Month: November 2017

Share: 3 Filmmaking Tips to Avoid Editing Slip-Ups

We had an idea for a new series looking at how the lessons generally taught in film school applied to real life editing. “Oh yeah, baby, work it!” In future episodes, we’ll discuss the power of discontinuity. The use of circles. And how Jean-Claude Van Damme’s hair can inspire the editing of an action scene. Before we get to today’s topic, I wanna let you know that this video is brought to you by

An exclusive source of video assets and After Effects templates for editing and motion graphics. In a lot of film schools, it seems like editing… It’s all an afterthought in the weirdest way. The people don’t know how to edit, they don’t understand where this stuff’s ending up and they think it’s like a human version of an old PC that you just feed shit into and then a movie will come out of the other end and it’s always going to be done the same way or the other. But it’s a ridiculous thing because it’s really like casting.

You could have a great role that Daniel Day-Lewis is the worst person in the world for. Right? You could have a great role that, you know, Meryl Streep wouldn’t work for. So finding that connection with an editor and casting someone as your editor, that’s kind of making choices in their performance. “I shouldn’t wear scarves.” And there’s this really poisonous kind of thing going around, Which I think is the worst thing ever to tell film students and it gets in their heads and everyone carries it around, this idea That, well, Hitchcock’s movies edited themselves or John Ford’s movies edited themselves.

You could only put it together in one way because of the way he shot it and that’s the biggest load of shit I could ever imagine and there’s endless examples in Hitchcock films, especially Psycho, where that’s completely untrue; not only are there scenes that he would let Anthony Perkins improvise. Improvise! There are a couple of scenes where he’s like “Well, just try something your own way.” – “I always change the beds here once a week, whether they’ve been used or not. Hate the smell of dampness. Don’t you? Such a… I don’t know, creepy smell. How are you gonna have Anthony Perkins do that entire scene – do ANY scene in Psycho and just do the bits that you’re gonna cut to him for? That’s insane! It’s damaging for filmmakers to think that way.

What you want to be doing is setting yourself up to have everything that you need to let an artist like Sven go to work and use his take on it to realize, whatever that ultimate vision is gonna be. “I mean, if you are an editor that has an ego and an agenda, then it becomes a problem; you’re not doing it because you’re Seeing it in the footage, but you’re seeing like “Oh, I can put my style on this, I can put my stamp on this and then you’re competing with the director.

With all the great directors that I was able to work with, there was always this appreciation for somebody who’s a strong collaborator with a point of view.” – “Yeah.” – “It is better.” There’s that movie coming out now, that documentary I can’t wait to see, the thing with the title of that, what does that tell you in terms of whether he knew exactly what was going to be used or not. Sven: “Right.” There’s like 27 extra shots that didn’t end up in that movie. Sven: “Yeah, he didn’t intend to cut it with music… Probably the first cut of that scene was very different from what it is now.”

“I think I’ll never have a shower again.” “Hitch?” “It’s getting there.” And the other thing With that shower scene, the example I love because we’re always telling students and filmmakers: Just get some cutaways. Which is a shot that provides atmosphere but has nothing to do with the story, that you can go to at any time? It’s invaluable, as an editor, in Psycho, the most famous scene Hitchcock ever did, the most meticulous scene infamously was ruined without him noticing it because he and the editor would not notice that Janet Leigh blinks when she’s supposed to be dead.

Sven: “Yeah.” But you watch that movie and they cover it with… a cutaway. In the shower. They just go to the shower head because he had that Footage and it’s a great example of a cutaway. That makes the scene more impactful, as it adds that feeling watching it – this is why I took it but like – “Shit, no one’s gonna turn that shower off.” – Sven: “Yeah.” You know, which is haunting in a way, and it was just to cover a mistake, but it makes the scene so much better. – Sven: “Well, talking about the blink, I mean there’s like this pupil moving at the end as the camera pulls away.” Yeah. – Sven: “I mean, obviously it’s a mistake, but it’s also so haunting in a way, that suddenly it becomes really real for me at that moment.

