23/02/2011

"Ven, ven" [Videoclip del Chojin]


Dirección y edición: Jota Aronak.
Ayte. de montaje y video assist: Pablo Hernández.

Primero, decir que estoy orgulloso de haber trabajado en un video tan bueno. El haber estado con tantísimo profesional y tan buena gente ha sido lo mejor. Respeto hacia todas las personas es la mínima muestra del agradecimiento y la admiración que puedo ofrecer. Gracias Bajocero. He de decir que estoy orgulloso con el trabajo que he realizado. En el rodaje me llegaba el material que se iba grabando y, desde el ordenador, veía, como primer espectador,  todo lo que había. Sabía que sería algo muy grande. El buen sabor de boca que me ha dejado este video no se borrará nunca.

Analicé el montaje de este videoclip y me costó. Muchísimo. Sería interesante comentar, sin extenderme, algunas partes de este montaje, analizar unas cuantas más, si cabe, y todo esto para aprender.

ANÁLISIS DEL MONTAJE:
- En cuanto a la macroestructura: Ha sido un vidoclip, evidentemente, bien claro desde guión. Quiero decir, las secuencias estaban ya escritas de una forma que resulta inalterable su orden, por la propia narrativa inversa. En esta rama de montaje solo se podía jugar en los comienzos y finales de las secuencias. Es decir, alargando unas u otras. Habiéndo visto todo el material. Creo que en este aspecto de la duración de cada una de las secuencias, la mejor decisión de montaje ha estado en la sec. final: la del asesinato.
Otra labor de montaje referente a la organización de secuencias. Era el modo de transición entre estas. Me gusta mucho en todas menos en un caso. Al pasar de la secuencia dentro de la ambulancia al exterior en la calle (2:33). Me salta. Es un recurso que consiste en unir secuencias anticipando planos de la anterior. Pero en este caso, se me hace más feo que en el paso de la sec. de la tumba a la sec de los porteadores por el cementerio, en el que también hay este tipo de transición entre secuencias.

- Un recurso usado para cortes al rítmo han sido los momentos en que el Cho canta más rápido. Ya que, por lo general, la música mantiene un rítmo tranquilo. El mejor ejemplo se puede ver en el funeral (0:42-)

- Una de las secuencias que más me gusta, por su dinamísmo y buen montaje, es la que le están llevando los enfermeros por el pasillo (1:56 - 2:10). Un montaje bastante analítico (mucho PD).

Uno de los cambios de secuencia que más me gustan el que va a continuación. Hacia ambulancia.

Quiero hacer captura de dos planos que estaba claro que eran grandes ideas de cara al montaje. Porque, como viene a decir mi maestro, rodar sabiendo de montaje es lo mejor:
 
A continuación no se si estoy en uno de esos casos en los que la obra pasa a estar por encima del autor. Solo lo menciono para que me llameis freaky.
  • Suena: "Quieren quitarle a la mujer opciones de que aborte..."
  • Vemos: (algo siendo introducido en un cuerpo):
Por hacer otra captura. Mi plano favorito:
No tengo más que decir aquí. Muchas gracias, Jota.

Roderick Jaynes edits "True Grit".

"Straightforward storytelling is the last thing anyone expected from the Coen brothers, more famous for tight filmic twists and dark comic turns. But in their new feature film, True Grit, based on the classic novel of the same name by Charles Portis, the Coens deliver precisely that. The movie’s narrative line is as unwavering as its precocious hero, 14-year-old Mattie Ross (Hailee Steinfeld), whose determined pursuit of her father’s killer in the post-Civil War Indian territories drives and directs the plot.

Making the film was anything but straightforward. The Coens, in their fashion, co-produced, co-wrote, and co-directed True Grit. They also co-edited the picture in Final Cut Pro, which ultimately gave them frame-by-frame control of its pace and direction. But before they got to the cutting room, the brothers chased the project far and wide with a trusted posse of veteran production talent.

The Coens, who co-edit all their films under the credited pseudonym Roderick Jaynes, helped themselves significantly in post by directing a typically disciplined shoot that generated only 270,000 feet of film (“between half and one-quarter of the usual amount of footage shot on a movie,” -says Joel-.
But they found their primary leverage in an efficient Final Cut Pro workflow honed over the course of their last five feature films. “Because Final Cut gives editors tremendous flexibility in how they use the application, the Coens have customized it to fit their specific needs, and it’s now essential to their cutting process,” McQuerrey says. That tandem workflow mirrors the process they’d developed editing on film, when Ethan marked sequences on an upright Moviola and Joel cut them on a flatbed. Says Ethan: “Now I look at footage in Final Cut Pro, mark ins and outs of various takes, and send them over to Joel, who assembles them in a Final Cut timeline.”
Adds Joel: “We’ve always co-edited, and that’s actually the main reason we use Final Cut Pro. The application managed to match the way we were used to cutting together on film, so the transition was almost invisible to us. And Final Cut continues to reveal itself as being a very efficient, flexible way of editing.

