips I strongly recommend that you get a high fidelity audio system (may that be a really good pair of headphones or two awesome speakers). Either way, before applying any effects you need to know that your audio system is giving you a completely flat response and it’s not colouring your bases or your highs.

If you want more information on how to cope with the audio post-production process here I leave you a link to my personal post-production playlist of youtube where you will find everything discussed above and tons of useful information. Also, in here you will find professional foley artists and audio engineers recording sounds for feature length films and series! 

Hope this was useful and see you guys next time!

PLAYLIST POST by ALE FITO

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Post-Production Audio: What ORDER to follow? (Step by Step Guide)​

Post-Production Audio: What ORDER to follow? (Step by Step Guide)

One of the most important things when planifying the post process of a feature film is what ORDER is the most efficient to follow of them all.

In here we will talk about which is the most common order for audio post-production:

  • Dialogue editing
  • ADR (Automated Dialogue Recording)
  • Sound Design
  • Foley
  • Music composition and editing
  • Mixing

Dialogue Editing

At this stage, what you want to do is edit your whole project in Premiere Pro or whatever video editing software you have at your disposal, sync the good audiio to the good takes and move on with the process of audio editing in a more specialised software than Premiere like Pro Tools or Audition.

If you have trouble with how to cope with this stage of the process and making the transition from Premiere to Pro Tools, check out this post where I cover in depth how to do just that!

ADR

ADR stands for Automated Dialogue Recording.

It makes reference to all of the pieces of dialogue that have to be recorded in a safe acoustic environment like a sound studio where actors come and perform their lines that the boom operator didn’t really take on set. This includes all of the lines of dialogue that are messed up ambient noise like a car passing by or a truck.

As well, all of the audio clips of audio recorders, radios, speakers or whatever device that was supposed to be playing on set and wasn’t so as not spoil the dialogue recording of the characters, all of these dialogue audio clips will be recorded in the same safe acoustic environment described before. Later you will make them sound as if they were coming from a speaker in the mixing stage.

Sound Design

This is the sound process of creating audio effects for the picture.

The Person in charge of this stage is the sound designer, who will record all of the wild tracks, background noises of the picture and any special sound effects.

At this stage what the sound designer will record on field, will do heavy processing of that audio and add electronic synthesis (all of this if needed).

Foley

At this stage the audio engineer (at the mixing table) and the foley artist (in a safe acoustic environment, probably a foley studio) they both will create all of the sounds of the picture that the directional mic (the boompole) didn’t get because it was focused on picking up the dialogue on set.

These types of sounds include:

  • Objects / Props: (From a sword to a phone) essentially every object inside the scene that our character picks up or interacts with in someway.
  • Movement: typically the movement of the character’s clothes (these include trousers, jackets, pulls, etc.)
  • Steps: every character has a different pair of shoes, different height, and different weight, therefore their steps should be different from one another.

All of the sounds above described are afterwards synched with the picture so that they are BANGING SYNCHED! This is often achieved by replicating the movement and actions of the characters as well as possible and afterwards the audio engineer will cut and edit these audio clips in a program like Pro Tools so that it is actually banging synched.

Here I leave you guys a video in which you see the foley process of a professional foley studio, step by step for the “Night Manager”

VIDEO: FOLEY PROCESS FROM FEET FIRST FOLEY STUDIO

Music Composition and Editing

For each movie or project this process will be different.

For instance, Hans Zimmer will need an orchestra and a very expensive hall for the orchestra to play in and record the drums of the “Dark Knight”. Others like Vangelis will only need a more or less safe acoustic room where he can compose and edit the synthetic music (that goes straight to his computer) to create the original soundtrack of “Blade Runner”.

So it depends on what kind of instruments you want to include in your soundtrack and the implications of each choice (if they are acoustic or synthetic instruments)…

I strongly recommend to investigate first which are the instruments that fit best your project and what budget you have in mind.