” What happens is, it goes from… they had a giant freeze frame. – Sven: “Yeah.” That’s what they did the effect with… – Sven: “Okay.” – …as it pulls out, so with that whole camera moving always out the freeze, that’s a freeze frame. But it’s so much better than anything. It’s something about it being real like I’ve heard people criticize that famous transition in 2001 Space Odyssey. They’re like “That doesn’t match perfectly, this is not good.” it’s like “Fuck you!

They cut it on film, like how, – what audience in the 70s is going frame by frame with their print, their 35mm print to make sure it doesn’t match. – Sven: “Even when I watched it the first time, I never thought “Oh, this is a match cut, because if you’re thinking “Oh, this is a match cut”, that’s not quite perfect, then the filmmaker has failed at that moment because all you’re…, it’s all visceral, it’s all like “Oh shit, we just jumped,… we just made this leap of humanity.

” You’re not thinking about any of this, you’re just feeling it. Now that everybody’s showing this cut and you can look at it and not think “Oh, it’s a match cut.” Yeah. A graphic match cut. Recap: Shooting less coverage doesn’t make a director great. Good directors want an editor with a specific point of view. Embracing mistakes can provide opportunities. Thanks so much for watching and we’ll see you on the next one. We want to thank for letting us use their 4K video overlays and audio transitions.

Implotex 480W review: Whispering air compressor?

So this is something new to me. I was contacted by magnetportal. They have noticed I’ve bought a lot of magnets from them and wrote some interesting post with the magnets. As thanks, they would like to sponsor a post by sending me an air compressor for a test from one of their other websites and it’s considered air compressor reviews consumer reports, all who appreciate good about it.

Overview about Implotex 480W

At first, I didn’t like the idea. In my mind air compressors are boring. But I realized it wasn’t a noise discount model I could test. And interesting science is hiding even in the air. The model we are going to take a closer look at is called the Implotex 480W Silent-Compressor. It’s their smallest model but still priced at €370. It is clearly not built to be as cheap as possible. Instead, it seems to be built to be as quiet as possible.

That caught my attention because I have only used annoyingly loud air compressors. This one should be silent enough to have a conversation at a normal level with the compressor turned on. That would be a new and pleasant experience for me. Hard to believe. Here we have it. A nice compact design with a small 9 l tank. This one is not big enough to inflate an airship with helium but it’s suitable for the common household needs.

Like inflating a tire or football and dusting things with a blast of air. Implotex does have much larger but still quite quiet models if you need something of more industrial capacity. The compressor is almost ready to be used out-of-the-box. The only assembly needed is to fit this air filter and yes, it does come with this roll of thread seal tape. Being curious I had to open this air filter to see what’s inside. If you use the compressor in a dirty and dusty environment you may need to clean or even replace this air filter once in a while.

After wrapping the tape two times around the thread I installed the filter on the intake. This will not be under high pressure so you only need to tighten it by hand. That was easy. Let’s fire it up for the first time. Will it make less noise than my standard compressor? Here we go! I may have focused too much on setting up the camera and forgot a smaller detail. Or maybe I’m just an idiot – take two! That is silent.

I’m impressed. It may sound loud sitting right in front of the camera but you could easily hear me. Couldn’t you? Let me try to compare it with the noise of this standard compressor using a sound level meter and uncompressed sound recordings. First I measured the standard compressor. At 1 m distance, it hit around 87 dB. Then I turned up the microphone until the sound was just about to this post.

Recordings comparable

I used this exact setting on the microphone for recording both compressors making the sound level in the two recordings comparable. After recording the standard model I switched it out with the Implotex. No reaction on the 90 dB scale. None on the 80 dB scale. A little on the 70 dB. At the same distance, it only measured 64 dB. That’s a huge difference. Let’s listen to the Implotex recording first.

