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Lip-synch video editing: agonies & ecstasies...
Old 1 week ago
  #1
Lip-synch video editing: agonies & ecstasies...



This was interesting (although, to be fair, pretty much everything these days is interesting.) Luis Mojica, a brilliant and inspired new agey pop guy, sent me a wav file of the mixed song and multiple video snippets he'd done with his phone: trios of each line: delivered in close-up, delivered at a distance, and then each person doing some "artistic" thing, and left it up to me to assemble into a whole.

Predictably, not everyone matched the lyrics perfectly (often coming into the line on the late side) so the edit needed to be delayed for a word or so until the talent was mouthing it properly. Sometimes the clip ended with the end of the line, but didn't carry on until the start of the next line, so there was some "filling in" required.

We went back and forth with a few edits until all was groovelicious. This is version 4.

I see great things for this guy, his instincts are awesome. And talk about streamlined production in the modern world, big old studios and crews of people with their floodlights? Not anymore.
Old 1 week ago
  #2
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Great work Joel, very polished....yet with a DIY aesthetic underlying it (but not in the production look). Sharp detailed imagery....a phone eh, who would've guessed ! Lovely concept, communal ownership of the song post creation. It's great to see quality work of this calibre, outside of the regular box, which belies the origins so convincingly....bravo Sir
Old 1 week ago
  #3
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Miming to playback is a performing art like any other
Some can, many can't.
The director almost never notices errors , they are obsessed by the visuals, its better to have a musician next to camera spotting loose performance
Many things can be achieved in the edit, but it's nice to get it right on set.
Old 1 week ago
  #4
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Great work Joel!
Old 1 week ago
  #5
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tourtelot's Avatar
Who needs time code playback, right?

D.
Old 6 days ago
  #6
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Quote:
Originally Posted by joelpatterson View Post



I see great things for this guy, his instincts are awesome. And talk about streamlined production in the modern world, big old studios and crews of people with their floodlights? Not anymore.
Cool. Let's see what he can do when they give him all the toys to work with...!
Old 6 days ago
  #7
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I always enjoy Joel's comments and again he has opened a very interesting thought train. The notion that interesting video can be produced with entry level consumer gear is todays reality. We are in a new paradigm of point and shoot cameras and I-phones that can be packaged with amazing DaVinci Resolve free editing software. The next step up (GH5s and Atomos recorders) to the $2,500 level will deliver better quality clips and for improvements. Beyond that level an investment of 20 to 30 times more money will be required for marginal quality up grades.
We are in a golden age of affordable Audio/Video gear looking for creative subjects we can capture. Joel has provided a thought provoking example of creative thinking "outside of the box".
Old 5 days ago
  #8
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Phones have undercut both computers and camera sales since about 2010. For most people, they are going to have their phone with them, their phone makes pictures and videos that are "good enough" for them, phones aren't as threatening to subjects as big cameras, phones are easy to operate, the processing is done in the phone, and they can upload a simple, unedited video directly to whatever social media platform they choose without touching a computer. I'd venture a guess that it was easier to get Joel to splice the desired takes into one video on Joel's computer system since there were evidently several takes to work with and the audio file had to be synchronized to the video clips-not easily done on a phone.....yet.
Old 5 days ago
  #9
Quote:
Originally Posted by 2manyrocks View Post
.....yet.
I am still waiting for the program or app or dreamware that will let you imagine a whole produced sequence of visuals (naturally with its own unique soundtrack) and upload or download or travel-at-the-speed-of-light-load it onto some permanent storage and playback medium, and I mean this has been decades, now!
Old 5 days ago
  #10
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Quote:
Originally Posted by joelpatterson View Post
I am still waiting for the program or app or dreamware that will let you imagine a whole produced sequence of visuals (naturally with its own unique soundtrack) and upload or download or travel-at-the-speed-of-light-load it onto some permanent storage and playback medium, and I mean this has been decades, now!
George Lucas, in an interview I recorded 20 years ago said that what he wanted was to be able to sit on a couch in a room with maybe 3 other people and make an entire (big) movie with just them, all at once. We might get there. What sort of movie that results in, that's another question...
Old 5 days ago
  #11
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Brent Hahn's Avatar
 

Quote:
Originally Posted by tourtelot View Post
Who needs time code playback, right?