(DISCLAIMER: Most free pluggins for orchestral sounds for Pro Tools or any other audio software are trash. You will need to PAY if you want to include a VST pluggin for strings)

Mixing

All audio is then mixed!

This means balanced.

At this stage you set the appropriate volume of each track and audio clip and EQ if needed. Then you have master volume controls that allow you to set the overall volume of the dialogue tracks, the foley tracks, the music and background noise…

Mixing is an extensive topic that we cover in a seperate post that you will find in the POST category of the BLOG page.

IN FACT, IF YOU WANT TO KNOW MORE ABOUT ANY OF THESE STAGES OF AUDIO POST PRODUCTION, WE COVER EVERY BIT OF THE PROCESS IN THE “POST” CATEGORY.

GO AHEAD AND CHECK IT OUT!

Hope all of this information was useful to you and see you next time!

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Sync Dialogue in Premiere Pro and export AAF to Pro Tools (3 STEPS)

Sync Dialogue in Premiere Pro and export AAF to Pro Tools (3 STEPS)

The key question here is:

You have finished shooting your short, documentary or feature film and you have as well already edited your film but only the visual part (if this is the way you come around it). Now you would like to continue with the process of post-production that include (in the following order):

  • Dialogue editing
  • ADR (Automated Dialogue Recording)
  • Sound Design
  • Foley
  • Music composition and editing
  • Mixing

If you want to know more about the order of audio post-production, check out this post.

BUT,

The problem that you now face is that you have recorded all of of your audio in an separate external recorder so that you get cleaner audio than if you had recorded everything through the built in mic of your camera.

SO

what you need to do it’s easy: SYNC AUDIO AND VIDEO.

BUT then again, where do you do it and how if you know that all of the audio post-production stages you will do them in a separate and specialised audio software like Pro Tools or Adobe Audition?

Well, there is something that will literally will save your life so don’t stress out.

There is a little thing called AAF files (Advanced Authoring Format) that enable you to export all of your already synchronised audio from your Premiere Pro project to your new Pro Tools project!

Let’s cover all the process step by step so that there is no confusion on the subject matter.

Step 1

You have the visual part of your film already edited with the audio that  the camera picked up on set that is automatically linked to your image. Meaning, you have already chosen the best take (visual) and therefore you have implicitly already chosen the audio file from your external recorder that comes with that particular image.

Now you want to sync all the audio files that correspond to the good takes you have on your timeline, the clips that make up your short, documentary or film.

For that, on your Premiere Pro project you will need to either open a new sequence or in the same timeline that you are working on select both your audio file and the clip that you know that audio belongs to and right click and select merge clips or synchronize.

Both options are suitable for the case but there is a slight difference: merge clips will create a brand new clip where the image will be synchronized with the audio clip selected and with synchronize clips you will have all of the 3 elements still there and synchronized (the image of the clip, the reference audio that picked up the camera when you hit the recording. Button and the audio clip from your external recorder).

Here I leave you guys a video that explains it much better visually:

VIDEO: MERGE CLIPS & SYNC
SHORT EXPLANATION
LONG EXPLANATION

The option you choose depends on how you will like to work. If you want to have a cleaner timeline select merge clips and if you want to keep all of your original audio clips separate choose synchronize.

(DISCLAIMER: If you have an old version of Premiere you may not have the synchronize option)

YOU WILL NEED TO REPEAT THE PROCESS DESCRIBED ABOVE THROUGHOUT YOUR WHOLE TIMELINE UNTIL YOU HAVE ALL OF YOUR GOOD AUDIO IN SYNC WITH EVERY CLIP OF YOUR PROJECT.

Step 2

You will need to export your Premiere Pro project to an AAF file.

This is just a file so that Pro Tools can read all of your audio tracks in sync with the picture and place all of your audio tracks in the exact place where they belong in your timeline.

This video explains PERFECTLY the process so I won’t bother you with the written explanation.

