Slow Motion in Final Cut Pro 7

Here's a quick tutorial on how to do slow motion, reverse frames, or even fast motion.



And why rehash everything when this tutorial explains in greater detail all the bells and whistles and effects you can do with "Change Speed" so well. It's not video, but now you can intake at your own speed. Check this one out:

http://www.kenstone.net/fcp_homepage/fcp_7_speed_tools_martin.html

Blogging While Editing 2 - DYWTGO?

Now I've got them sitting on the couch so I can use the closeups (which are comprised in the first half of the same conversation as when they are trying to sit on the couch). The problem is that these shots show more of the akward “connection” though not as funny. They are also composed georgously, filmicly even. I may have to scratch the last five hours of editing and just get them to the couch before they talk. Again I'm reminded of the writing process involved in editing video.

Fell aslep contemplating next move. Time to pack it up and go to sleep.

Started back up around 7am. Was worried at one point about them having no connection whatso ever show up on screen but then I had a hapy accident. Some footage overlapped while I was trying to figure out the next shot and we see and hear kelli say, “so you repair computers?” and it was followed by her voice saying “that's cute”. The line is one she ad libbed while shooting from the unicorn's POV and the unicorn is what she was talking about. But with a little magic and some help from pre-“action” shy and figity smiles, I was able to make it look like it slipped out of her after he said, “yes”. So then it made it cute-funny when he starts to ad lib and ramble about working on “some laptops and PC's and some Macs – but I'm not really certified” Then another ad lib she gave was to ask him which which was better. It made the question go from good “yes-and” skills to brilliant. Because now it's clear she's asking because she thinks it's cute.

The only problem? The stupid director got in my way AGAIN! I actually cut them off as Mike started to explain and Kelli is really listening. I thought it was funny but didn't think I could use it. Looking back, maybe I sensed the real chemistry happening that goes along with good acting, and then I started feeling shy-akward – because that's what I'm seeing now on screen. Next time I need to wear a shirt that says, “Get out of your way, Jake”.

There's an “Oh” that could go anywhere. I can't figure out where's the best. For some reason I don't want to lose it. It's sort of a strange shot to hold on to.

These closeups are so much better than the full shots. That could be because the full shots don't look filmic. I intentionally left them as full shots, eye level, on tripods, in order to stay true to the film's spine - “Silent Film”. But the problem is that film gramar has evolved so much that this shot has become the mark of the amatuer. And that's a big problem in a short film from a nobody. It could get away with looking like a sitcom, but really I would have had to light it brighter. Or do a lot of timing on the colors. But that would take it away from the warm 16mm film look I had in the beginning.

I'm really thinking about scrapping all the work from yesterday and starting over to get them to sit without saying their lines.

It's interesting how LESS blocking can make something seem more filmic sometimes.

I just found another take with a few more GREAT lines. I'm going to have to get them in but that means going backwards for a bit. It shouldn't be too hard or too time consuming though. It should definitely be worth it.

Okay. Not sure it's worth it. Maybe it slows all that momentum down.

It actually did. Way better without it where I had it but it is perfect for slowing down the momentum just as Mary (Lauren) bursts through the door. I forgot to really push for the surprised “Buster Keaton-esque” reaction from Mike to the door, but I think we have enough to work with to keep it surprising and funny.

Made it to Lauren's entrance. Time for a break.

Blogging While Editing - DYWTGO?

Now I can feel why Kent with the first draft the way he did for the final scene. He took all the angles from the first take because those matched up the easiest. It was more of a rough assembly to get the thing in a sequence. Sort of like writing a screenplay draft without outlining/treament writing or breakdowns. It was a good move. After that first take, the continuity is CRAZY. I'm truly writing with my edits here. I'm using a separate take every 2 seconds. It's hard!

Every choice I make at each 2 second interval changes the story, the lines, everything.

It's crazy how a little outside stress can deflate all momentum. Since Kent has a brand new system, his saved files won't run on my Mac – it's too old. So, I have to borrow Ashley's laptop to get this done. I also don't have a hookup for an external monitor, so it's all on a tiny screen. But... it's getting done.

So I'm switching to something a little more “skill” oriented – putting together the DVD menu. Definitely going to use the poster but now I'm envisioning some sort of opening with all the info being typed in, like a chat room thing.