Transfer Effects

Besides streamlining the edit, Final Cut made it easy to generate and exchange effects files. “The movie had a tremendous number of visual effects, many more than are obvious,” says McQuerrey. “We used matte paintings to extend the Texas town we filmed on location. And we did wire and track removal, as well as dust, squib, blood, muzzle, and weather enhancements. The ease with which we can create and manipulate high-quality temp effects in our Final Cut timelines was a great advantage.” The enhanced markers in Final Cut became an essential tool for tracking effects, including numerous shots of digitally created rattlesnakes in a key sequence.
Final Cut also expedited the transfer of sound and music files. “Because the sound department was using Pro Tools, we used Automatic Duck to import and export the OMF files they gave us,” she says. “We’d cut the music in as it was being written and see it against a Final Cut Pro picture.”
To speed up these turnovers, the assistant editors created templates so the editors could simply drag the various file types required by different departments into Compressor while continuing to work in Final Cut Pro. This allowed the sound and music departments to keep up with the Coens’ edits.
With these workflow enhancements, the team was able to create a first temp mix that incorporated sound, music, and visual effects 16 weeks into post; another with final scoring 19 weeks in; and a final mix at 21 weeks. Screenings of the mixes were as compelling as they were timely. “We were very happy with the quality of the ProRes 422 (HQ) image, which meant we only had to output our ProRes QuickTime files straight from Final Cut to HDSR or D5 tapes to be able to screen them, and they looked beautiful,” says McQuerrey. “That was a huge bonus for us.”

Closing Credit

On one of their tightest post-production schedules, for a film unusually heavy with visual effects, the Coens were able to deliver True Grit on time and without compromise. Joel Coen credits Final Cut Pro for significant help in getting them there: “We had to get the movie done in a very short period of time. Final Cut Pro, because of its efficiencies and speed, enabled us to meet that deadline.”

22/02/2011

Videos edited by Jerry Chater.

Acabo de ver el documental "Joy Division" (Grant Gee, 2007) y, como he visto un buen montaje, he querido mirar un poco lo que había en la web sobre su montador: Jerry Chater.

Me he encontrado su canal de vimeo con trabajos muy experimentales. De esos que me molan, vaya. Dejo algunos de sus videos como posibles referencias:

Spooky 'Found Sound':

Director: Grant Gee.
Montaje: Jerry Chater, Grant Gee & Rich Orrick (Ya había trabajos de este último editor en el blog. Para verlos pulsa AQUÍ).

"Even Better Than The Real Thing" [U2 videoclip] Ganó el MTV award a mejores efectos esspeciales por esa cámara que gira 360º:

Director: Kevin Godley http://en.wikipedia.org/wiki/Kevin_Godley

Texico F1 ident:

Director: Jon Hollis.

Joby Talbot 'The Fall':

Director: Jerry Chater.

Más info de Jerry Chater:
- En IMDB: http://www.imdb.com/name/nm0154024/
- En Vimeo: http://vimeo.com/jerrychater
- En MVDB: http://www.mvdbase.com/tech.php?first=Jerry&last=Chater

21/02/2011

GBDeflicker [After Effects plug-in]

Plug-in que se puede usar en After Effects CS4, y superiores, para quitar el flicker que se genera en muchos videos. Sobretodo en planos en los que ha habído paso de tiempo con la cámara fija en una posición (time-lapse, stop-motion).

Video explicatorio de la utiliación del plug-in:


Aquí un link de un .pdf para descargar el manual escrito: http://www.granitebaysoftware.com/Support/TipsGBD/GBDeflicker.pdf

Saludos.

61st ACE Eddie Awards at Beverly Hilton Hotel.

Como el pasado sábado 19 de febrero, en la sexagésima primera edición ACE Eddie Awards, se homenajeó al montador Michael Kahn. Quiero dejar reflejo en el blog de tal momento. De la gala y de unos video, en concreto, de Michael Kahn. Los ganadores de los mejores montajes los podeis ver en la entrada, ya actualizada, que hice con los nominados, picando aquí.

Ojalá algun día pueda pasarme por estos premios. Me encantaría. Sería de lo mejor para mi carrera. Encima, esas presentadoras... No lo digo por Javier Bardem, que este año dió el premio al mejor estudiante de montaje (Ruben Jacques Sebban), perteneciente al American Film Institute.