VIDEO: EXPORT AAF FILE FROM PREMIERE PRO

Step 3

Import the AAF file to your Pro Tools session.

Same as before, here I leave you a GREAT video that explains the process of importing an AAF file to your Pro Tools session.

VIDEO: IMPORT AAF TO PRO TOOLS

YOU HEVE FINISHED THE PROCESS!

If you want to know more of why you would want to export an AAF file instead of an OMF file, here I leave you guys a video that covers why AAF files are awesome!

VIDEO: DIFFERENCES BETWEEN AAF & OMF FILES
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ProTools Editing Principles for Filmmaking

ProTools Editing Principles for Filmmaking

Pro Tools 12.5

Here I leave you a list of the key principles you will use when editing and mixing sound for film, therefore and without further delay here it is…
 
Quick Steps when Creating a New Session:
  • Step 1: NAME THE TRACK (SET A MASTER FADER FIRST WHEN CREATING NEW PROJECT = Track – New – Stereo – Master Fader)
  • Step 2: SET A COLOR (Same color for same types of sounds)
  • Step 3: RECORD AUDIO (Mono = record with 1 mic // Stereo = record with 2 mics)
Types of tracks:
  • Audio tracks: mono/stereo
  • Auxiliary tracks (aux): no audio files here, only effects, pan and fader. You channel several audio tracks to an aux track so change the effect of all and each one of the tracks that are channeled through that specific aux track. When channelling other tracks it has 2 faders if stereo.
  • Midi track: virtual piano. You need to redirect the midi information to another track so you actually hear a piano (virtual). It doesn’t play/you don’t hear midi information.
  • Master fader: you fade or increase volume of all other type of tracks. -6dB is ok for music. -12dB for film?

Also, you can create all of these in Track – New – …

Tools:
  • Selection tool: Ctrl + { // } = Zoom in // out. Arrow right to go to the right side of selection and vice versa.
  • Grabber tool
  • Trim tool
  • All above: click in grey area above the tools above to activate all three
Modes of editing:
  • Slip mode: move cursor however you want
  • Grid mode: the cursor is inside a grid where you move clips.
  • Shuffle mode: as if you magnetized the right side of the clips (Première Ctrl + trim)
  • Spot mode: for mixing sound. When you click with the grab tool a window will come up where you can type in the specific time from which you want the clip to start playing.
SET Loudness: 

(https://www.pro-tools-expert.com/home-page/2017/6/21/loudness-and-dynamics-in-cinema-sound)

“The average level of a movie should normally be approximately 6 dB below that, in film work, using digital audio, it was generally agreed that dialogue levels were consistently running 30 dB below full scale, giving film audio 30 dB of “emotional” headroom. Dialog is therefore 7 to 9 dB below the reference level. This would be equivalent to app. 76 dBA.

My informal survey already shows a solid trend: no movie is ever played at 7 anymore, 5 is standard.

Commercials and trailers are routinely played back at 3.5, maximum 4. A check of the playlist notes of arthouse Studio K in Amsterdam reveals playback levels for the main movie of between 4.2 and 5.

The operator of arthouse Louis Hartlooper in Utrecht tells me that every Thursday various parts of all movies are viewed in their cinema (this is much easier with DCP than 35mm). Even when movies move to a new cinema room, they are viewed again. The optimum level is set by ear and programmed into the DCP server. Almost always that level is between 4 and 5. Another arthouse in Utrecht, ‘t Hoogt, also previews every movie on Thursday’s. On average they end up at 5.5, with 4.5 being the softest. Once in a while, they come across a movie that can be played at 6.3. Their goal is that soft sounds should be audible, loud scenes not too loud. They want to avoid complaints from the audience.

The level varies, but many movies are projected at 4, the maximum after one year of operation is 5.4.