Here you can see the waveform of the recording in the program WavePad. The two spikes are the switch for turning the compressor on and an air vent at the end when it reaches 8 bar. So believe it or not: The on/off switch is the loudest part on this compressor. Let’s listen to it for a few seconds. Now let’s listen to my standard discount compressor. As you can tell by the waveform you may want to turn down the volume now.

Are you ready to hear the difference? I’m gonna play it now… You may not have heard the whole difference. Computers – especially laptops – can be set up to turn up low-level sounds to make them audible for you. In the next post, I will play the Implotex in the left blog and the standard in the right blog. This should really show you the difference in sound and noise level. Here it comes. This may seem wrong. After all the difference in dB-reading is only 36% but the blue devil appears to be several times louder?

Well, it is. The decibel scale is just tricky to understand and make calculations with. The decibel is a logarithmic unit and indicates the ratio of a measured value compared to a reference level. When decibel is used to measure a sound pressure level in the air the reference sound pressure is typically 20 micropascals. This is chosen because it’s considered the lowest sound pressure level a human can hear. 

If at the right frequency and you’re young and your fresh ears are not worn out by loud sounds. 20 micropascals is a really low pressure. For comparison, we can also hear a sound pressure of 20 pascals but it starts getting unpleasant maybe even painful at this level. This is a difference of 1:1 000 000. Such a scale is not practical. Especially when you realize the two readings from the compressors are down here.

This is where the decibel comes in handy because it is logarithmic to base 10 which fits much better to the way our hearing works. The conversion gives us a range from 0 to 120 dB which is easier to handle than 0.00002 to 20 pascals. It’s also a better visualization of how we hear changes in sound pressure levels. In general we humans experience an increase of 10 dB as twice as loud.

So the increase of 23 dB between the two compressors isn’t just 36% louder. It’s actually around 5 times as loud to us. To be fair the discount compressor delivers more than double as much air. But still, 5 times as loud is a lot! Let me show you another test. The vibration test. Here we have the Implotex standing on the table alongside 3 glasses filled with water. When I turn on the compressor it’s hardly visible in the glasses.

Let’s compare it with the other one.That’s worse than a T-rex approaching. Guess what compressor your neighbors would prefer you have? Especially if you live in an apartment.

This easy-going nature of the Implotex model makes it a pleasure to do experiments with compressed air. Here I balance a ball on a stream of air. This is possible due to the Bernoulli’s Principle. Bernoulli discovered that the faster air flows past something – the less the air pushes on it. In other words – and this is counterintuitive to me: The moving air stream from the nozzle has less air pressure than the static air around it.

So the ball is sucked in by the low pressure in the stream and pushed in by the higher pressure of the static air. At the same time, the moving air is hitting the ball pushing it upwards while gravity is pulling it downwards. All these forces combine and make the ball float in the air. Clearly, the balance point isn’t the same for all sizes. Back to the review. Let’s take a look at power consumption. The Implotex draws between 400 and 537 W – averaging around 480 W. The other one draws much more with an average around 1250 W. For the same air volume the power consumption is close but a little better on the Implotex. Alright, time for the conclusion. I really like how quiet this compressor is. 64 dB at 1 in a small, closed room with reflections is a great result.

If you want to know more about Implotex 480W, you can watch the video below to reference:

Outside or in a normal working distance from the compressor, the stated 48-55 dB should be realistic. So all in all: If you will pay for the luxury of a silent compressor and have no need for high-capacity I can highly recommend this one. Are… are you still watching? The post is kinda over. OK. I have one small detail left if you’re interested in chemistry. If we look carefully at the safety valve there appears to be a chemical formula written on it. But it isn’t. Instead, it shows that a leaded brass was used for the safety valve – which makes perfect sense. When lead is added to brass it makes the alloy easier to a machine but due to its lower melting point, it also seals shrinkage pores in cast brass. So lead gives brass better pressure tightness – which is convenient in an air compressor. Thanks for reading!