Gala:


Homenaje a M. Kahn:


Reel edited by Carsten Kurpanek & Rosanne Colello.

Entrevista:

"All Of The Lights" [Kanye West feat Kid Cudi & Rihanna videoclip]


Director: Hype Williams. Gran bagaje.
Editor: Hadaya Turner.

Montaje muy pepino. Unos créditos muy similates a los de inicio de "Enter The Void".

18/02/2011

Nikki Comninos talking about "My Beautiful Game".

"My Beautiful Game is a 13 part documentary series that explores African football within its broader historical, cultural and anthropological narratives. The show covers stories across the entire African continent. There is a kaleidoscope of geography, politics, and national characteristics as one traverses the continent from Cairo to Lagos to Cape Town.

The specific, SAFTA nominated episode, Fish Out of Water, is an exploration of the challenges facing African footballers lured over to Europe by lucrative contracts. It looks at the issues of acclimatizing to a foreign environment, the loneliness and the alienation.


CUTAWAY: How would you describe what makes editing a docci unique to other genres?
NIKKI: I think that documentary editing is unique because of the amount problem solving that goes into it. You need to think about narrative, about mood, about pace and about structure – and often you find none of that has been planned, or can be planned. It all happens in post.

CUTAWAY: What was the timespan to cut My Beautiful Game?
NIKKI: My beautiful Game is a 13 part series, of which I edited 9. I worked on the series for 4 months.

CUTAWAY: What format was it shot on?
NIKKI: It was shot on the Phantom camera, Bolex and the Sony XDCAM.

CUTAWAY: How would you describe your workflow?
NIKKI: The work flow for this project was quite interesting. The crew and directors went all over the continent and the world getting interviews with the biggest players in the international soccer community. In total there were over 200. I worked closely with an assistant editor, Joanne Fencham, who sorted the interviews according to question into various bins for the 13 different episodes. I then spent time listening to all the interviews and trying to create a meaningful story and structure for each programme. My narrative flow was very dependent on the interviewees. I soon discovered my favourite interviewees and would often return to their raw interviews when I got stuck.


CUTAWAY: Tell us more about your collaboration on the project.
NIKKI: I worked closely with Marc Rowlston who was the director of the documentary, but all the D.O.P. It is always interesting and rewarding working with people who have crossover skills, because the blend of various crafts always lends new insights and a nice edge.

CUTAWAY: What Editing System do you use?
NIKKI: Final Cut Pro.

CUTAWAY: How would you describe your method/approach in cutting a Docci?
NIKKI: My approach tends to differ from project to project. But what I like to do is watch all the raw footage without making any cuts or ordering it. I just make notes on paper. I then let it rest in my head, I give myself some space and in that time figure out what narratives started to form while I was watching the visuals, what were the most compelling aspects. I then work out a structure, it may be linear or completely temporally experimental. I try to work out a narrative flow that draws one in, gives some arcs and keeps you enthralled. I look at the character, or the narrative thrust and plot the development points. Depending on the director, this could be where we begin discussion and take about what the vision is for the film, and how best to achieve it. I also try to work out what kinds of visual motifs exists in the story, and of course in the footage and so begin thinking about a style for the film. Then slowly but surely I start refining my ideas by experimenting with them in the actual edit. Only after several breakdowns, recuting, uncutting the recut, and then cutting a new cut do you get to the final piece.

CUTAWAY: To what degree do you focus on Sound during your cutting?
NIKKI: Sound is a very important part of editing. Depending on the project audio can be a very fun aspect to play with in the edit. Creating a good sound design has raise the bar of a film. Like everyone, I just watched Black Swan, and the sound design was something that stayed with me.
 This project had many montages cut to the beat of music, so a lot of time was spent choosing that music. Dialogue editing is also important, and one needs to pay close, close attention to audio. Not just the flow of the words, but the delivery.

CUTAWAY: Are you involved in other aspects of Post Production?
NIKKI: I often collaborate with the online editors and brainstorm ideas. But I leave the actual work of online to the pros."

