Deconstructing the Edit: Week 1

Deconstructing the Edit: Week 1


Hello and welcome to my creating room my
name is Brooke Shaden and I’m a fine art photographer and general artist because
it’s really hard to define what we do these days but one of the things that I
do is Photoshop and I thought it’d be really fun to create a new series all
about breaking down images in Photoshop talking about why I made them how I made
them and showing all the steps in between so join me we’re going to make
these quick informational inspirational videos and they’re coming out of the
week so let’s jump in I’m in Photoshop right now and I tend to work in
Photoshop exclusively so I create with a camera specifically a Sony camera and
from there I take my images directly into Photoshop from bridge so that’s
we’re working today is in Photoshop this is my workspace as I would normally have
it set up I really want to work to demystify this process because creating
does not have to be difficult coming up with amazing art that’s the challenge
but it doesn’t have to be difficult to make something and I want to break down
those barriers so I’m a self portrait artist and that means that I create by
myself so I take my camera my tripod and myself and whatever other props and
things like to lug with me out into the field meaning literal fields most of the
time I shoot on location a lot and I shoot wherever I can get to so fields
forests mountains creeks my bedroom outside of my house wherever I can I
don’t have a studio I don’t have an assistant I don’t have big budgets I
just have me and what I can carry and that’s what we’re gonna look at in
Photoshop so diving in here this is an image of mine actually from 2010 maybe
even 2009 I’m not sure but it’s pretty old but it’s one of my favorite images
that I’ve had made and the first thing that you’ll
notice if you look at the layers palette in Photoshop is that I only have three
layers here for this image it’s just some texture that I’ve put on top and if
you want any of my textures they’re totally free to download on my blog if
you go to promoting passion comm you’ll see a link there for free textures so
that’s what I’m using but the thing about this image is that I have edited
totally destructively in this image because when I first started in
Photoshop I had no idea what I was doing I still largely don’t know what I’m
doing but I’ve got a pretty good system now
but back then I didn’t know not to combine my layers because I would lose
all of the steps of my work so this image isn’t gonna be that much fun to
deconstruct because it’s just this just these textures popping on here so
instead I thought that we would open up some of the original images this is the
actual original image that I started editing and you can see from this to
this what changed maybe just a little bit of the skirt was added on from this
image so let’s dive in and edit this from the beginning and just see where I
would start and how this would end up so here we’ve got an image that is the
normal 2 to 3 ratio of a photographic frame and I like to get rid of that so
I’m immediately going to start cropping this image and for the sake of time
we’re just gonna crop so I’m gonna leave that oh there well I can use my arrow
keys to get it exactly where I want it and say ok now I know that I did use
some of this skirt so I’m gonna use my lasso tool to just grab some of that
skirt there and copy it and paste it over and I’m just gonna start to blend
the skirt in there to make a little bit more of a round shape it’s not quite
perfect for me it’s not totally the shape that I want but that’s ok cuz we
have so much room to play so if I want it I could go into edit
transform work and just start moving this image around wherever I think it’s
best to create whatever shape I want and we have that ability in Photoshop
because that’s the beautiful thing about creating is that we have this ability to
create something out of nothing to make something tangible it wasn’t there
before so why not manipulate an image to be exactly what your imagination can
dream of that’s what we’re doing I’ve got layer one here that’s my little
skirt layer that we just put on and I’m going to create my little layer mask
here and in order to erase some on my brush tool on black my opacity all the
way up and I’m just right clicking to make sure my hardness is down and I’m
just going to start to erase any hard edges that there might be just right
through there good it looks pretty good to me um but you’ll notice one glaring
mistake which is that we have a tripod in this picture so let’s get rid of the
tripod that’s on my background layer I’m just gonna duplicate that so that I can
go back if I mess something up here and with my clone stamp tool I’m just going
to get rid of those lights so really quickly just alt clicking to create a
set of pixels and then covering up the legs we don’t really want that there
because these shadows that we’re seeing are from the tripod so we’re just gonna
get rid of some things it doesn’t have to be perfect I’m not like going in for