Maybe I don't design DVDs so well without the finished product.

Next time, all akward humor gets choreographed. Like a dance. I remember Kent trying to figure out when Kelli said the line and when Mike stood back up. I told him to forget it and basically I told him we'd fix it in post! He said, “who's editing this thing?” and I said, “me”. So he let it go. Then I tried to pay him way under his rate and he got to deal with it. Man, I really tried to screw Kent on this one! This is tough! But then it all came back to me and now I've screwed myself... This is why Ashley needs to be there during the reshoot. She's the only one I ever listen to when she says to stop and pay attention to continuity.

My son just showed a growth spirt in development. The kids called to say goodnight and he was telling me all kinds of things. Still can only pick out words here and there, but there is definitely a marked difference in his speech. Man that's awesome. And there's that little inspiration I needed.

Working really hard to stretch each beat of akward. They play it really well, it's just that there's no breathing room for the audience. We found so much good stuff while shooting! It was basically a really great rehearsal. Had we had this and then gotten to shoot, it would've put more of that funny into the silence. I'm still so impressed with my actors. I haven't had this great a cast to work with since Rich, Jubal, and Brent did a scene from A Simple Plan with me (that I totally screwed up in the editing of that one – I edited with Movie Maker while hiding in the editing lab at CSF over night on the last day of finals.)

Dad wants me to eat the last piece of chicken. Because it's there. I already ate one... and potatoes, but he said “eat that last piece of chicken.”

“No, Dad.”

“But it's dark meat.”

See: Blogging While Editing 2 - Entrance to Delerium for more funny on this very topic.

Made it through “sit on the couch play”. On to finding a connection. Having some continuity would have helped me already be there. I need to wear a shirt on my next shoot that says “I will NOT fix this in post”.

Dad's sleeping through Rocky IV blasting in the living room. Appolo Creed just died. I don't care if you are Russian and a Commie Sypathiser, that Rocky IV is a good show.

First Cut Nightmare

I met with my editor on my latest short film over iChat via the new built in Final Cut Pro viewer. The experience was really awesome. I thoroughly enjoyed it and rarely experienced even the slightest lag time (and that's with AT&T wireless too!).
I told myself, "Now Jacob, this is only a rough cut. This is going to be the worst day of your life in this production. Prepare for that and maybe you won't take it so hard."

You see, it's a rule. It's just one of those "givens". The director's worst day will always be the day you see the rough cut. You should plan on drinking afterward.

When the footage started rolling, I followed right along... Rolling that is.
The rough cut looks AMAZING! I'm laughing just thinking about it! Sure there were things to fix, but nothing major, and certainly NOTHING wrong with it. I'm excited. I'm overjoyed. This could be big.

I was ecstatic.

I had the privilege of viewing another two sequences and I couldn't tell you how awesome it felt. This is really coming together.

My editor (Kent Jones) finished another sequence. The final sequence. The stuff with talking. The culmination. The punchline - the button. I was so excited to see even the footage in a rough assembly. Kent told me he was scrapping the first cut of this sequence all together and approaching it another way. But it didn't matter, I was just so anxious to see a cut, after seeing the other sequences - I'm a brilliant auteur destined for greatness.

Pride. And I forgot to warn myself about that little rule. Well, two rules, now that I mention it. One about Pride and before the falling. The other being the said "Rough-Cut-Ready-to-Drink" Rule.

I watched it. What in the Sam Hill was I thinking? Why did I let the actors get away with that ... that crap? How did I not see the life being sucked out of the room with the pure lack of energy?! I remember telling them to mumble a bit - and even talking my main character out of playing it up too much. What was I thinking?! They were doing exactly what I told them to do!

Lauren Ryan is playing a mean person - why didn't she stay in character after the take - and SLAP ME! Michael Price is some sort of genius, right? He should of told me. He should have said - the physics don't work here, Jake. It's some sort of conspiracy. I know it. Those three actors don't like me. They did it on purpose. It was probably because I didn't feed them - I mean, that is sort of a cardinal sin in film production.

It's everyone on set's EFFING FAULT. No, it's my fault.

Oh saxophone!

This is the worst day of my film career. And my last too. I'm sure of it now. It's obvious.

