Unlike so many other aspects of filmmaking, what happens in the editing room is as close to magic as you can get. Close to magic, because how exactly do you explain what it is that makes a person want to keep watching something? For Chris Franklin, this magic happens when he’s living and breathing the narrative.
msupply, they walked us through both title sequences beat by beat, but here we’re going to talk about the four elements of a great title sequence.
We talk to a lot of talented filmmakers at Musicbed, but not all of them win Oscars. And we all know that you can be a world-class filmmaker and not take home the golden statue—Spike Lee, Alfred Hitchcock, Sidney Lumet, are a few great examples. In other words, not all great filmmakers have won Oscars. But, we can probably agree on something else: All Oscar-winners are great filmmakers.
For Nike’s Lebron 17 spot, the team at Blue Ox Films knew they needed to do more than think outside the box—they needed to create a new one.
When the team at Park Stories was tapped by Quibi to produce the new series Prodigy, they had a vision in their head—an extremely polished, yet creative examination of young athletic talent at the highest level. So, when they were hunting down music for the show, they knew they needed music to match the quality of their work.
Filmmaker and YouTuber Will Darbyshire shares his key to success and why following trends is the wrong way to get there.
Sure, it’s fun editing a wedding film from time to time. But, it’s a whole different beast when edit season rolls around. All of a sudden you have dozens of expectant clients, hundreds of hours of footage, and one blank timeline staring you in the face. It can be a beast, especially if you’re new to the game.
Tom Rolf worked through the transition from analog editing to digital editing and managed to do it without skipping a beat. It proves that a good editor is a good editor, no matter what era.