every detail at the moment and that’s totally ok so we’re just getting rid of
some things and so now let’s take a look at this versus the original i’m gonna go
ahead and close this image because that’s all we really needed from it so
from this one to this one we’re looking pretty good I mean that looks really
so far with composition we’ve got a lot of work to do so if I’m gonna go in here
and start to play with the color the contrast things that I can see are
definite differences I’m going up to my layer one so I’m clicked on my top layer
and then I’m clicking on my adjustment layers and using curves and from here
I’m going to start to manipulate this image so that the blacks aren’t as black
the whites aren’t as white and then create some contrast right in the
mid-tones and you can see how that just immediately brightens things up and
gives it a lot more contrast I think that looks great so let’s look at this
again just that versus this we’ve got the contrast now that this image needs
so let’s go and make another curve you can autumn just do the same curve that
we had before but my brain doesn’t work like that
so I’m on a new curve on top of everything affecting all the layers
below it I’m clicking on blue and I’m just going to start to add a bunch of
yellow into this picture and I’m gonna do the same thing with the red just
starting to change the color profile of this picture so let’s click back so what
have we done here I think that what is missing is that there’s still too much
cyan but there’s also too much yellow in the face in the in the tone of the face
compared to this one so let’s see what we can do and I don’t know the answer
automatically to this question so let’s just explore so I’m going into color
balance because I know that back then I used to use color balance a lot and I’m
taking away the cyan adding red adding yellow we can always play with this
magenta slider but I tend not to so much and so we can see that’s getting a
little closer just a little right just a little but there’s more brown in this
image and so that makes me think that I either desaturated it or added a sepia
tones so let’s go into hue saturation and
see if desaturating helps and I think that that does help just a little bit I
still think that this image needs more contrast
so back in curves creating more contrast there and something that I think is
interesting about this image is that it has a lot of a lot of contrast and sort
of sparkle going through the dress so let’s go ahead and add that with this
lasso tool and I’m just going to select the areas that I want to be a little bit
poppier right click and feather do 150 pixels and I’m creating another curve
adjustment just in those areas just to make the dress really pop really stand
out awesome so now we go back and forth back and forth so it’s not perfect we
didn’t get it exactly where we needed it to be and a large part of that is the
texture application I love applying textures to my images so in this case I
would add a texture I don’t have the same textures that I used before for
this image so I have to find a new one I’m here in my textures folder and from
here I’m just gonna choose one that I think would be nice or maybe a couple I
think these two would be quite good so let’s bring those into Photoshop I’m
just opening both of them without making any adjustments they’re already in black
and white and I’ll talk more about that in future episodes so I’m taking the
texture over I’m gonna drop it on top and change the blending mode to soft
light that’s a little bit too subtle maybe to lighten and then we’ll lower
the opacity and you can see that it’s bringing the more earthiness to this
really lightening up the shadows so I’ll leave that as it is let’s grab this
texture as well just to get them both layered on there and see
thing with lighten and then lowering the opacity quite a bit now on those layers
I’m going to create curve adjustments and pin them down just to make the
textures a little bit darker and stand out a little bit more with contrast same
thing pinning it down adding darkness and contrast to the
textures but you know we can also add color back into the textures so I might
choose to add some red into that texture maybe on the other one I want to add
some yellow into the texture and this is going to allow us to bring some of that
earthiness into the image this one has a little bit more but like I said it’s
just a different image you can’t edit the same image the same way twice that’s
what I think and I really do believe that so I’m almost finished here and
we’re going to make the final comparisons between them I think it’s
looking pretty awesome though ready okay not bad for just a few minutes of
editing so in future episodes we’re gonna break down the images that I have
because I have learned how to save all of my layers and how not to delete them
so we’re going to go through so many of my prior images break them down talk
about the process but most importantly I hope that this inspires you to get out
there and create thanks for watching