It's bad. I'll never work in this town again.

Someone tell me it's okay. Kent is starting over. It's going to be okay, right?

I...

Oh nightmare before Valentine's Day. Don't let it be so.

I should quit filmmaking. I seem to be doing pretty well with that EdTechSpecialties thing over there.

Son of ---

Blogging While Editing 2: Entrance to Delirium

Like a kid with ADD, I found it helpful to have a laptop out and running Word so I could type my thinking process and simultaneously create a blog. Thus, this blog was born… lucky you.


Rebekah (Rebekah’s blog / work here) came by to take a look at my setup and my Adobe CS2. She’s getting into that picture takin’ stuff so we talked a bit about Photoshop Elements 7 versus CS2 (updated consumer versus outdated professional is a rough choice, sometimes). It was a welcomed distraction as I was on a writing break and hadn’t made the dive back into the editing yet.

Took the earbuds out for a little while. Inevitably, when editing a highlight, certain phrases will repeat over and over again, given. So... downsides to Phil Collins on repeat:

With the earbuds out and the music repeating phrases, Dad not knowing that I am working, might become concerned about his son’s a)choice in music b)well being – since that chosen music is 80’s pop about love and what mamma said. Additionally, Mom will want you to know that it is a MoTown cover, and NOT written by Genesis.
Downsides to Phil Collins on repeat: Inevitable “what-ifs” about a world with Genesis and not Phil solo. Which most certainly leads to questions about Mr. Collins’ acting career had he not been overexposed and allowed to build a career from his role in “Oliver Twist”.

Downsides to the setup: Laundry strewn about might cover just how short the bed is, and little nieces might try to scoot down a little to get a better view over her mother’s shoulder. Of course this will result in disappearing under a mound of sweaters and a Pack-and-Play with a resounding THUD! But not to worry, she’s learned well from her Uncle Jacob, with one foot out of the mound and one arm up in the air grabbing for help she’ll not miss a beat to play it off, “Momma pushed me off the bed! Momma pushed me off the bed!”

Downside to being stationed at the “empty farm cabin”, Dad will insist I eat a block of cheese he can’t finish and apparently doesn’t believe in putting it back into the fridge. “Are you hungry?” “No.” “Peanutbutter and Jelly Sandwiches.” “No.” “Where are you going?” “Back to work, just passing through.” “Want this cheese?” “Not hungry.” “I didn’t bite off of it.” “Not hungry Dad.” “Here, I can’t finish it.” “No.” “Here take this cheese and eat it.” “No.” “I can’t eat it all.” Mom says, “What are you talking about, Larry?” “Cheese, Margie, stay out of it.” “I don’t want cheese.” “Jacob! Needs to take the cheese.” “No, Dad."

New Term: Editor’s Block. (Writer’s Block. Editing is a higher form of writing. Therefore that wall happens, and it’s made with a heavier sheetrock and more studs).

Found IT! My sledge hammer of editing that is. Just took out the wall, I’ve got my spin on this video and the block is busted. 6 hours from now I should be refining.

UPDATE: It’ll be 12 hours – should have known to multiply by two.
The more I cut this thing together the happier I am with it looking raw, and no layers. After spending a year on this thing I don’t think I could be allowed to not layer it though. I’m going to try something with the clips using Motion so really there is no telling how long that will take. At least maybe I’ll have it cut raw, it’ll look good, and then I can have a rough draft of the DVD menu highlight to show the two on their anniversary on Sunday.

I skipped Motion. And boy am I glad. I was able to pull off what I wanted to do rather easily with keyframes. It took about three and a half hours itself. Of course 45 minutes of that was getting the ending right, the only part of the highlight that would turn red every time something was tweaked. So if I wanted to actually watch it I had to render. And this highlight was the king of important frames. I’m amazed every time I edit at how much a single frame changes the entire shot and then highlight. This one particularly hinged on precise frames because of the driving beat (if you cut off beat it’s extra visible) and because of the way Ashley and I shot it as well as the wedding itself. Single frames would change the shot from fun and upbeat to elegant, classy, and gorgeous – a bad thing for this highlight.