13/02/2011

Talking with Angus Wall & Kirk Baxter [Interview]

"As a filmmaker, David Fincher has the reputation of an extreme perfectionist, so finely attuned to detail that he doesn’t trust anyone else to get even minor secondary shots. That vision earned him an Oscar nomination as the director of “The Social Network” – but what about the guys who have to work with him? While Mr. Fincher is celebrated for doing dozens and dozens of takes , what’s often forgotten is that other people then have to look at each and every one of those takes to put the film together. Apparently they don’t mind; the editors Kirk Baxter and Angus Wall, and the sound designer, editor and mixer Ren Klyce have all worked with Mr. Fincher multiple times, on films like “The Curious Case of Benjamin Button” and “Zodiac.” They are all Oscar-nominated for “The Social Network,” and are working with Mr. Fincher on his next film, “The Girl with the Dragon Tattoo.”
We got them together for a phone interview recently. Mr. Klyce called from his studio in San Francisco, Mr. Wall from his office in Los Angeles, and Mr. Baxter was in the building that Mr. Fincher owns in Hollywood, which he uses as a production hub. It’s a pretty distinctive location. “They’ve used it in movies – they used it in ‘L.A. Confidential,’” Mr. Baxter said. “It’s got a huge tower in the middle of it. It looks like someone giving you the bird.” They talked about cutting down Aaron Sorkin’s script without cutting too far, Mr. Fincher’s superior visual sense and his habit of talking to himself.

Is Fincher as exacting in the post-production studio as he is on set?

ANGUS WALL: Ultimately, he’s that exacting. He’s very good at giving you direction. He can advise you on how to think of something conceptually as well as advise you in the pronunciation of the word ‘the.’ I don’t mean to make light of that. There are times when the pronunciation of a word, particularly in this film, is critical. The nuance of how someone says a word is part and parcel of their particular performance. With a movie like this, with such an abundance of words and the fact that there are these elliptical conversations, where particularly in the opening scene of the film, they’re really having three conversations at the same time, it’s important that every possible nuance be milked.


How do you deal with that in the editing room?
WALL: It was a little too short at the first assembly. Because it was an 160-odd page script, there was a lot of pressure on ourselves that it not be 160 minutes long. As we were assembling, we cut things as tight as we could – we wanted things to be short. [But] when we first viewed the assembly, there were things that we realized blew past, that we realized we had to add – little things, like very little things, like frames, to have dramatic moments last. I think it was an hour and 57 minutes, and it’s just shy of two hours now.

So you barely added anything.
WALL: When a film is as ballistic as this one is, adding frames here and there actually had a pretty profound impact.
 
Do you have to deal with all 99 takes, or whatever, of every scene?
KIRK BAXTER: There are circled takes. He may shoot 99, but we may get, in that case, something like 60. It’s a lot. There are that many for a reason, because there’s a very specific thing that he’s going for. We actually use bits and pieces out of a lot of those takes. It’s not like there’s a hero take that has everything we want. We actually have to scrub every bit of those.
REN KLYCE: With the circle picks that you guys have with 60, we get all 100 takes of the sound. So after David has thoroughly exhausted what he can get, what’s in the bin from Kirk and Angus, then he’ll lean on the sound department to see, is there anything we haven’t found that we have to troll through. Sometimes David will watch, and he’ll start muttering whatever the line is – ‘It’s on your blog, it’s on your blog,’ by Eduardo’s character – and he’ll be saying it in a way that he wants to hear it. So you know that’s something David isn’t satisfied with.
BAXTER: Yeah, you always have one ear on the back of the couch listening to him. He’s usually after clarity and simplicity.
WALL: There are instances where he does just three takes.

Do you ever go on set?
BAXTER: Rarely. I tend not to enjoy it. I don’t like seeing the surrounding of the set, I don’t like knowing that it’s [false]. I take everything for granted, that it’s a real place.
KLYCE: The mood on the set can be stressful and oftentimes tense. You don’t want to have the memory of, that’s when David was really frustrated of such and such. There’s a different kind of layer of memory that gets put on a scene, whether it be a location or a sound stage, where your memory of it is ruined in a way. The rug’s been pulled out on you.
BAXTER: And then when David arrives and says, look at the cement between those bricks, it doesn’t look real –
WALL: He’ll really obsess over something your eye won’t really see. We worked on a film, “The Game,” and he was obsessed with the walls, they were slightly buckled. And he wanted it to be straight like marble.
BAXTER: I remember in ‘Benjamin Button,’ when he was concerned about [the young Cate Blanchett’s] wig, we were cutting the scenes with the wig on, he was saying the wig looks terrible, and I was like, is it a wig? It’s her hair! I couldn’t tell. He reshot it, and you look at the new scene and it’s like, that’s so much better. It’s only by going through David’s journey that you realize.