Pinterest For Photographers | The Hidden Social Media Marketing Tool Trailer

Pinterest For Photographers | The Hidden Social Media Marketing Tool Trailer


– Pinterest is a place that people go to discover, to be inspired. And if you’re the type of photographer that creates inspiring images, well, then it’s kind of where you need to be. A lot of people think that Pinterest is only for mommy bloggers
and DIY craft experts. However, it’s incredibly misunderstood. 250 million people use the
platform every single month to create mood boards and to curate ideas for their next photoshoot. For a lot of photographers,
what’s blocking them is that they don’t understand
how marketing on this channel could help them grow their business. The secret of Pinterest is
that you’re using images you’ve already created. It’s only gonna take you
a couple of hours a month, once you set up your strategy. And that’s what we’re gonna teach you, how to market your
business with the platform. First, we’ll sit down with
a commercial photographer. We’ll show you how to take
your existing content, and show you how to connect
it to your target market to what they’re looking for
when they go on Pinterest. We will also sit down
with an event photographer and talk to them about the
successes that they’ve had on Pinterest over the last year. We’ll define all the confusing terms. We’ll talk abut how to
use a scheduling tool so that you don’t have to
be pinning every single day. Pinterest was made for photographers. It rewards imagery at its core. For you to gain more
visibility for your brand, more traffic to your website, to continue to grow and
expand your presence. I encourage you to take advantage of the step-by-step process
we put together for you.

Blue Friday Starts November 12th at PRO EDU | Black Friday Photography Sale 2019

Blue Friday Starts November 12th at PRO EDU | Black Friday Photography Sale 2019


(upbeat music) – Baba Kabokeh! Genie here, I’ve been getting all
these requests for AMA and I thought it would be kind of fun. (upbeat music) First question, from Jess. Why aren’t you in a lamp? Well Jess, there’s bottle genies, there’s lamp genies, there’s a box genie and they’re Diaper Genies. Clearly, I’m a box genie, which I think is a pretty cool thing. (upbeat music) Why are you blue? It’s a quality control issue. I would never trust a genie, who isn’t classic genie blue. Are you blue everywhere? – [Lady] What? Okay, next question! (upbeat music) Daenerys, when can I win
my 15 K shopping spree? Well Daenerys, we are
so close on this one. I can feel my powers growing. (whooshing) (upbeat music)

Blue Friday PRO EDU Is November 12th | Black Friday Photography Education Sale 2019

Blue Friday PRO EDU Is November 12th | Black Friday Photography Education Sale 2019


(upbeat instrumental music) – Here’s Genie. – [Announcer] Unbelievable. (laughing) – You know, I’ve been thinking.
Kind of stuck in this box and I’d love it if you
could help me get out. Life’s not bad in here. I’ve got central air, I’ve got WiFi, but I don’t have arms. (awww) So if I grant all your
wishes, maybe you’ll help me out of the box? What do you think? (cheering) And how do you help me? Tell all your friends about The Genie, because the more people that know about me the more powerful I become. (oohs) So what do you think? Help me out of this box? (clapping and cheering) Yeah? Baba Kabokeh. Well that’s embarrassing. I can part the Red Sea but I can’t close these tiny little doors. (mystical instrumental music)

(1 Tripod and 200 $ camera challenge) The LOOP  | Short Movie

(1 Tripod and 200 $ camera challenge) The LOOP | Short Movie


I hope it’s good Oh shit! I was expecting you, old friend. Welcome. I am glad to be here and I’m here in response to what you said. We need to know if you’re compatible with this body. I will be the bridge between you and your body. Help me with your instincts. Time is running out. For what? To take my place…

“Rashmi’s Cafe”_ Short Film 1080p

“Rashmi’s Cafe”_ Short Film 1080p


Oh… the last supper is here… Do you remember… the last
supper… Here… I told you… Let us not come to this restaurant… It is good know… A symbol of my
success… our success… we have spoken about it right? From tomorrow, no more this
restaurant… You will be a queen of my house from tomorrow… queen
and queen only… It is ok… being a queen is also
good… but… Painful is it?… Just think… What if we are not married… it would have been
thousand times more painful… true… What do you say…? I can’t explain everything again
Rashmi… We both discussed about it and together made the decsion right? Now what? Don’t be down in the mouth … Let us order your special dish to cheer you up I want to make you feel special, with your special By the way what is the name of that dish? Hey.. Why do you have to give that stare now? I have
remembered our anniversary and
taken you for your restaurant… Beyond that, you also expect me to rememeber the name of your special dish… Give us men some break… I love you dear… I cant go and speak with my dad again He will
call off everything. I dont understand. how can anyone
just throw away a King size life
offered on a platter… I dont understand. how can anyone ignore a life King size life offered
to them on a platter… I love you Prateek… I love you Rashmi… how is the food? Rashmi don’t go Hello Sir, How is the food?