“I always visit at least ten cinemas when my movie is out. In the past I always mastered at 7. But these days projections have a maximum at 6, more usual 5.5, sometimes even 4.7. This is mainly caused by audience complaints about loud movies. I have surrendered and now work at 5.5 myself.”

In my opinion, it would make sense to limit the short-term (3 secs) exposure to 100 dBA. That would be a max S (short-term) of approximately -6 LUFS.”

ProTools Editing videos:

Edit Audio for film in ProTools:

Link 1: https://youtu.be/ksiKKmgJpkI

Link 2: https://youtu.be/GNMH_YX_tq4

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Edit your feature film in ONE vs SEVERAL Premiere Pro projects

Edit your feature film in ONE vs SEVERAL Premiere Pro projects

When it comes to editing a YouTube video it’s clear. You would do only one Premiere project where you would edit the whole thing as it is a 10 minute video.

But what if that video wasn’t a YouTube video and instead it was a full feature film? Would you edit your whole 2 hour film in one single project?

There are many solutions to this problem. There are many answers to this particular question.

So what things do you have to have in mind before investing your time in a solution that may not work for you and risks losing all of your editing progress?

Is it better to edit on one single project to keep continuity in your story?

This is a key topic. In every story there must be some kind of continuity. Even if it is a pace continuity or a continuity of ideas. Because a story is a bunch of situations that come together as a whole, in whatever way possible. This means that there are stories that come together as a whole through the plot, the music, the connection between ideas or situations, etc.

Coming back to our question, is it or is it not better for the story to edit in a single project to keep continuity?

Yes. Definitely.

Nevertheless, there are some interesting things that can come up from editing a sequence in separate scene and then pastor g them together, as you, in the process of editing a scene of that particular sequence will make choices based on what you remember/imagine how the whole sequence will look like. And when you paste all those scenes together you find out that there are new choices that have come up through editing those particular scenes separately. Even if those new choices are ones of where to begin the cut in that scene, where to start in that scene, how to start… all of that changes if you are editing that scene separately, as your memory and imagination are not as accurate as having the true whole sequence in front of your eyes and that arises new questions that derive into new choices.

I hope that makes sense.

In short, edit through memory/imagination is not as accurate and will give rise to a whole other thing that when having to paste it to the whole gives rise to new different questions.

It helps you reevaluate your ideas. It helps you to consider things from another perspective. But beware, for this you need time and don’t be in a rush when editing.

So now you are in a middle ground between editing in a single project or considering editing the whole thing in separate chunks that help you polish even more the final product.

What will make you decide?

Simple…

Which PC do you have for editing?

This is what will truly determine if you end up editing the film in a single Premiere Pro project or edit the film in scene or sequence chunks.

Walter Murch talks about editing or not in a single project and only recently he has edited a whole film in a single project, “Tomorrowland”. I say recent but it’s really from 2015, but considering how long his career has been… anyway it is a movie with George Clooney and from the director of the Incredibles and MSI 4.

Walter Murch when editing the film “Tomorrowland” followed the same editing process that I have talked about in a previous post, the only thing that changed is that he edited the whole thing in a single project.

So, in conclusion, what should you make out of all of this?

I think that the trend is to edit in a single project but if your PC cannot handle it don’t stress about it because you’ll notice new shortcuts or ideas that the ones editing the whole project can have missed…

See you next time!

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Why the Director Should Be the Editor of the Film

Why the Director Should Be the Editor of the Film

Sean Baker. The Florida Project.

David Lean. In which we serve. A passage to India (Oscar nomination for editing)

David Lynch (2 features). Eraserhead. Inland empire.

Shane Carruth (2 features). Primer. Upstream Color.

The Coen Brothers (14 features). They have edited all of their films except 2.

Alfonso Cuarón (4 features). Oscar winning editor and director. Gravity. Solo con tu pareja. Y tu mamá también. Children of men.

Steve James (6 documentaries). Hoop Dreams.

Akira Kurosawa (12 feature films). Seven Samurai. Rashomon. Yojimbo.

