Alas I have found that I do not grow at all, I just wallow around, if I don't push myself! ;) I am very lazy at heart. :) I really like your advice about tackling the inner problem not the outward expression though! I should say that my dance teacher and my betas are very gentle with me--it's less that they are saying I'm doing it wrong and more that they're letting me know what the impact for the audience is and then I'm deciding I don't want that impact, that I would rather it was softer (because I honestly didn't know
( ... )
Mmm, perhaps I did not express this well enough in my post. I don't find my blindness to be a hindrance as a viewer. In fact, I am grateful for it as it allows me to enjoy things I wouldn't otherwise. However, I do think that it is a handicap as vidder not to be able to see things that will alienate some of my audience. If it was a matter of me being able to see them but actively deciding not to care about them I would feel differently. I've done that in some cases (e.g. decided not to wait for DVD source material) and I feel fine about it. I know I may lose a small fraction of the audience but I don't care. I would like to be in control of those decisions though. Does that make sense? So rather than just having shitty colour by default, i'd like to decide whether a vid project is worth me spending time on colour correction or not. And if it is, being able to do it competently
( ... )
Anything is helpful!! I have been dying to coax people into explaining fades to me but have yet to work out a way... I do have a thing called 'additive dissolve' in FCP as well as 'cross dissolve' but I could never work out what it did. Maybe a regular fade is 'crossdissolve' in FCP?
just, the feel of the thing and the music and what I want to be visible for how long, depending on how soft and dreamy I want it to feel, or how long I want them to overlap and how connected I want the two clips to seem Yeah, ok... It's hard for me to understand because I have sort of played with that and mostly I just adjust things and stare at them and then do something different and stare at it again and it all looks much of a muchness to me. But from what you say it sounds like I need to just carry on with that and train my eye more. It's definitely one of those things where I find it hard to tell what is better. I render something and then I think 'huh, well this is different, but is it better?' Very much need of trial and error I think!
First off, I'm glad that you seem to be approaching this from an attitude of wanting to be able to make your own choices about what to do or not do rather than an attitude of needing to do this in order to be a "proper" vidder. But, screw it, I'm going to spam you anyway. Basically to say stuff like, "your vidding is fine, don't sweat it," and "I didn't learn any of that stuff except by accident anyway and if I'd tried to, I think I'd've hated it and failed..." ;) HERE I GO
( ... )
I must first apologise for the delay replying! I went away for a few days and have just got back. I read this before I left and I must thank you SO MUCH for taking the time to write it. It means a lot and there is a lot in here that I want to hang on to.
external motion (though I dislike it) Haha, yay! Me too. :) I mean I say that even though I *have* clearly used it in a few instances and sometimes it really has a purpose. But I am not very drawn to it in general.
I don't think you have to be able to do them in order to validly make the decision not to. This is quite the radical idea for me! And yet so obvious. :D
I do think I was constructing things in an overly negative way initially with these insights. They didn't feel useful so much as crushing, even though I was trying to see their use and find a positive spin for them.
a lot of the thoughts in this post seem to be about the audience, or in life terms, the rest of the world. About others' perceptions of youYou're right and I'm glad you called that out because it helped me
( ... )
Comments 9
Reply
Reply
(The comment has been removed)
Reply
(The comment has been removed)
just, the feel of the thing and the music and what I want to be visible for how long, depending on how soft and dreamy I want it to feel, or how long I want them to overlap and how connected I want the two clips to seem
Yeah, ok... It's hard for me to understand because I have sort of played with that and mostly I just adjust things and stare at them and then do something different and stare at it again and it all looks much of a muchness to me. But from what you say it sounds like I need to just carry on with that and train my eye more. It's definitely one of those things where I find it hard to tell what is better. I render something and then I think 'huh, well this is different, but is it better?' Very much need of trial and error I think!
Reply
Reply
external motion (though I dislike it)
Haha, yay! Me too. :) I mean I say that even though I *have* clearly used it in a few instances and sometimes it really has a purpose. But I am not very drawn to it in general.
I don't think you have to be able to do them in order to validly make the decision not to.
This is quite the radical idea for me! And yet so obvious. :D
I do think I was constructing things in an overly negative way initially with these insights. They didn't feel useful so much as crushing, even though I was trying to see their use and find a positive spin for them.
a lot of the thoughts in this post seem to be about the audience, or in life terms, the rest of the world. About others' perceptions of youYou're right and I'm glad you called that out because it helped me ( ... )
Reply
Leave a comment