What do you think of your Oscar chances?
WALL: I think it’s impossible to predict.
BAXTER: I thought “Inception” was going to get nominated, so it’s hard to know what’s going on.
WALL: Unless it’s a movie that’s cut where the editing is very apparent –
Like “127 Hours,” which was a surprise nominee in that category?
WALL: That’s a movie where the editing is in your face. Editing is a tool for expressing something. In “Social Network,’ it’s a different thing. I don’t know what it is specifically – it’s trying to immerse you in an experience so the boundary between the movie and the viewer disappears.
BAXTER: Essentially all you are doing is servicing the story. I find it very difficult to speak about in these kind of moments – it really is just all about those elements coming together. Because you’re cutting fast or cutting slow or letting that moment resolve. It’s hard to pinpoint when it works. It’s easy to pinpoint when it doesn’t.
WALL: It’s hard to call out one part of the film, as a craft, it’s hard to extricate one part of it. It’s wonderful to see the movie get attention. I truly don’t think any one of us thought that was going to happen.
BAXTER: I said it out loud! We’d all just come off ‘Benjamin Button.’ I said, this is an odd movie for us. But ultimately, the best editing Oscar should go to the best-told story. Were we the best-told story? I don’t know."
By Melena Ryzik on February 11, 2011.
Source: http://carpetbagger.blogs.nytimes.com/

12/02/2011

"A Ballardian Collection" [Nicolas Davenel video]

Homenaje al escritor de ciéncia ficción J.G. Ballard:

Director: Nicolas Davenel. http://www.nicolasdavenel.com/
Music: Apparat.

"Heart Of Stone" [Minitel Rose videoclip]


Dirección: Nicolas Davenel & Thomas Delebecque.

"Time For Nothing More" [The Parisians videoclip]


Dirección: Nicolas Davenel & Thomas Delebecque.

Chad Beck habla de su escuela, The Edit Center [Entrevista]

"Para Chad Beck, la decisión de ser montador fue fácil de tomar. Desde sus principios como estudiante en el New York-based Edit Center, Beck le cogió gusto al arte con una claridad que viene de una pasión verdadera. Sus habilidades le han llevado a posiciones de ayudante de montaje en grandes proyectos como Palindromes (Todd Solondz, 2004), The Motel (Michael Kang, 2005), el cargo de montador asociado en Half Nelson (2006) y, después, co-montador en documentales como Odyssey In Rome (Alex Grazioli, 2005) y No End In Sight (Charles Ferguson, 2007). Debido en gran parte al encomiable montaje de Beck, No End In Sight, un documental de la guerra de Iraq, ganó el Premio Especial del Jurado en el Sundance Film Festival de 2007.
 [...]

Daniel Fritz (MM): Como alumno de The Edit Center, les has servido para presumir. Además de haber hecho seis proyectos en los cuatro últimos años, también has regresado a The Edit Center como profesor. ¿Tienes sentimiento como de realizarte? ¿Un sentimiento que has construido como montador y ahora eres capaz de "devolver" al sitio que te lazó?
Chad Beck (CB): Es genial regresar a The Edit Cente, sobretodo porque siento mis origenes aquí. Es una escuela llevada por montadores, y el espíritu del sito es muy positivo y académico. Hay un sentimiento de comunidad, verdadero. Conseguí empezar como estudiante en el curso de seis semanas y aprendí el oficio de algunos de los grandes montadores que enseñan aquí. Es emocionante estar de nuevo y compartir mi conocimiento con otros.

MM: ¿Qué es lo que más les sorpende a tus alumnos cuando empiezan a trabajar como montadores?

CB: Creo que aprenden rapidamente que la responsabilidad cae en ellos. Es facil quejarse por las limitaciones del material, pero cuando este te llega, tienes que arreglarlo. Todo puede ser arreglado. La medida en que puedes coger una escena y convertirla en algo considerablemente mejor (con un poco de suerte) es lo que les sorprende (e inspira). Eso todavía me sorpende a mí.

MM: ¿Qué te hizo convertirte en montador?

CB: El montaje siempre me había llamado la atención. Desde que tengo memoria, mi mente siempre ha estado dándole vueltas a las imágenes y a los sonidos. Para mí, la parte más excitante del proceso fílmico. Incluso con la mínima cantidad de material, las posibilidades son infiitas. Puedes hacer de un acting mediocre uno genial y de un material soso, uno a destacar. Yo también estoy obsesionado con la estructura. Me encanta la cámara, pero la artesanía que requiere un corte lo es todo para mí. Hay siempre algo nuevo que aprender, ya sea una técnica narrativa o un poco de conocimiento de técnico.

MM: Tu película más reciente, No End in Sight, es un documental, como  lo es Odyssey in Rome, que editaste en 2005. ¿Cómo de diferente es el montaje de una película de no-ficción a un largometraje como Half Nelson or Palindromes?

