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AI and Your Career

When you read a headline like “Artificial Intelligence edits trailer for movie” it’s hard not to worry about how it might affect you, and your career. Well, the news is both good, and a little challenging.

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Come and Get It

Guest article by EditStock customer Sofya Lifanova.

Working on a project Come and Get It was a very challenging and exciting process. The film had no dialogue and the fighting sequence was one of the main highlights of the story, so I had to make sure the visuals deliver the story clearly. This is why reading the script and watching all the footage thoroughly before you start editing is essential.

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Now the fun begins. This is where your mind gets blown. Last year I attended an international conference for film teachers called CILECT, at Columbia College in Chicago. A speaker, whose name I wasn’t able to find in time for this webinar, shared this video with me, and my jaw hit the floor.

What you’re about to watch in action is a computer program that can ingest movies, and create the author of this program calls a movie fingerprint. This project, called Cinemetrics, is a bachelor’s degree capstone project by a student at the Royal Academy of Arts in London named Frederic Brodbeck.

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After years of watching the same scene cut over and over again what I’ve come to realize that the way we train editors all wrong. And it's about to change in a big way - a big data way that is. EditStock will be at the forefront of this change. We’ll come back to what EditStock is specifically going to do later, but first let’s discuss what I mean by big data.

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Music Supervisor vs Music Editor

What's the difference between temp music and, well, music? Why would anyone hire a music supervisor? What do composers do if you already have a music supervisor? These are all common questions that get submitted to us during the feedback process. This article helps answer those questions: 

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Every time I hear the excuse "we didn't plan this shoot because we didn't have a lot of money" I cringe.

If you don't have money should should be planning extra hard, and more importantly you should be inventive. Today I'm introducing you to director Ross Ching, who made this incredible spec commercial for Popsicle. 

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A look at the hidden power of props, by Rishi Kaneria of the Raging Cinema Blog.

At a Q&A I was at once with editor Arthur Schmidt he was asked something along the lines of "How do you choose what to cut out when you have a great actor like Tom Hanks and a great director like Robert Zemeckis?" I'm paraphrasing Arthur's answer. It was something like "when you have a great director, a great actor, great cinematography, costumes, sets, composers, and when basically everyone around you is the best at their craft you just don't want to screw your part up." I love this humble attitude. As editors we get to appreciate every department's craftsmanship. One of our jobs is to make it all shine. 

How Does an Editor Think and Feel is the third part of filmmaker Tony Zhou video series and blog titled Every Frame a Picture.

This is a great video with examples of the where and when to cut.

As I've mentioned before, editing is not only "instinctual". Learning where and why to cut comes from experience. Since it can be learned, and improved, editing can be practiced. That's precisely the advice Tony offers. You have to practice! 

Comfortable with the basics but still nervous about tackling a NUKE project? In this series Joe Raasch, an experienced NUKE artist and certified NUKE trainer, demonstrates how to tackle common compositing tasks with some tips and tricks along the way.

Download the assets for this series for FREE at EditStock.com/nuke

PART 1: - Screen Replacement


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Long Term Parking

By Filmmaker Lance Oppenheim.


As featured in the NY Times - An airport parking lot in Los Angeles has become an improvised village of airline workers.

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