CAREERS IN DIGITAL FILM MAKING – Certification course,Mass Media,Cinematographer,Remuneration

CAREERS IN DIGITAL FILM MAKING – Certification course,Mass Media,Cinematographer,Remuneration


Hi guys..This is Pooja from Freshersworld.com Welcome to our video channel on jobs and careers Today I will be talking about the career opportunities in Digital film making Films are one aspect of the human mankind
that does not fail to amuse many. They attract people from all age groups and allow the memory
of movies to sink deep within us. Film making is everything what you want to know about
movies and their making and costing and stuff. Digital film making, however, implies to being
used at a higher level and hence using and capturing of images that are static in motion,
instead of the ones that were previously used as film stock are generally categorized as
digital film making. Digital film making provides an insight to
not only just “films” or “movies” but also, learning to create programming for all various
types of media. It includes various TV shows and their scripting, documentaries, reality
buzzes, sitcoms, animation and video journalism come under the title of film making. The institutes that cater to film making are present in each and every nook and corner
of the city and hence online programs for film making have come into existence, recently.
The online film making courses have stepped into the market, very recently, thereby, providing
an insight to the deep roots of this course at a totally new level. On the other hand,
a certificate of merit or grades are been given to the potential candidates who clear
their paths through this course and pave their way in becoming great film makers of all times.
The production course tool work of this course majorly focuses on the following topic of
concern: • Financing
• Marketing • Scriptwriting
• History of cinema • Editing
• Movie genres and aesthetics The degree course invites attention of the
following mentioned subjects: • Storyboarding
• Computer graphics • Working with actors
• Lighting • High-definition video
• Digital asset management • Audio production
• Screenwriting Here is an overlook to the essential information
needed by the potential candidates to strive through film making in particular:
Career Titles Directors (Producers and Directors) Writers and Authors Cinematographers (Camera
Operators) Education Requirements A bachelor’s or master’s
degree in film, acting or cinema studies A bachelor’s degree in journalism, English or
communications A bachelor’s degree in film or broadcasting A list of colleges that excel in digital film
making across India: • Manav Rachna International University,
Delhi • Pearl Academy, Mumbai • Deviprasad Goenka Management College Of Media Studies, Mumbai • St. Paul’s Institute of Communication
Education (SPICE) Mumbai • Asian Academy of Film & Television
Noida Certificate course in Production Direction & TV Journalism, 3 – 6 Months Log on to www.freshersworld.com for more updates
regarding this course in general we will be back with such more videos so stay connected with us do not forget to hit the subscribe button below