CB: Montar documental es muy diferente porque no hay guión. Te dam cientos de horas de material sin guión ni escaleta y tu trabajo es tanto escribir como editar. Con suerte, el director consigue los elementos que necesita para hacer una gran película, pero no siempre pasa esto. Es entonces cuando la labor de montaje se convierte en crucial. Tienes que ver cada frame del material objetiva y sistemáticamente hasta que una historia emerja. Ser implacable con el material es el único modo de progresar. Al llegar a la fase de montaje, largometrajes y documentales llevan básicamente el mismo proceso, que es la última parte de la escritura. Estás jugando con la estructura, re escribiendo, ajustando aspectos del guión e implementando los mínimos aspectos (música, diseño de sonido) para llevar la película aún más allá. Siento que el conocimiento de los dos procesos [montar ficción y montar documental] complementa al otro, pero normalmente los documentales son más duros.


MM: Has editado documental, drama, comedia… ¿Hay algún genero que no hayas hecho que te gustaría probar?

CB: Las películas de acción.

MM: ¿Cual sería el proyecto de tus sueños como montador?
CB:
La películas de Bourne. No creo que dejara alguna vez la sala de montaje si tengo que trabajar con ese material. Y puedes decir lo duro que trabajaron.

MM: ¿Qué es lo siguiente para tí?
CB: Estoy acabando el último documental de Edet Belzberg (Children Underground). Después de eso, ni idea."

Interview by Daniel Fritz on November 18, 2007.
Translated by Pablo Hernández.

08/02/2011

Montar con archivo


SI PICAIS EN LA IMAGEN, VEIS LA ENTRADA DE KIRSTENSTUDIO.
Kirsten escribió:
Lo bueno de trabajar con material de archivo es que es divertidísimo buscar y encontrar distintos archivos que pueden hacer que algo funcione. Es incluso mejor que si tu presupuesto te permite contratar a un buscador de archivos experimentado que te da lo que estás buscando.

"Va Va Voom" [Renault Clio commercial]



"'Va Va Voom' tiene su historia, tras la introducción del comercial hace unos años atrás, tuvo tanto éxito que la frase se introdujo en el Diccionario Inglés de Oxford del 2004, y se definió como 'la cualidad de ser excitante, vigoroso y sexualmente atractivo'".

"Latin America" [Holy Fuck videoclip]


Dirección/montaje:Yoonha Park yoonhapark.com

"Photojournalist" [Small Black videoclip]


Director: Yoonha Park yoonhapark.com
Editors: Michael Garber & Yoonha Park

04/02/2011

"De perdidos al río" [Jaime Urrutia videoclip]


Dirección, guión y montaje: Jota Aronak. http://www.jotaaronak.com/
Ayte. montaje y video-assist: Pablo Hernández.

NOTAS DEL MONTAJE Y EL LENGUAJE UTILIZADO:
- La idea general que tenemos de la estructura de este videoclip es una historia de unos personajes y un playback del artísta en paralelo durante toda la canción. Al final veremos algo más, que el artista es uno de ellos, uno de esos hombres que se tiran de perdidos al río.
- Antes de que empiece la letra de la canción, los planos nos presentan una localización fangosa, entre la que se mueve un personaje. También hay una anticipación del artista con ese PD de sus pies.
- La canción empieza y con ella, vemos PP del cantante. Hemos entrado en la idea general que comentaba.
- Unos puntos de ruptura con esta estructura lineal están a partir del 0:23. Cuando vemos a un hombre, por primera vez, ya cantando. Descubriremos que este hombre será el que el pescador que nos presentaban al comienzo de la canción, va a pescar en este momento. Una vez que el pescador le despierta de su letargo, vemos al hombre en el mismo plano que antes, pero no llega a cantar. Creo que en cuanto a estructuración está bien resuelto, pero no me acaba de gustar que haya una falta de interpretación posible.
- Planos del artista cantando y tocando guitarra.
- Elipsis a los dos hombres vistos anteriormente remando en una barca. A partir de aquí empezará la búsqueda de más hombres. Nos damos cuenta de que todos son músicos, el primero canta, el segundo toca la guitarra, el siguiente el saxo y el último: Jaime Urrutia. Esta estructura está pensada así desde guión asociando cada nombre e instrumento a la parte de canción que toca.
- Hay dos planos que los veo prescindibles. En el minúto 2:33. Le dan variedad al videoclip. De hecho en muchos videoclips, se utilizan planos que no tienen por qué contar nada, simplemente dan variedad o quedan bien estéticamente. No estoy diciendo que este tipo de planos en otro tipo de videos, o peliculas, no me gusten. Digo, analizando, que creo que no corresponden con el lenguaje del conjunto.
- El orden de planos de la caída al agua final, me parece muy eficaz.
- El etalonaje me gusta. La idea general que se tenía de la fotografía era de algo más frío, pero el sol cambió el rumbo.


