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Keyboard Shortcuts for Avid February 24, 2009

Posted by Norman in Notes.
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Here’s a great page, from Moviola Digital, which lists a slew of shortcuts that come standard on Avid.


Notes from our Music Supervisor April 18, 2007

Posted by Norman in Notes.
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NOTE: This duplicates the notes Wendy sent out in the email.

Based on v499, I believe there is one major overall issue –the fight between traditional, orchestral score and the more
‘real music’ songs. Both are great, but they don’t always work back to back. One solution is to choose one or the other, but
I think we can get away with it if we allow the orchestral numbers to be as invisible as possible, as in many other films.

Also keep in mind ‘whose scene it is’ when choosing music… Sometimes the tone is hitting off mark because it’s
wallpapering rather than illuminating the scene’s purpose, ect. I personally have been having a whale of a time finding
music for Greg’s minimini, if anyone has any insight to what’s going through his head please let me know.

Generally, I think it serves us well to use music as transitional lube. I love the parts where score is used just to grab us out
of one scene and plop us in the next. Short and sweet. Let’s try to get on that page… see notes below.

Here are some more specific notes on the musical direction of SNOFHYP in chronological order. Based on v499.

1. transition out of David’s bathroom of dying. “track 5.” Very effective cue, humorous, way charming. However, it might
better as a short transitioner, rather than to play it all the way through Richard’s scene. End cue earlier, perhaps right
after the transition is psychologically complete.

2. “boom boom ba” out of cupholder scene –works.

3. “track 21” transitions us out of Steven’s car to the next scene, and is used in 4 places. Super fun song, really energetic.
This works great the way it’s used, I like the way it moves the story forward. The style of music stands out a bit, but it
doesn’t bother me for some reason. but see note #4…

4. welcome to the beach scene-“track 19.” This one really stands out following the heels of “track 21.” It’s a very robust,
orchestral, grand score… Great pick, but seems to clash. Confer this cue with the cues from note #3, make them friends.
Maybe something with less colors? Also the cue seems to run a bit long.

5. “feelflows.” dream sequence. works, fun, dreamy. i want to smoke.

6. just after sex-sounds scene, enter Ted. “suicide”. This sad song comes in very abruptly after such a ‘comedic’ scene…
maybe it’ll work better if the cue comes in AFTER we establish the new scene, the new mood, Ted… that way it won’t feel
so out of the blue, and eventually so on-the-nose. It’s a very dramatic song.

7. after suicide talk. “track 2”. works okay pokay.

8. Trish wakes up the next day. “track 9”. Sort of an abrupt cue… kind of reminds me of old Italy for some odd reason. It
comes in strong, which conflicts with Trish’s emotional state right then. Maybe we could move the cue later, after we see
Trish’s unknowingness, or switch it for a less heavy song. Try eliminating the cue, too, maybe it doesn’t need it. May be a
good rest after all that’s happened. (the calm AFTER the storm…)

9. Wedding. “track7”. works fine, nice and short, totally cool. “track6” works great too.

10. Richard’s speech “track1”. undecided-wendy. Can’t put finger on it, but the cue timing is off or the tone… unhelpful-

11. End of wedding. “you still believe in me.” music switches gear into guitar acoustic feeling which isn’t really consistent,
but it does work.

12. Camp Jung. “track3”. a sentimental cue, moves rhythmically, I dig it. But also it’s kind of an “End of Summer Camp”
kind of scene, and I’m not sure if the cue captures that. Just throwing that out there. Also the spotting seems a little off… try
ending sooner?

13. hug with Richard. “Si Paloma.” great song, it almost feels more fitting for the scene than the cue before it. The two
don’t seem to neighbor well though.

Thanks for reading.

Love, Music Superman Wendy

ps: I’ll do another round of notes mid-week, how does Monday night sound?

Low Budget DI work April 16, 2007

Posted by Norman in Notes.
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This is an article from Blackmagic Design, about the creation of a DI for the low budget independent movie, PUPPY.

