| Uploader: | Jschefdog |
| Date Added: | 13.11.2018 |
| File Size: | 5.86 Mb |
| Operating Systems: | Windows NT/2000/XP/2003/2003/7/8/10 MacOS 10/X |
| Downloads: | 47601 |
| Price: | Free* [*Free Regsitration Required] |
Art of the Cut : Steve Hullfish :
Art of the Cut provides an unprecedented look at the art and technique of contemporary film and television editing. It is a fascinating "virtual roundtable discussion" with more than 50 of the top editors from around the globe. Included in the discussion are the winners of more than a dozen Oscars for Best Editing and the nominees of more than forty, plus numerous Emmy winners and nominees.4,7/5(39). Art of the Cut: Conversations with Film and TV Editors - Kindle edition by Hullfish, Steve. Download it once and read it on your Kindle device, PC, phones or tablets. Use features like bookmarks, note taking and highlighting while reading Art of the Cut: Conversations with Film and TV blogger.coms: I cut mine from curly maple and improvised an interesting base from the off cut. Download this free PDF pattern: Lean On Me Table Sign Everybody needs somebody (or some thing) to lean on. Here's a little table sign that sort of makes use of that popular phrase. I cut mine from a piece of 1/4" poplar and as usual I cut an improvised base, using the off cut from the project. Came out pretty good.
Art of the cut steve hullfish pdf download
Recently I asked readers of Art of the Cut about what types of editors they wanted to hear from, art of the cut steve hullfish pdf download. The poll numbers showed: doc editors, trailer editors, indie editors and then blockbuster Hollywood editors, in that order. Doug started as a trailer editor and also created a sound design and music house — Phantom Power — that caters to trailers and the film and TV industry.
How did you get in the trailer business and where are you in the trailer business now? You art of the cut steve hullfish pdf download of evolved into art of the cut steve hullfish pdf download current position, right? BRANDT: I got into the trailer business, like most people did 20 years ago by accident, because nobody really knew it was a job.
I had a friend who helped my girlfriend now wife get a job at a trailer house. She used to work here as an assistant editor. That led to her hearing about an assistant editor job at another company and that as my entrance into the business.
I spent a lot of time editing in high school and in college, we were one of the first schools to get Avid. I went to Ohio University. I think we were the 3rd College to become an Avid licensed training center in the country. It was a huge advantage for me when I came out here. There were editors that had been editing for years who were just getting into how to run an Avid.
I was coming in with that experience and that was a huge help. I got an assistant editor position at a small trailer house. As an assistant, I was also doing the finishing and chores like ordering tape stock.
I was kind of hooked after that. It was a lot of fun working on trailers. I became a full-time editor there after 6-months and worked on movies — mostly TV campaigns at first. After a few years I went freelance and worked on some TV pilots. I was actually a fan of the show and sought it out because I really loved the editorial style of it.
I met some of the best editors I have ever known on that show. Some of them have become the best editors in the business. What is the team like, art of the cut steve hullfish pdf download, as far as a writer, a producer, a creative director and editor? Who is helping the process?
And how does the process really begin? A great idea can come from anyone, but It really begins with a conversation with the clients. We really interface with the studio marketing department, because the studio is the one who is really trying to figure out what message is going to make people really want to see this art of the cut steve hullfish pdf download more than any other.
So we begin the conversation with them. So what do you do to cut a trailer for an unfinished film? One extreme example would be the Cloverfield teaser, art of the cut steve hullfish pdf download. That script was not complete yet when we started the teaser process.
They have had a long treatment written, about half a script written, art of the cut steve hullfish pdf download. We read it and got the jist from conversations with the filmmakers and with the studio, which was Paramount. We had a meeting to talk about what the film would be like. Just something where people are reacting scared to something and did a real rough cut with YouTube videos first to get a feel of what this thing would be like.
Then they did a special shoot for that teaser. That teaser was all a special shoot, but they also knew they were going to have this party scene in the movie and they knew that the characters running up on the roof and running outside and seeing the Statue of Liberty head rolling in the street.
They knew that is how they wanted to end the teaser. On some of the films I worked on, they accelerate the VFX on certain shots based on what the trailer guys want, art of the cut steve hullfish pdf download, not necessarily about what we want. Could you talk to me a little bit about that process?