Una muy buena, y primeriza, experiencia. Gracias a todos.

03/02/2011

Genie 2011: Meilleur montage [Nominations]

Nominations du prix canadienne:

"10 ½":
Montage: Valérie Héroux.
 
"INCENDIES" ( GANADORA):

Montage: Monique Dartonne.
"PICHÉ: ENTRE CIEL ET TERRE":
Montage: Yvann Thibaudeau
"SPLICE": 
Montage: Michele Conroy.

"TRIGGER":
Montage: Matthew Hannam
 
"La cérémonie des 31es prix Génie sera le jeudi 10 mars 2011"

Get, FCP Phonetic Search Tool [Now Available for Rent]

 Nueva aplicación de Final Cut Pro. Un buscador rápido y, supongamos, preciso, dentro del propio FCP que nos ayuda a localizar el footage que queremos por medio del audio!! O como ellos dicen en su web: 

"An exciting new search tool for Final Cut Pro (FCP) users, providing a fast and accurate method for locating footage based on the spoken dialog within your content." 

Herramienta que veo fundamental para documentales. Ejemplifico un poco lo que he llegado a entender de su funcionamiento:

La propia aplicación, reconoce el audio de todos los clips de video (footage) que tenemos en el browser. Dicen, y claro está, que dependiendo de la calidad del audio de los archivos, el reconocimiento que podrá llevar a cabo la aplicación será mejor o peor. Flipo bastante. Teniendo esta aplicación, si estamos buscando entre mucho material de entrevistas, material de archivo, etc, todo lo posible en relación a crisis financieras, por ejemplo, con este buscador, se puede localizar el momento preciso en el que se pronincia crisis financieras. El ahorro de tiempo que supone esto es increíble. Algo revolucionario que hace que "mi técnica" de ir haciendo marcas en el momento preciso en el que hay algo a destacar, se quede MUY obsoleta.

Por el momento hay tres versiones de tres idiomas disponibles. La versión en castellano es una de esas tres!

Para ir terminando, ahora que la emoción todavia puede estar latente, deicr que el gran PROBLEMA que le veo yo, y repito: yo, es el precio. En los links que pongo a continuación se puede ver esto:

http://www.av3software.com/ (Web oficial del producto donde hay mucha info y algún testimonio de montadores que lo han usado).
http://www.getphonetic.com/
http://provideocoalition.com/index.php/ssimmons/story/get_-_phonetic_searching_for_final_cut_pro/ (Para el que asimilar información en otro idoma le resulta más sencillo leyendo).

02/02/2011

"The Wilhelm Scream" [James Blake videoclip]

Sencillez, y pelos milimétricamente despeinados.

Dirección: Alexander Brown.
Editor: Thomas Grove Carter www.thomasgcarter.com

Sundance 2011: Mejor montaje documental [Winners]

En el último festival de Sundance, Sloane Klevin, montadora miembro del jurado,  entregó los siguientes premios:

Ganador del premio al mejor montaje documental de EEUU:
"IF A TREE FALLS: A STORY OF THE EARTH LIBERATION FRONT":


Montaje: Matthew Hamachek y Marshall Curry.
Ayte. montaje: Tina Grapenthin.
Dirección: Sam Cullman y Marshall Curry.

Ganador del World Cinema Documentary Editing Award:
"THE BLACK POWER MIXTAPE 1967-1975":

Montaje: Hanna Lejonqvist y Goran Hugo Olsson.
Dirección: Goran Hugo Olsson.

01/02/2011

Mary Sweeney talks about "Mulholland Drive" [Interview]

"Is a movie made in the writing, in the shooting, or in the editing room? While films such as Wild at Heart, Lost Highway and Twin Peaks could only be constructed from the mind of David Lynch, you'd be hard pressed to find an editor more capable of bringing the complexities of his vision to the screen than Mary Sweeney. Born and raised in Madison, Wisconsin, it was while living in Paris that Sweeney first became interested in film criticism. As a graduate stIssueudent at NYU, Sweeney's work in Cinema Studies steered her toward a career in editing.
Beginning her career as an apprentice sound editor on Reds, Sweeney moved on to work as an assistant editor on Lynch's Blue Velvet. Since then, she's worked on each of Lynch's films, and has ventured down the road of producer as well. In 1999, Sweeney even found herself in the role of screenwriter, when she penned the script for the remarkably poignant The Straight Story.
Lynch and Sweeney's latest collaboration, Mulholland Drive, is engrossing moviegoers across the country as it tangles (and untangles-then tangles once again) a psychosexual web of deceit and greed within the Hollywood film community. Like most of Lynch's work, the story is hard to synopsize, and even Sweeney wouldn't try. Here, she talks with MM about her longtime collaboration with one of the world's most original directors, as well as balancing the roles of editor and producer and the struggles of being a woman in what many still see as a man's industry.