How to Make GoPro Footage Look Cinematic

How to Make GoPro Footage Look Cinematic


(upbeat music) – Hey, guys, welcome to Travel Feels. Today we’re gonna look at
how to make Go Pro footage look cinematic. (upbeat music) We all have to deal with Go
Pro footage at some point, and maybe some of you
are even just shooting on Go Pros for your films, so I wanted to show you my workflow and my process and how I
work with Go Pro footage to get the best results and make the most cinematic image possible. Alright, so we have our project here with our Go Pro footage clips. And the way I like to start my sequence is to just drag and drop the clips on to this little button here. And that creates a sequence with the right settings from
the Go Pro footage. Then I’m gonna just delete the audio here so that you don’t have to hear
the annoying drone noises. And then we are gonna look for my favorite parts of these clips, so I remember there’s a good clip in here, so just gonna watch for a bit. Alright, so somewhere around here. Gonna start it, let it play for a bit. And that looks good. Oh, and by the way, this was filmed on the Phantom Two, using
the Go Pro Hero Four. Alright so now we have
our little sequence here with our clips, we have four clips. And so we could try to do
this all in Premier Pro, but I find it a bit lacking in plugins and tools that I can use
to manipulate the image. So what I like to do is bring this into After Effects and
manipulate it in After Effects. So what you do is you
select all the footage, you right click, and you Replace with After Effects Composition. And this will bring those
clips into After Effects and then you can start editing from there. Alright, so we have our
clips in After Effects now. You can see clip one, clip two, clip three, and the last one, four, here. After Effects can be a
little bit daunting at first, but it’s really similar to Premier and you don’t really need to know too much to start using it. So first off, what I like to do is to de-noise all the clips. This way you can get rid of any annoying noise or artifacts
that might be in the footage. And it’ll be a little bit
better to grade after that. So we go into the effects,
and I’m going to use Neat Video’s Reduce Noise. This is a plugin that you have to pay for, but it’s really useful. You can also use something
like Red Giant’s De-Noiser, but I think Neat Video’s Reduce Noise is a little bit better
than Red Giant’s De-Noiser. So we go to Options here, and they’re trying to find a uniform area to get rid of all the noise, so this is a pretty uniform area. I’ll select that. It said it’s not uniform, but it’s close. Click Auto Profile over here, and I’m gonna check how much
de-noiser it’s applying. I’m gonna go a little bit less, I don’t think this needs that much. Then we’re gonna apply. And then for the purpose of this tutorial, I’m just gonna copy and paste this, even though you probably should go through clip by clip and
select an area and de-noise. So I’m gonna copy, and I’m gonna select the last three clips, and paste. So that was step one, de-noising. After that, I would usually
stabilize the footage. And so I use Warp Stabilizer. You can find it in
Effects, Warp Stabilizer. This is the same stabilizer
they have in Premier Pro, works pretty much exactly the same. And I do a very small
amount of stabilizing, so I try to keep it
between like five and 10%, so let’s just go for 10% here. And then we gotta wait
for it to render here. Alright, so now it’s done and you can see how it zoomed in a little
bit on the footage. I don’t think that this
shot was very shaky, since it was filmed on
a drone and a Gimbal, and it’s really wide to begin with. So I would do that for each of the clips, stabilize them all. Alright, now we’re done with that. They are all stabilized. And the next thing is
probably the biggest process, and that’s fixing the
wide-angle look of the Go Pro. That’s probably the biggest give-away that it’s Go Pro footage, and
makes it really not cinematic. So the way I fix that is using the Optics Compensation plugin. And so we’re gonna go ahead and apply that on the first clip. And so what we’re doing here is we’re gonna click Reverse Lens Distortion. We’re gonna choose diagonal, and optimal pixels. And then we’re just gonna start adding. And usually, the amount is I think about, around 70 I think
is the right amount. If you go too far, it
starts warping it too much, and if you don’t do it enough then it still has a little
bit of that fish-eye look. So I go around 70. And now you can see that it causes these little black bubbles
on the top and bottom. And I’m actually not
too worried about this because almost always I’m making it into anamorphic crop, so it has the black bars on
top and bottom anyway, so that will cover up those. So you’re good. Then we’ll go to the next clip, we’ll add Optics Compensation, do the same thing. And then add it to where it looks, where the horizon usually
starts to look straight. It’s a little bit hard in these clips cause there is no horizon, so you can’t tell exactly. Again, it starts to
look right at around 70. So we’ll keep it there. Next one we’ll just copy