I have to have that in the trailer? We are getting the early version of the film where we are given access to all Animatics to try to help figure out what those memorable trailer moments are. Of course it all depends on how it fits in with the story. The story is the main thing that we always want to sell. So sometimes the challenge is to make the best thing that you can make out of what you have. Talk to me a little bit about. Does that music get chosen first?
A music cue can make or break a marketing campaign, so we spend a lot of time trying to figure out what the right music is.
There are some combinations that they just make each other more magical. Sometimes we find it close to the end and sometimes we find it right at the beginning. We are blessed to have an amazing music department. We have 3 music supervisors and 2 full-time composers and sound designers on staff. That was recorded and composed completely in house. One of our music supervisors has an amazing voice so she sang on it.
Our supervisors are also working with outside library companies. Things like a pop song, that when you strip it down and put it into a minor key becomes something that is good for a horror movie or just makes a pop song feel more cinematic and dramatic. Do you have a sound effects library? I ask sarcastically. I started my own sound library back about the time I started working on Transformers.
When I watched the Texas Chainsaw Massacre trailer that had the middle section with the repeating photograph sound to it and it inspired me and reminded me of one my favorite teasers of all time: the original Alien teaser. Alien has a repeating sound that evolves through it. And so I started experimenting with sound. For the Transformers teaser I made the entire sound bed for it with drones and sound design and hits and things, after that I started a sound design company: Phantom Power.
We make all kinds of music for trailers and advertising. You said the story is very important. Tell me a little bit about figuring out what the story can be once you watched the movie?
Over the last few years especially, there was a lot of backlash, lets say 8 years ago, art of the cut steve hullfish pdf download, of people being very vocal that trailers were being deceptive. What we ideally do is create intrigue and make people want to know the answer to questions that we bring up in a teaser or trailer.
Do they get out of that? What happens? What does the audience need to understand what the dilemma is? BRANDT: When we break down a movie, we categorize our dialog, do a master string of all the dialog and snip out all the air and break it down by character.
We also sometimes transcribe it so we can easily search for dialog. We do the same for the visuals. That there are usually two things going on at once. The audio is almost never the synced video. You almost never see anyone speaking an entire line of dialogue. Talk to me a little bit about that process of starting to build the trailer. I would say that is the traditional way trailers are built. The Battle of Los Angeles trailer, I did it that way.
I had to have those beats lay out and feels the emotion to know where to go next. So that was one where I broke the way I usually do it. Someone used it as temp score, art of the cut steve hullfish pdf download.
Or is the editor constructing the trailer without a script? Or we want to leave the audience with this thought. The way it usually works best, is that the editor is bringing some storytelling skills to it and some style to it. One of the things I liked a lot from the 13 Hours trailer was the slow burn build into the more and more danger. Talk to me a little bit about pacing in trailers.
Pacing on a trailer, the thing that I like to do most, is do art of the cut steve hullfish pdf download unexpected. For example, in the early Transformersthey sound more like horror movies when you listen to them.
It has to feel natural to the footage as well, the pacing of art of the cut steve hullfish pdf download. You want to have audiences excited. You hear all the time that trailers tend to build in the back end. Talk to me a little bit about that idea: the lack of sound sometimes is powerful. Being selective and focusing on the emotion in a close-up of a character. Having their line in black sometimes makes it even more impactful. That allows your imagination to take over a bit more.
Steve Hullfish: Tips from the World's Best Editors
, time: 15:32Art of the cut steve hullfish pdf download
I cut mine from curly maple and improvised an interesting base from the off cut. Download this free PDF pattern: Lean On Me Table Sign Everybody needs somebody (or some thing) to lean on. Here's a little table sign that sort of makes use of that popular phrase. I cut mine from a piece of 1/4" poplar and as usual I cut an improvised base, using the off cut from the project. Came out pretty good. Art of the Cut provides an unprecedented look at the art and technique of contemporary film and television editing. It is a fascinating "virtual roundtable discussion" with more than 50 of the top editors from around the globe. Included in the discussion are the winners of more than a dozen Oscars for Best Editing and the nominees of more than forty, plus numerous Emmy winners and nominees.4,7/5(39). · Steve Hullfish is a feature film and TV editor with credits including, "Courageous," "War Room," "Champion" and the theatrically-released feature documentary, "Clinton Inc." Hullfish is the author of five other books, including The Art and Technique of Digital Color Correction and Avid Uncut. Hullfish also trains editors and colorists around the world.4,5/5(95).
No comments:
Post a Comment