Robert Rodríguez (16 features and 1 TV show). From dusk till Dawn. Machete. Sin City.

Gus Van Sant (6 features). Gerry. Elephant. Paranoid Park.

Steven Soderbergh (11 features and 2 TV shows). Kafka. Bubble. Magic Mike. The girlfriend experience.

Orson Welles (4 shorts). F for fake. Orson Welles’ Jeremiah. Unsung heroes. The spirit of Charles Lindbergh.

The list goes on and on… James Cameron, Gaspar Noé, Georges Lucas, Martin Scorsese, John Sturges, etc.

If you search on the internet you will find lists of renowned directors that edit their movies. And if you try to search in Wikipedia director-editor collaborations, don’t be surprised to find that there are collaborations that have lasted more than 35 years!!

But should that be the norm? Is it worse for the film that the director edits the film?

It depends.

It depends on many things.

Type of Directors

Starting with the kind of director at hand.

Film Directors that everything planned out

If the director is a person that has storyboarded everything that already knows how every cut and transition is going to be made and editing then becomes a mechanical task, as filming is, as he has already planned with great detail how everything should work, then you might just hire an editor to put the pieces of film together, as it is a mechanical task.

Film Director and Editor collaborations

But that’s not, by definition, almost never the case. The most common case is that you have planned your film carefully but when filming you have stock footage that you don’t know if it will work or not. There are scenes that you are not 100% sure how you want them to be cut. Therefore, although you have a very clear idea of how the film should look as a whole, you need to be in the editing process so as to be alert for new changes that can transform your film for the better.

That’s when a collaboration comes in handy. It lets you review your ideas with another person and you get another point of view on what you are about to change from your original storyboards or screenplay.

Film Director is the Editor of the film

But what if the editing process is also a big part of the creation of the story and not just the assembly of the parts?

Take a film like Eraserhead. Imagine if David Lynch hired an editor to edit his film. Crazy. I mean, not only the editor would go crazy, also David Lynch in the process of explaining to a third party how the movie should be cut, he will as well go crazy.

This means that movies that tell a big part of the story through editing should be handled by the person who grasps the nucleus of the story.

If that person is the screenwriter, who inevitably ends up being the director as it is a very special kind of movie, should also be the editor of the film.

Example of when the Director MUST be the Editor of the film

That’s why Eraserhead and the central idea of the movie is communicated in such a special, effective and unique way. Because David Lynch brought the idea from a screenplay, all the way to the filming stage, to the editing process untouched by no one else that didn’t know what the thing was about.

So in the end it depends on the kind of movie that you are trying to make. If you want to film the next Mission Impossible movie just hire someone else to do the mechanical and boring task, but if you want to make the next Eraserhead my advice is that you edit it yourself so the film is able to communicate what you want it to communicate.

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Why Having A YouTube Channel Will Boost Your Editing Skills

Why Having A YouTube Channel Will Boost Your 2 Most Important Editing Skills

How Much Editors actually Edit?

Do most editors edit all of the time or do they just edit when it is necessary for a project?

Well most editors do not make a living of just editing movies and feature length films. Most of them make a living by editing several projects that not necessarily are feature length films. These are weddings, communions and television ads or promotional videos for businesses.

Produce meaningful content like a Machine!

So how do I improve my video editing skills? How does having a YouTube Channel help you as an editor to get better at editing? Well, if you take your YouTube channel seriously and you want to make the most out of it in visualisations and subscribers, one of the things you need to do no matter what is to upload periodically. This means that you need to think what you are going to shoot beforehand and spend a time of your day editing what you are going to upload.

Feature Length vs YouTube video

I know… A feature length isn’t t a video of YouTube but I don’t think it is very far away from the process of filmmaking. In fact, I think it has to do a lot with a movie in the sense that in whatever format you want to make your video (deliver information, a vlog, a short, etc.) you need to tell a story to engage the audience in 10 min more or so.