and paste that effect. And it looks pretty good. This one the horizon is off a little bit. It’s a little bit tilted. This happens a lot with Phantoms. It’s not leveled on the horizon. So what I would do is just change the rotation a little bit, and you can even bring out a ruler to get it nice and straight. And that looks about right, and we’re just gonna
scale up a little bit to cover where we, to cover the rotation. And that’s good. And so we’ll copy and
paste onto the last shot, and there we go, getting rid of that fish-eye, wide-angle look. And that’s the biggest step
in my Go Pro footage process is this Optics Compensation. And you can’t use that in Premier, which really sucks. I wish you could use it
right in Premier already. But I do a lot of my color
grading in After Effects anyway, so it doesn’t really affect me too much. So next we will start color grading this, so what I’m gonna do is I’m going to add a new adjustment layer. I’m gonna put it over the whole sequence. But I’m gonna add a LUT, so
I’m gonna use apply color LUT. And I’m actually gonna
use one of my new LUTs that’ll be coming out soon. We’ll use Ciniti Saturated. And so you can see that
that affected the footage. You could just stop here, but I would never do
that, I would actually correct all the footage afterwards, still. So what we’re gonna do is we’re gonna use Colorista to do all our color correction. And this is a plugin from
Red Giant, I really like it. It costs a little bit, but I think it’s definitely worth it. So here we have the shadow wheel, the mid-tone wheel, and
the highlight wheel. So we can adjust the exposure of the highlights, mid-tones,
and shadows separately, and also the color of each
of those sections separately. And so we’re gonna add
a little contrast here. And we’re gonna bring up
the mid-tones a little bit. I don’t like bringing the
highlights up too much. You see right away the Go Pro
footage starts to blow out. A lot of times I actually
bring down the highlights and then bring up the mid-tones and keep kind of going back and forth until it looks right. I think we can add a little
bit of saturation also to this. And it’s also looking a little bit blue, so I’m just gonna bring the highlights and warm this up a little bit. I know it’s a cloudy day, but I like it to be a little bit warmer. So that’s looking pretty good, we can see what that did there. Subtle changes, but I think
it’s looking pretty good. We’ll move to the next clip here, add Colorista, and
we’ll do the same thing, bring down the shadows,
bring up the mid-tones, bring down the highlights a little bit, keep playing around with
these until it looks good. And we’ll also add a
little bit of saturation, see how much we added on the last one, it was 21, so we’ll go
around the same amount so they look about the same. And again we’re gonna make
this a little bit warmer. And there you go, that’s
the before and after. And here’s the next shot. We’ll add Colorista. Do the same thing here. Try to protect the
highlights from clipping, get some contrast in there, and add some saturation. And again, we’ll try to make
this a little bit warmer. There you go. And then for this last one,
we’ll just copy and paste, just to show a different way of doing it. And let’s see what it’s
doing right off the bat. It’s looking pretty good. It’s a little dark,
though, so we’re gonna go up on the mid-tones and
bring down the highlights just a little bit. And I think it could use a
tiny bit more saturation, this one’s pretty saturated. And also a little bit more warmth to keep in line with the other clips. And there we go, that’s
how I would color grade and color correct the footage. Lastly, what I would do is
just add some sharpening to the footage, so I would use the Unsharp plugin, that’s built right in. We can put it on the first clip here. And you don’t want to go
crazy with sharpening ever. I go around maybe 70 or so. And it’s hard to see for you guys with YouTube compression, but I think that’s a good amount. And we’ll just copy and paste that to the rest of the clips. And so now we’re done in After Effects and we can either render
this out in Pro Res and bring it back into Premier, or we can just go
straight back into Premier and this will be in there already. And so you can see here
is our project file from After Effects, and it’s gonna be a little bit slow, but all the corrections are
added onto here already. And lastly, I’m just gonna fix
up these black bubbles here, which I’m just gonna basically cover up using a PNG of the anamorphic
crop lines, basically. So I’m gonna bring that in and put it on top, then scale it. And there you go, now it’s hidden. And then you’re good
to go, render this out, export it in H264, and you’re good to go. And so here’s the before and
after of the Go Pro footage. (upbeat music) So that’s it, pretty
simple, fairly easy to do. It’s a little bit complicated
with After Effects, but once you get used
to it, it’s pretty easy. I hope you enjoyed this, and if you want to see
more of these tutorials, make sure you subscribe. Have a good one, guys. (upbeat music)