D.
Funny story...

COLOSSAL OSCAR-WINNER EFFUP
Old 5 days ago
  #12
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Feeble journalism
Boyd was a big name in the UK after 72, Richard Thompson,Fairport Convention,Sandy Denny and the World Music!
As for camera men not knowing how to sync that is complete bollocks.....
There were music sync systems around in the early 70s, the Beeb had a Crystal Clock system with a large analog display, simple lamp and tone generators were on Ari and Eclair cameras
Docos had been shooting on 16mm since the early 60s with sep sound
This obviously was HollyWood and the Music Biz at its ignorant worst.
Old 5 days ago
  #13
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Brent Hahn's Avatar
 

Quote:
Originally Posted by Rolo 46 View Post
Feeble journalism...
Okay, "the cameramen didn't know..." gets it wrong. But the main point is that they didn't use sticks, and it was Pollack's fault.

I've seen the story reported in a number of places over the years. Pollack never disputed it. And camera operators don't tell directors or first AD's what to do.
Old 5 days ago
  #14
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They do in Docs Brent...
All though when doing a film in Santa Barbra on the Horse Whisperer Monty Roberts our Hollywood cameraman all expected our DOP, up in a chopper, to give them the stop
They were positioned all over a high Los Padres valley for a Mustang round up
We thought this comical.
Old 5 days ago
  #15
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Quote:
Originally Posted by Brent Hahn View Post
Okay, "the cameramen didn't know..." gets it wrong. But the main point is that they didn't use sticks, and it was Pollack's fault.

I've seen the story reported in a number of places over the years. Pollack never disputed it. And camera operators don't tell directors or first AD's what to do.
Pollack might have been outside his usual operating zone at a live concert...calling for a clapperboard before each song would have been best practice, but we don't know if the songs were performed in sequence without a stop, like a typical live concert. What did they get on a typical film camera...17 mins continuous or less ?

Lots of 'maybe's ...maybe Pollack didn't want to call for discrete takes of each song, as that might've broken up the fly on the wall documentary feel of the performance....although with that many cameramen running around it was already a media event, less of a typical concert.

They'd already got it all together a few years earlier for Woodstock and Monterey Pop and Newport Folk....
Old 4 days ago
  #16
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Shot with 4 x 16mm cameras on two nights
The run time was normally 10 mins per 400' mag
1200' mags could be loaded but were prone to hairs in the gate(slivers of emulsion) or neg scratching (that's why they check the gate after every shot)
They were multi track recording for an album, so retakes were obviously possible, thus also allowing sync marking, the classic way with a clapper board or by an exposed frame and a tone blip on the Nagra tape.
Either way very sloppy, inept practice
Pennebakers Dylan films managed sync very well, it was not Rocket Science
Old 4 days ago
  #17
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Brent Hahn's Avatar
 

Quote:
Originally Posted by Rolo 46 View Post
Pennebakers Dylan films managed sync very well, it was not Rocket Science
If you've ever tried to sync up separate system wild footage on a Moviola or Steenbeck when sticks weren't used, you know it's the opposite if rocket science. Total guesswork. Most of the time, though, people at least knew enough to print Nagra Sync and resolve the tapes when transferring to sprockets so, if you got it in sync at the head of the reel, it would still be at least close at the tail.

It actually got a lot worse in the early days of music videos and MTV, with people trying to re-marry their 2-track stereo master to a 1" videotape. Mindbending.
Old 4 days ago
  #18
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tourtelot's Avatar
Chase Jarvis, a photographer/blogger/entrepreneur (and a nice man BTW) when ask "what is the best camera for shooting. . ." x, y or z, will always reply, "the one you have with you". Sage advice.

Can the same reply work for microphones? Umm.

D.
Old 4 days ago
  #19
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tourtelot's Avatar
A funny playback story. A mentor of mine, Ed Novick, did the playback for Michael Jackson's Thriller music video, back in the day. The PA for this video was "arena sized." And super loud. No one could hear John Landis yell "cut" when action was to stop. It was a HUGE problem. The playback man, Ed Novick, came up with the idea of using a gate side-chained between John's VOG mic and the PA. Worked a treat. But just for a moment. If Ed didn't grab the main fader, the music would pop back on at just the same ear-bending level that it had been just a moment before. Not the sort of thing you want to happen with John Landis directing.

D.
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