Post-Production

Incredible share, Cyrus Sales! This is a must-watch! There's so much on that timeline! I like how Brad stays organized. I subscribed to Imagine That Films. I'm looking forward to checking out Brad's other videos! Thanks for sharing the video!

I did the exact same thing lol, a lot of value add and with 20 years of experience there's so many little nuggets. Glad you were able to find value in the video.

Monobjo Valerio Silvestri Thanks for sharing. Listened to this on my monitors at home, audio is crazy cool. Have you thought about doing a voiceover for this? The words go pretty fast so a lot of stopping in starting but overall cool video.

Fantastic share, Cyrus Sales! The video will come in handy when I make mood reels for my scripts. Thanks for sharing the video.

You're welcome! Look forward to seeing the mood reel once it's done!

Thanks, Cyrus Sales. I've been practicing making mood reels with Canva. I'll probably use a program with more features to make reels for my scripts.

I don't know too much about mood reels, however I have several individuals rave about capcut as an option for editing (not too sure what your experience is with editing) but for those who aren't wanting to learn a software like adobe I've heard it's a friendly alternative.

Thanks, Cyrus Sales. I'll check out Capcut.

Rich Terdoslavich - I might be overlooking but double check your master and make sure it's in stereo. Looks like it might be in mono. Side note, looking to get into sync soon. What has your experience been like? Have you gotten placements with your music?

You're welcome, Rich Terdoslavich.

Thanks, Mauirce. Thanks, Cyrus. Will look into it. Regrading sync, I did music for filmmakers, working in their films, recording/writing sync music for that. I am looking into doing more music licensing.

No problem, Rich Terdoslavich.

Thank you, everyone.

Hey Maurice Vaughan, I like your question and we screenwriters need to remember that every good/great editor is also a storyteller in thier own right.

I would say the best thing for an editor is not necessarily what the screenwriter does but rather making sure there is a well trained and competant script supervisor on set to create proper logs and notes from the shoot for the editor. Editors don't work from what was intended, they work from what was actually shot, and a strong script supervisor is the conduit from the set to the post process. That's my take on what matters most.

I would disagree about editors not operating from the intent of a piece. Otherwise the result is blank assembly. Many times their eye, independent of the director, makes a piece.

Also, screenwriters have nothing directly to do with the work of a supervisor who do great work but it comes together based on footage input into the editing bin ... with the script as guidance.

Hey, Paul Rivers. You're right. I've heard people in the industry recommend screenwriters read "In the Blink of an Eye: A Perspective on Film Editing." I'm thinking about buying it.

That makes sense, Sam Sokolow. I might make a script supervisor post like this one. Thanks for the insight.

I'm curious what the future of this is. Because there's obviously the "scaling" problem. Like, how MUCH better can these models get before we hit a point of diminishing returns? While I definitely think the future is "AI-assisted", I really challenge the idea that the future is "AI generated". Simply because "AI-Generated" will always have a vibe about it that human creators will push back against. Like anything else, I suppose, it will have its place. Fascinating regardless!

Karim Basyuni - thank you for sharing. I might have missed this ad so I'll have to go back and watch it. I agree with Aaron Mirtes I do think we are moving towards a future of "AI-assisted," but I think it'll be a challenge for AI generation. I've said this a few times, I think AI is cool for repetitive task but there has to be a limit or cut off for when it crosses into a the creatives lane and starts to step on toes. I do believe there will continue to be push back and hopefully more regulations.

It's always so much more tedious than you'd think, isn't it? Crazy how laborious it is!

Aaron Mirtes it really really is!

Brian Gunter video editing is not for the weak. I stopped doing it for about 3 years, just now getting back into it.

Missed one. Then when I read the meaning I said, "Oh that."

All but one. Ironically, it was relative to audio that while I was familiar with the function, I’d never heard it called an “L Cut” before.

Ashley Renee Smith - I've had several people in the last few weeks tell me they are moving their work station over to DaVinci, maybe this is a sign I should move too lol.

I know Ashley Renee Smith . A whopping 7gb+ download. But I'm loving it. Still finding out what it does better than 19. I am always running to catch up to Blackmagic Design. Has anyone gotten their hands on the PYXIS 12k yet? Crikes, looking at specs, that camera and DVR20 are a romance that just says 'lets make beautiful movies together.'

Morgan Aitken Ipg I always suggest checking out YouTube tutorial videos that can help point out some of the changes between versions. That's always helped me!

I adore Resolve! I switched four years ago and never looked back. It never crashes! What's not to love about that?

SO true, Aaron Mirtes!

I like the sound effects, Cyrus Sales, especially the fireworks and the pictures breaking & falling. I think those are the best sound effects.

Maurice Vaughan - thank you. I'm going to recreate the sound for a new animation soon. Look forward to seeing how my skills have developed from this student project to today.

You're welcome, Cyrus Sales. Ok, looking forward to hearing what you come up with!

This is a great question Justin Wildridge. I know for us (small animation studio) we typically network and have a list of individuals we know we want to work with or we have listened to their work and it matches the feel/mood we are looking to achieve. I will say going through application tends to be a loooong process. A collective effort. I personally don't mind location, remote work is fine. As far as budget, I believe this is based on their rates and what all you are needing. A single composer or a full orchestra. This has been my personal experience however I'm sure industry professional may have a different process, system or platform they utilize.

Interesting Cyrus, I wonder if your sentiments parallel with other professionals?

Aye, interesting Q and an interesting lounge... I really out to get into the other lounges more often. As for music, past experience has proven it to be a point of contention. Everyone involved in a project (aye, even the crew) has his/her own vision of what the thing looks, feels and sounds like on its way out of post. Not to mention everyone and his dog has a friend or niece who composes on his smartphone or beat-up six-string from a second-hand store.

What I tend to resort to is sketching in the soundtrack and SFX with sound libraries and AI and seeing how that feels with the exec core. Then with the actual music feel and key and tempo and style etc. nailed down, I look for the composer who fits the bill.

Appreciate you dropping in, Morgan. Your insight is invaluable. Your comment about the 'temp' track approach and AI is a particularly interesting one and one that sends shivers down the spine of many composers. Would you agree that, where possible, a composer should be involved from the outset and establish a language with the director (and possibly the entire crew) to create a final score that's unique?

Depends, for a Holocaust film I'm working on, the director has his list of possible composers, and I have my list of compisers; if it gets to the production phase, who we choose from the combined list is the one we think will deliver the highest quality for the least money; if it's a tie, quality always tops amount of money, as sinple as that.