Jennifer Wood (MM): One of your first jobs was as an apprentice sound editor on Reds. How is the editing of sound different from the editing of images? Film is obviously a visual medium, but how important is the auditory aspect?
Mary Sweeney (MS): The sound is very important. Picture and sound editing are ideally done together, and what is difficult about sound editing is the alienation from the work that comes with that division of labor. When one edits, you can make the sound and picture play off of one another, complement and enrich each other-but as a sound editor you don't get that pleasure. To be sure, there are many brilliant sound editors who can bring a great deal to a picture that is locked-they just unfortunately can't play with the picture.

MM: You began working with David Lynch on Blue Velvet and have only cut with him as director. How has your working relationship changed from Blue Velvet to Mulholland Drive?
MS: I was an assistant editor on both Blue Velvet and Wild at Heart. Consequently, I didn't cut anything on those pictures. My relationship with David changed when I began cutting on the Twin Peaks TV series. His editor Duwayne Dunham left to pursue a career in directing and I began to edit David's TV, then feature film projects. I have now been editing everything he has done for the past 10 years. We have developed a shorthand of sorts. Suffice it to say that I understand very well what he wants from a scene and how to get the feeling he wants.

MM: The first feature used an AVID on was The Straight Story. What did you cut Mulholland Drive on? What are some of the benefits you found?
MS: I had been cutting commercials on AVID for a number of years before The Straight Story, though that was the first feature I cut on AVID. I was familiar with the system and really liked using it on the feature. I cut Mulholland Drive on AVID as well. The benefits are especially great during the first assembly. The accessibility of the dailies makes a huge difference in the amount of time it takes to assemble. You don't feel so much like you're drowning.

MM: One way to describe David's films is 'non-linear.' As an editor, how does this structure affect you? How close does the finished product remain to the shooting script, and how helpful is that script to you in the editing room?
MS: David follows his scripts very closely. I rely heavily on the scripts because I don't always know what the hell is going on in the beginning, to tell you the truth. But the beautiful part about working in post with David is that one has the time to discover all the layers and go deep into his world. I never know where the point is when I've entered into the world of the film and know where I'm going and what he's doing. It is usually an unremarkable passage, but all of a sudden I just understand.

MM: With The Straight Story, you not only produced and edited the film, but took on the role of screenwriter for the first time. Did you approach the writing of the film with the editing in mind?
MS: It is certainly the case that my screenwriting is heavily influenced by my editorial experience. I didn't think of cutting the film as I wrote it, but my instincts as an editor informed the writing-where things felt slow, how to make transitions, camera angles, etc.

MM: Did your role as screenwriter make the editing process more difficult? Deciding what to cut out of the film?
MS: Oddly, when I got down to the cutting of the picture, my old editor's hat was firmly in place. I was interested in making the picture work and had no qualms about losing things that I had written if those losses made the picture better. I didn't feel any personal investment at that point. The two faces of Eve.

MM: Mulholland Drive was originally set to run as a television series. Do you think the editing process would have been different if it were a series instead of a film? You've also edited several commercials for David; what is the difference in editing for film versus television?
MS: Editing with David is always the same; we edit to make the piece work. The difference from TV to commercials to features is in the content, not necessarily in the editing or shooting style.

MM: Of all David's films, Mulholland Drive just might be his most complex-there are so many stories going on at once...
MS: The film is very close to the script. The numerous story lines make it a lot of fun, but one has to adopt a flexible sense of logic. There is a logic in all of David's films-it's just not a traditional one, and for me it makes my work much more interesting. I feel like a juggler walking across a tightrope and I am pretty focused on making sure that I absolutely stay on that tightrope while the balls are revolving in the air.

MM: What is the one word you think David Lynch would say describes you best?
MS: Gristle.

MM: How does this help you in your success?
MS: I'm tenacious, which leads me to follow through on things… it's a trait that is in somewhat short supply in our business."

by Jennifer M. Wood on February 3, 2007

"Flames" [Karl X Johan videoclip]


Director / editor: Gustav Johansson http://www.gustavjohansson.com/

"ghetto burnin" [Phonat videoclip]


Dirección: Hello, Savants (Andrea Staiano, Rocco Pezzella, Francesco Castellani, Stefano Paron) http://hellosavants.com/