#Play alright by kendrick lamar code#
#Play alright by kendrick lamar plus#

When it comes to racial and societal injustices, every generation has had their unfair share of outcry. You should give it a try.ItвЂ™s no secret that 2015 was the year civil unrest flipped its lid and had the country slapping on kufis en masse. PS- It is easier for Directors to access and mess around with their ideas (some directors like to have a cut of their own) And go to diferent stages of the editing process (because sometimes you F*В»k something along the way and it is damn easy to troubleshoot. You access all clips in a blink of an eye. I think this way is the best way to work. In feature films, I put one more time line 'TOTALS' in chronological order (scene, shot, take) and from there, raise up to the 2nd Video row, the selected parts, Copy this to a new timeline and get some trimming and adjustments doneДЇrom there I start to make MAKETS (a kind of final editing) that may vary in some minor aspects from one to another. Its actually the only way to get NLEs to get better performance and have every scene clip in your hand as fast as possible. Ive been working like this for 2 years now. Enjoyed the video, and thanks very much Vinnie for sharing some of your excellent work. I do sometimes have special labels for shots that are somehow interesting yet imperfect, and this can help you late in a project if you've somehow reached a roadblock. What I would be wary of is mentally throwing away material that, at first glance, may not have seemed important. I certainly do agree with the principal of doing some pre-selects as part of the editing process. For me, using labelled nested sequences just seems to work more solidly. I can see that some people might enjoy the visual nature of pancaked timelines. This is just my opinion however, and whatever works is great. 'reverse and flip this, and combine with duck c/u'), which can be difficult to remember late in a project.

#Play alright by kendrick lamar plus#

Plus I can always include my initial little ideas when doing the comments (e.g. The labels are the visual guides I require and nothing more. Secondly I don't have to contend with multiple timeline spaces - just the most simple source-monitor-to-program-monitor based editing flow. Well for one thing I haven't trimmed away any raw footage - all I've done is make visible selections that can be very easily altered if necessary. The advantages of this over a pancaked approach? For a longer form project I'll continue doing this with however many nested/labelled sequences I think is necessary.

I'll start navigating back and forth through this sequence, selecting in/out points, and then add these clips to my MASTER sequence. All the labels are displayed (including my comments), so what I have is virtually a single master clip that has my editing notes reflected as labels - colours and comments.Д¤.

When I've completed this labelling step, I simply close the sequence in the timeline, go to the project panel and drag that sequence into the source monitor. The duration of the label doesn't have to be perfect, but works as a guide to how I originally felt about the in and out points of the individual shot as I was working through it.ДЈ.

#Play alright by kendrick lamar code#

I can colour code this to reflect certain themes as well as add in some basic comments. I use the labelling feature to go through and make my selections.

In a more complex work, maybe a selection of these master clips according to theme or whatever.Дў. No trimming, just reducing footage consisting of many raw takes into one master clip. In a really short form work this might constitute a single sequence (e.g. I take the raw takes and load them into their own timeline. I do like the principle of this editing technique, but I have a variation that I employ in Premiere using Nesting and Labels.ДЎ.