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Notes on v499 (LOCKED CUT!!!!) Post yours here. April 5, 2007

Posted by Norman in Notes.

Here are my notes.

Scene 3-5
I think we could take a tail trim on David at the end of the scene, so he doesn’t bounce around so much.

Scene 9
The Homeless Man’s reaction at “Divorce Court” I think we have one too many reactions from this guy and this one seems like the most expendable.

Scene 14-15
I kinda like the music here. What does everyone else think?

However, you should EQ the music when he is approaching Tammy, so the music is coming out of her iPod earbuds.

Scene 22
Music start seems late. I’m wondering if you can start it as he exits the shot with Spooner and Tammy. If not, start it on the cut to this scene.

wanna be music supervisor April 5, 2007

Posted by mebethe in Notes.

and track the music and score???

Tim and Wendy will think about it – oh Wendy will do it.

v499 April 5, 2007

Posted by mebethe in Notes.
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Notes from picture lock cut

Put your notes up on the blog fast

2 or 3 big things have to do with intercutting walk and talk after skinny dip, music in general, chain gang, differentiating between new things that are funny because they are new or because they are funny.

Ryan – thinks pacing is getting better

Jon – all the jokes are over written – and we are seeing how to tell the joke the quickest

Norm – much less fat in this film – sometimes I would like an extra beat or something

Ryan – laughed at rape beat

Tim – because the look was so bazaar

Norm – been after u to add that beat for ever

Ryan – he can be really happy – or none – or sad – so trying.

Norm – my note for that has been to always motivate David’s line – but if everyone is talking it is less of a punchline


New Post Schedule Up April 5, 2007

Posted by Norman in Notes.
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Post Sked as of April 5

Music Suggestions April 1, 2007

Posted by Norman in Notes.
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[NOTE: This is, more or less, the same content as the email I sent Sunday evening.]

I’ve given Sabi and Gordon some musical choices, and a number of you have likewise sent some cue possibilities.

Let’s put all of the new music choices into a common bin that everyone can access.  It will be good for talking points, but will also be good for reusing cues.  We probably don’t want to reuse cues, exactly, but if we settle on a musical style from a previous film, we can then get the rest of the cues from that film (if available) for everyone to us.  Someone will have to be a music supervisor, to make sure that we’re not using the same piece over and over and over again.


Comments on v399 (you should add yours to this post) March 30, 2007

Posted by Norman in Notes.

Main Titles
Now that we are about to lock, here’s a question. Is this the best idea for the lips? Are there any others that might be funnier.

Scene 1
I wonder if these are the best shots all the way through. there are one or two of them that seem sorta weak.

Scene 3-5
I wonder if we should lose David back in the bathroom and go right from him saying goodbye to Dana to death.

Death Walk
Music. We talked about it in class. I’ll try and send you a choice or two.

Everything needs to be super tightened in the walk. Go for the funniest moments and build up to the funniest, before he pushes into the office building. I think you’re initial instincts that the intersection stare is the funniest was correct. Bald-headed guy’s reaction is funny. Death walking by the hansom cab isn’t funny as long as it is.

Scene 11
This scene in the studio can be tightened up a little too — especially around the Producer’s reactions.


Congratulations on Today’s Cut!! March 29, 2007

Posted by Norman in Notes.
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Shut Up And Sing — David and Dana walk and talkWow. It’s awesome to see how far this has gone in the short time you’ve been editing. Congratulations to all.

To reiterate something I said in class — now that we’re in the home stretch, we have to be careful about what we do. It would be crazy to do big drastic stuff. At this point, we should have narrowed down what it is we’re testing (this is, of course, the fallacy of this class — in the Real World, we’d really be only about 1/3 of the way through editing.

Still, it’s worth it for us to simulate a real locking situation. So, pat yourself on the back and get serious about re-examining what you’ve done (as you’ll see from some of my comments) . In many cases, I will go back and look at the first full cut (the editor’s cut, usually) again, just to remind myself of lines and scenes and actions that have been taken out, and see if I miss them now.