real actual dragon (θΔ). follow for weird photography stuff and the occasional rawr

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in reply to @wolf-apparatus's post:

I am 3/4 through and I am impressed for a first video. it's a topic I knew some things about but still enjoying hearing your perspective, and the technical aspects are solid, audio is more than usable, good lighting, good choice on the B angle.

The only real standout thing is pacing. I find your delivery a bit too deliberate and my brain buffer is underrunning, but that sort of thing just improves with time and practice

I have many other thoughts but I don't want to be the guy with years of experience coming in and just explaining exactly how I would do it in the context of a commercialized channel with a general-interest audience etc, unless that's what you want to hear. Mostly: Good work!

Yeah I realized that about the pacing the minute I started editing - I probably just need to, like, read a novel off the teleprompter before I start shooting the next one, it’s gonna be a practice thing

And, seriously, for my first attempt here I want to hear every word of criticism you have for it. I dunno if I’ll be able to integrate it all for next time, but I want to have some idea of what I should be working towards

Holy shit dude that's a fuckin gold mine. Couple things in there are "yeah I noticed that in editing and I figured I'd let it slide this time and do better later" but 90% of it is either problems I didn't know I was having, or problems I did know I was having but didn't know what to do about.

I put together a more detailed response and then it got long, so:

https://cohost.org/wolf-apparatus/post/766970-put-this-together-ju/d9fe526a4e854830ae88362eba7eeefd

Overall - still very happy with how it came out, and I think I'm going to be able to do a lot with those suggestions to make my next video even better!

I'm extremely pleased that this wasn't upsetting to read bc I was worried lmao. looking forward to how you improve!

Wanted to address what you were saying about motion graphics. Yes, they're infuriating. Don't do them, don't touch keyframes unless you absolutely have to - I actually used to use keyframed anims for everything, including my intro and outro, and I've dispensed with 95% of it and it made my life so much easier.

In Resolve (I believe you're using Resolve) you can get basic anims down to a rote science that takes a couple seconds and no problem solving. It requires a little bit of mise en place, and hey, i HATE customizing the UI of anything i use, but this is worth it.

First, I favorited Drop Shadow in the effects bin. That puts it permanently in the lower left corner of the screen, and any time I put a graphic on the timeline I just drag on a shadow, bam, done.

Second, I turned on Power Bins, from the ellipsis on the media browser. A Power Bin is a media bin you can access from all projects. Then, drag a text object onto your timeline and adjust it until it looks legible and decent. For me, that was yellow superbold italic sans serif with a side shadow and a stroke, but go with your gut. You want it fairly sizable. Now, drag that object off the timeline and into the Master power bin, and now you have a template. You can put that same text into every project by just dragging it out of the power bin.

You can do the same with a color matte. Drag it onto the canvas, color it, crop it until it covers the right third or w/e, then put it in the power bin. Now if you want onscreen text, you can assemble it with two drag operations.

Finally, get a standard transition you like. I use "Push" but you can use whatever you want, and tbh the default is fade, and you can just keep that if you want. Apply that transition to the beginning of an object on the timeline, then adjust it in the sidebar to look the way you want. Specifically, if it's a motion transition, set the Ease option - try each one and see what you like. Once you're done, right click the transition on the timeline and Save Transition Preset. Now you can find that in the Video Transitions section of the toolbox, right click it, and set as Default Transition.

Now, when you want to put something on the screen, you just drag an image to the timeline, drag a drop shadow on it, right click the beginning and end and add the default transition, and finally just put it wherever you want. If you want text and a backdrop, just drag those out of the power bin.

It sounds tedious but it's absolutely worth the effort to set up, it reduces the effort of on screen graphics to almost nothing, and when something's free you'll be more likely to do it.

In other news: Conclusions are the hardest part of every script, and the pit you fell in is a common one for me. "I have all these ideas I want to say" and "here is how they connect" is such a hard thing to nail down. Sometimes they just don't and you have to reconcile with that.

And re the zooming in and out: Oh yeah, I saw you were using it some, and it worked! but my advice is to do it like five times more often. it reaaaaaaaally helps pacing.

glhf!!

I'm extremely pleased that this wasn't upsetting to read bc I was worried lmao. looking forward to how you improve!

If you told me all that unsolicited it would have ruined my entire week, pretty sure. It took some strength to come ask for it, but I knew the video was already good enough to put out there and anything I'd hear back was just going to help me make the next one better, and I got through it.

Also wow finally some DaVinci Resolve advice that isn't a video tutorial

Oh shit right I was going to make another comment

You may not have actual color contact sheets handy - but the viewer doesn't know that, and what you do have is a big color printer. Just make a fake contact sheet in Photoshop and print that. Nobody will know the difference. Movie Magic!

its a really frustrating conclusion, because ive found its a little pricey to have it done as part of the development process at a lab unless i send it away for ages, and on top of that, i want to support my Local Guy who does film development (here in chicago it's the owner of CSW Film Systems in the west loop), but it sounds like id either have to go with a place that does both at once or incur even more expense for scanning 😭 i know film photography isnt a cheap hobby, but as someone whos pretty broke it just makes me sad...

I had pretty much the exact same experience you had with the Nikon scanner but with a Minolta Dimage Multi Pro and a PowerBook G4 with the Minolta software. Beautiful results straight from the scanner but it took more than an hour to scan a full roll of 135 at high quality. I ended up just getting lab scans once I found a reliable lab, and I still have an Epson V750 that does medium format very well.

The consensus right now for home scanning is DSLR/mirrorless on a copy stand, a high CRI LED light source, and a film holder like the Negative Lab or Valoi offerings, and Negative Lab Pro for conversion. It's definitely more complicated than a dedicated scanner but it's possible to get a full roll digitized in a few minutes once the workflow is optimized.

I’ve heard the higher-end Epson flatbeds are actually decent, I just have a bad taste in my mouth about them because of how crappy the V600 is. Probably will try one someday

I’ve done a bunch of DSLR scanning for 35mm and it’s pretty effective, I just don’t like having to get the setup tuned in every time and I keep getting ambient light trouble (plus no digital ICE support of course)

oh i just realized i didn't comment on this proper! great work! its a bummer that the conclusion seems to be "there's just nothing an individual can really do in this space unless they have a lot of money and a lot of time on their hands" but your delivery of that conclusion and related information was really interesting and well-done!