Bohemian Rhapsody’s Terrible Editing – A Breakdown

Bohemian Rhapsody’s Terrible Editing – A Breakdown


‘Bohemian Rhapsody’ won the Oscar for Best Editing at the 2019 Academy Awards. This is interesting because the movie contains several scenes that are masterclasses in poor editing. “Right. Now that everybody’s got an acceptable name, let’s get to it.” “Look, we just really need something special…” “…more hits…” “…like Killer Queen.” Let’s examine one of the worst offenders in the film, and break down …why exactly the editing of the scene is so bad. The cuts in this scene are particularly jarring. They stand out to an attentive audience member for 3 reasons: First, many of the cuts are unmotivated. Second, many ignore spatial continuity. And third, the pace is simply too fast. Let’s deal with the easiest of these problems first. If a cut is unmotivated, …another reason you might choose to cut is to create or maintain the pace of a scene, or to build tension. You can see this kind of effect during this scene from The Godfather, …where editor, Walter Murch, in a moment of silence, …chooses to cut back and forth between these two characters. It’s almost like the audience is anxiously looking back and forth between them, waiting to see who will speak. Using pacing to create tension or emotion, however, can’t just be forced upon a scene through the edit. You’ve to work with and complement the performances and cinematography. And in fact, the faster the pace, the more attention must be paid to things like spatial continuity. Errors will simply lead to more difficulty following the action. The pace of this scene is incredible. In this 104-second scene, there are an astounding 60 cuts for an average shot length of 1.8 seconds. To put this into perspective, …this 136-second fight scene from Transformers: The Last Knight …only has 49 cuts and an average shot length of 2.8 seconds. That’s an action sequence from one of the most notoriously hyperactive directors out there. Compare that to the scene of some guys sitting around a table. That’s over 30% faster. Absolutely nothing about this scene justifies or requires this kind of ridiculous pace. The rest of the film is fast-paced, and the pace fits a little bit better for the musical and concert sequences I can see how they were possibly trying to keep the energy level high for the dialogue scenes as well, …but it just doesn’t work. The pacing is the most obvious issue, but it’s far from the only one. Let’s examine some of these cuts in detail and the other two things that make the edits so jarring. The primary thing that motivates most cuts is the revelation of new information. Most important is emotional information. A large majority of the cuts in a dialogue-driven scene are so we can see a character’s face, …as they deliver a line or are reacting to somebody else’s line. New information can also be geographic, to establish the character’s relationship to each other spatially, …or to let the audience see an action that’s taking place. Of course, a shot can contain multiple pieces of new information, …but it’s rarely a good idea to make a cut when that shot reveals no new information at all. Let’s examine what motivates some of the cuts in this scene. “Wow.” “I didn’t know it was fancy dress, Fred.” “I’ve gotta make an impression, darling.” “You look like an angry lizard.” The scene starts off decently. We get a nice shot that starts with Freddie Mercury coming through the doors, and pans into a wide. The second shot gives us a better view of Freddie approaching the table, …and the third allows us to see the delivery of the first line by Brian May. “I didn’t know it was fancy dress, Fred.” Then we cut back to the shot of Freddie to see him showing off the outfit, …and then to a close-up of his emotional reaction to Brian’s line. We probably could have stayed on the line here, but jumping into the close-up isn’t a huge issue. Then we cut to Roger Taylor’s reaction to Brian’s second line, …and then back to Brian’s reaction to Rogers laugh. We cut back to Freddy to see his laugh and the action of him sitting down, …as well as John Reed entering in the background. So far, okay. This isn’t Oscar-worthy editing, but the cuts reveal new information and makes sense. It’s a little bit too fast, but it’s establishing the nervous energy of the band as they wait for the meeting to begin, …but this is where the scene begins to run into some major trouble. Let’s watch. “Very subtle.” “You gonna fly away?” “Can I borrow it for Sunday church?” So here we cut to Brian’s line, …but then we cut back very quickly to see the rest of Freddy sitting down, …and then quickly back to Brian again. We already know Brian is making these wisecracks, so seeing him deliver the line isn’t super important. We already know Freddy is sitting down, so returning to the shot of him sitting down is repetitive information, …and his reaction is still the same as before. Either of these shots would likely be fine to hold on, …but the quick back-and-forth creates the first sense of whiplash, that will only worsen as this scene progresses. On the shot of Brian, we see John Reed pass by. John grabbing the chair interrupts the band’s casual chat. Following that shot, we have two reaction shots back-to-back: One from Brian, and one from Freddy, …where they’re both looking up towards where John Reed’s face would be However, since two shots have passed since we last saw John standing in that position, …the eyeline of these reactions is a little bit awkward. Also, both of these reactions would be happening simultaneously. It looks like the editor tries to make it feel more simultaneous by cutting quickly, but it doesn’t sell. Now we get a shot of Reed that establishes the correct eyeline height, …but his eyeline looks like it is directed at John Deacon and Roger Taylor. But instead of cutting to them, we cut back to Brian for a second reaction shot. We can even fix this fairly easily just by swapping these two shots. Still not great, but it’s a little bit better. After John Reed sits down, the eyeline