Because how is it the editing process different from one of a film?

2 Most Important Editing Skills

There are many differences but I think that the most important principle of editing is present in a youtube video as it is in a feature length. The principle I am talking about is attract the audience’s attention and maintain it (this means to guide it wherever you want for the purpose of the story.  And that is a hard thing to do.

In order to attract someone’s attention you need to surprise in some way the audience, give them something they haven’t seen before. It could be the way in which the information is presented or the information that is presented. When I say information it could be a new character in a movie or the content of your next video tutorial. Information equals content. In any form.

To maintain someone’s attention what you need to do is relate with the person in front of you, you need to offer a service (whether that be information or jokes or whatever which type of content) in which  you truly believe in. This way you ensure yourself that the audience that reacts to your content in a positive way are kind of in the same page that you. Not always and not necessarily. But it is preferable to produce content that you truly believe is helpful for other people than to follow the trend of what sells and has the most visualisations in a given moment.

These two skills are indispensable for an editor to become a pro at what they do. It is an intuitive thing to which each editor arrives in different ways. Each person will find their own way to attract the audience’s attention and maintain in their own unique way. That’s why practice makes someone a pro. That’s why the more you practice, the faster you’ll get there. That’s why a YouTube channel will boost your 2 most important editing skills as an editor.

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2 Reasons Why Storyboarding Will Make YOUR Life While Editing Easier

2 Reasons Why Storyboarding Will Make Your Life While Editing Easier

You want to simplify as much as you can the editing process because what you want is, if you are an independent filmmaker, get your vision, your story cristal clear. For that the only way around it is work and planning. And how you can plan for editing is by having edited the movie before hand. This means that before you even get near a keyboard you have already a clear vision of what the finished film will look like.

For that the only method that I know and most directors that plan before a shoot, like Ridley Scott, apply is storyboarding the film before shooting and using that as a guide for when you edit.

So how do storyboards help when editing

1. Storyboard = EDL

One of the most challenging parts of editing is selecting the good takes of a scene. This is the most challenging part for an editor because you have to choose between all the good takes, view the bad ones and figure out if you only want the u201cgoodu201d takes or if there is something you can use from the u201cbadu201d onesu2026 to this there are endless possibilitiesu2026

Why storyboard = EDL?

An EDL stands for Editing Decision List. This is a list with all the names of the clips that you think are good takes and from there you choose which are the definitive ones.

So why does storyboarding a film kind of equals an Editing Decision List? The reason is that while you are storyboarding you have to force yourself to translate the words on your script into images that you can draw on paper. Eventually you translate those drawings into actual film, video or clips that you will later use when editing the film. Obvious. But the thing is that if you, from the start, have been thinking about the images in your film, the look of it, not in a general way, but in a specific way, scene by scene, shot by shot, you, most likely, when editing will edit faster and will find new ways to edit that scene that you thought will work because you saw it on paper but now that youu2019re editing you are sure itu2019s not the way to go.

I am all for planning for everything that I have control of, because this way I have more energy later when I have to solve all the eventualities that will come up during the shoot.

2. Clear vision

Storyboards will help you when editing because although you have, after having shot the scene, a new and slightly different perspective, to keep track of what you wanted to communicate in the begging.

Because that I can assure you, a lot of time goes by from the moment you write your script, until you storyboard it, until you actually shoot it and until you put all the pieces together in the editing stage.

And people change. Thatu2019s a fact. And if you change the ideas you had will change too.

This means that you may not have necessarily the same perspective now while youu2019re editing than you once had when writing the script.

If you have that on paper, you can change the form of the message you want to pass on and more importantly have track of what all the possible outcomes for a particular scene you were able to come up with. When editing having all this information on paper for you to see, review and check any time youu2019d like is extremely useful.

So ease your way into editing so it becomes a DREAM instead of a nightmare!

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