I spent another 45 minutes editing the leftover footage to “You and I”, and I was pretty grateful for not having that one as my main highlight. It might have been easier in some ways but there’s not a whole lot of impact and “rising action” to it, so I don’t get that nice build to the big moments. It was, however, quite the piece of cake – wedding cake that is… haha… what, I do puns, that's what I do – to edit the menu because, just like I said, we shot the wedding how it felt and what the space and flow demanded and all the shots just sunk right in like I’m about to do on this memory foam mattress.

I was falling over tired while setting the highlights to go through Compressor. And my “ergonomic” “desk” had become anything but. My butt had sank completely into the memory foam that lays across the bed – my back was killing me, my neck still feels like I’m straining it (although that could be outside forces, it’s certainly not helping anything sitting in the style of Indian AND Hunchback of Notre Dame.)

Thankfully I figured out how to watch the playback in full screen, that helped a ton… it’s Apple+F12.

Momma should have told Phil Collins not to cater love either. You don’t want to be catering love. That’s illegal... except in Las Vegas.

Blogging While Editing

If you’ve ever wanted to tell Phil Collins to “shut the hell up”, this is not the wedding video for you to edit. Fortunately, I’ll groove to some smooth Phil, and I grew up on MoTown, so I enjoyed myself here. With plenty of coffee and an empty room, I was allowed to plug in the earbuds and rock out to “You Can’t Hurry Love” over and over and over…. and over again. Though the song is classic goodtimes bubble gum, it certainly didn’t make it easy to cut a wedding video to. You see, with the beat of the song so fast, it’s important to keep the shots moving. And frankly, Leah did WAY too much to make her wedding elegant and classy. Mr. Collins’ cover feels like summer with a lot of jump, jive, and wailing. And the real challenge, the song is a full 2 minutes and 56 seconds!


What I got from Leah and Daniel? Over 25 minutes of some of the best shots Ashley and I have caught on tape. I’m talking, love, smiles, watery eyes, mirror shots, fall flowers and candle light, and a teary groom. And if only the GL2 would have had a faster AutoFocus, the BEST shot EVER captured from our weddings: Ashley shot over the shoulder of Leah waiting outside the chapel, and slowly zoomed to the doors where a small enough crack just wide enough to view Daniel was there. He was twitching with anticipation to see his bride – but the wood grain on the door just seemed to be more interesting to the iris and thus Daniel is kept to a blurry blob between the crevice (that doesn’t sound right).

Anyway, with a plethora of loving awesome captured on our tapes, I knew it was going to be hard. We won’t get into specifics on just how hard or what kind of timeframe that might constitute *eyeroll* Since it’s 80’s pop, and this was the main highlight, there is way too much happening in the sound to allow you to throw together quick clips into the timeline as I can with the “flick-a-flick-a-cloonk-clunk” sounds of a modern upbeat song I often get by Jack Johnson or John Mare. Those acoustic guitars are raw, and light, and so the highlight is allowed more freedom, you can drop a shot in pretty much anywhere and it just works (see Jae and Dustin’s wedding). This song has layers and layers and begs for the same from the visuals. Even Phil Collins himself couldn’t deny the audile phenomena when he shot the music video (see “You Can’t Hurry Love” on YouTube.com). I mean THERE ARE THREE PHIL COLLINS ON STAGE AT ONCE!!!!

Anyway, armed with coffee, time, an empty farm cabin with plenty of space (okay, not plenty of space – my parents were kind enough to allow me to highjack a room in their house to edit and spread my piles of laundry out – so not empty either) a surprisingly ergonomic workspace (seated on the bed, the monitor on an ironing board, and pillows under my elbows – it’s so comfortable it’s weird (see video from phone)) and a little bit of hope, I set out on a real artistic journey. First, I had to buy some time, even with layering the visuals, I had WAY too much to work with. So I got to cut up Phil Collins’ song – and this is where the “wanting to tell Phil to shut up” part comes in. I wanted him to go on and on and on and I’m glad I did or I would not have survived. So I had to find places where I could extend the song. Thanks to the Beatles, songs don’t have much of a build up, they tend to jump right in to the awesome. So that’s usually where I find a place to extend the song – since I don’t want to spoil the chorus too soon. It works nicely and helps me build up to something. It also buys time for any lead ins and/or titles.

Update: About two hours of work bought me about 30 extra seconds – yikes!