is again completely ignored. While we’ve just cut from John and Roger, it now looks like he’s looking at Freddie. Then Reed shifts his eyeline over to where John and Roger are sitting, and we cut to… …Freddie. This section flows much better if we just remove some of the complexity. Here’s the original edit: “So this is Queen.” And here’s my simplified cut: “So this is Queen.” Again, it’s not perfect, but if I can smooth things out just by shifting the existing shots around, …there’s no reason an editor with access to all the footage couldn’t have cut a better scene. Let’s look at the next section: “So, this is Queen.” “And you…” “…must be Freddie Mercury.” “You’ve got a gift. You all have.” “So tell me… What makes Queen any different from all the other wannabe rock stars I meet?” After this line, “So this is Queen,” we immediately run into another problem. Reed says, “So this is Queen,” and we cut to a shot of exactly 3/4ths of Queen. It would make way more sense to show all four of them here. There’s not anything that these three are doing that explains specifically cutting to just the three of them. We cut quickly back to Reed, but he’s completely shifted in his seat. The character making this kind of movement off-camera is usually fine, …but less than a second passes between these cuts, so it almost appears as a jump cut. Also, this spatial orientation of where he’s pointing is confusing, coming off of this poorly-chosen wide shot. It would make a ton of sense to break up the pacing here with a longer shot of Freddie, …but instead of holding on Freddie for a longer reaction, we cut back to a completely strange new angle of Reed. This new angle gives us nothing by the way of new emotional or spatial information, …and it just continues to add complexity to a scene that’s already going by too quickly. Then we go back to this awkward wide that includes only three of the band members, …presumably because there’s no wide of all four band members to show all their reactions The editor has to patch together an awkward combination of this wide and this close-up, …which just doesn’t gel at all. The lack of a good wide including all four members of the band, I think, is a core difficulty with this scene, …and it might be a clue that part of the blame here falls on the director or cinematographer …for not getting proper coverage, or just blocking and composing the scene poorly. We continue to get reaction shots that are unnecessary. We’ve already seen this expression on these band members’ faces in shots 22 and 24. We don’t need to see it again, and this would have been a great chance to slow things down. I could continue to work through each cut in this scene, but many of the cuts have these same repeated issues. One key offender sticks out: Here, we cut to a wide shot where Paul magically appears beside John Reed, …not to mention this jump to a super wide shot is completely unmotivated and doesn’t make any sense. It’s usually difficult to judge who’s at fault when it comes to editing. If an editor is given a scene that’s poorly blocked and composed, it’s difficult to fix that in the edit. However, it seems unlikely that cutting this scene in this way and choosing this pace …was the best option the editor had with the scene. This is easily the worst edited scene in the film, …but many of the dialogue scenes have these same issues this scene has. There are plenty of scenes with perfectly functional editing, …although I’d be hard-pressed to find examples of the kind of editing you’d hope would earn an Academy Award. There’s also examples of awkward transitions, or montages that cover periods of touring, …but do a poor job of conveying the necessary feeling. So why did this film win an Academy Award for Best Editing? Just like I mentioned, editing is hard to judge. Good editing should rarely be noticeable. Good editing tells the story effectively. And when a movie is edited well, you usually walk away from it thinking, “That was a great film,” …not, “That editing was good.” So, counter-intuitively, the Oscar sometimes ends up going to films with the most noticeable editing, …which, generally, is not the film with the best editing. There was a lot of turmoil during the production of this film, …so I can understand how this film maybe ended up how it did. It’s easier to pick apart bad editing than it is to edit a scene that’s not shot well, …but an Academy Award for Best Editing for this film is completely undeserved. An editing like this, ultimately, is disrespectful to the audience. It assumes your attention span is so short that your attention has to be held with quick, flashy cuts. Sometimes an editor just needs to step back, slow down, …and trust that an audience member who’s chosen to come see your film is interested and invested in the story. Thanks to Audible for sponsoring this video. Sign up for a 30-day free trial today, and get a free audiobook when you go to audible.com/thomasflight, …or text ‘THOMASFLIGHT’ to 500-500. You’ll get an audiobook and two audible originals each month, so I have some suggestions for you. If you’re interested in learning more about Queen and Freddie Mercury, …and don’t want to subject yourself to hyperactive editing, …you can check out ‘Mercury and Me’ by Jim Hutton. One of my favorite books about business is ‘Anything You Want’ by Derek Sivers. I’ve listened to it again every couple of years, since I first listened to it in 2011. I used the audio book as a way to help keep my priorities and focus on track. Give Audible a try today, …and maybe you’ll find that audiobook that you keep revisiting for the rest of your life. Just go to audible.com/thomasflight, click on the link in the description, or text ‘THOMASFLIGHT’ to 500-500 …to try Audible free for 30 days. Thanks so much for watching. If you enjoyed this video and want to see more of this type of content, hit that ‘SUBSCRIBE’ button, …and go to patreon.com/thomasflight, where you can learn more about how you can support my channel, …and get extra cool stuff while you do. Special ‘thank you’ to my patrons.