If you're saying that sometimes you want to preserve the music as is...sure, then that's the goal, and that's your job.
But that also doesn't mean you should turn the picture & sound into parasites of the music by only cutting on the beat, which seems inexplicably the most popular approach.
It's like always using dissolves - or never using dissolves. If you do either, then a dissolve is deleted from the vocabulary and the show suffers. Use the vocabulary. There are times to cut on the beat...and then times immediately after to syncopate offbeat, or then skip a beat, and both build images to a swell or build them to suppress this particular swell. Fast cut on a slow moment or vice versa. Which works better? Depends on all your other choices. You're building a show with picture, sound, music and time. Let none of those elements be subordinate to the others, unless there's a reason or an advantage, and then don't let them becomes subservient elements. It's ALL music.
When I'm building a montage I'll notice a moment of music and find a shot to work with it. But then I'll notice a moment in a shot and then find a good place in the music for it. So I think you're missing most opportunities for greatness if you build a montage linearly, which cripples everything. It's first about building moments, and then about designing the emotional or informational flow of the show with the music, and then about changing your mind. Don't build on or against the music, but build with the music.
I'm out of hot air. Have fun. Trick or treat.
--
Jeff Cook
jeff@cookstudios.com
703-980-1104 (cell)
CookStudios.com
Freelance Video Editing
Washington DC & Portable
On Oct 31, 2011, at 5:42 PM, George Loch <george@motoxpress.com> wrote:
> But, if you *choose* to use it as a device... Oh well, I guess this is not
> resonating the same for crafty professionals :)
>
> -gl
>
>
> On Mon, Oct 31, 2011 at 3:05 PM, Jeff Cook <jeff@cookstudios.com> wrote:
>
>> I'd say to not be a slave to any one element. Don't make picture & sound
>> be a slave to music, but cut the music to meet your needs as you would
>> anything else. Vary everything, if you truly want to speak the language.
>>
>> (And split an infinitive any damn time you like.)
>>
>> --
>> Jeff Cook
>> jeff@cookstudios.com
>> 703-980-1104 (cell)
>>
>> CookStudios.com
>> Freelance Video Editing
>> Washington DC & Portable
>>
>>
>> On Oct 31, 2011, at 5:00 PM, George Loch <george@motoxpress.com> wrote:
>>
>>> I find that patterns are part of how we communicate in art (not to pull
>>> THAT discussion into this). It's a great way to setup action and
>>> expectations. Montage sequences are more likely as candidates for this.
>>>
>>> -gl
>>>
>>>
>>> On Sat, Oct 29, 2011 at 11:36 AM, Job ter Burg (L2B) <Job_L2@terburg.com
>>> wrote:
>>>
>>>>
>>>> No.
>>>>
>>>> I don't know how and why you would count. Would you count shot lengths,
>>>> basically measuring cuts? Most rhythmical editing - to me - is about the
>>>> flow of what is happening _inside_ the frame, more so than about the
>> actual
>>>> picture change.
>>>>
>>>> I sometimes find I'm sort of counting, but more like when dancing,
>> mostly
>>>> to a 'beat' within the shot/scene.
>>>>
>>>> On 29 okt. 2011, at 00:52, George Loch wrote:
>>>>
>>>>> Do any of you find that you tend to edit in numerical patterns?
>>>>
>>>>
>>>>
>>>> ------------------------------------
>>>>
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>>>> Yahoo! Groups Links
>>>>
>>>>
>>>>
>>>>
>>>
>>>
>>> [Non-text portions of this message have been removed]
>>>
>>>
>>>
>>> ------------------------------------
>>>
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>>> Yahoo! Groups Links
>>>
>>>
>>>
>>
>>
>> ------------------------------------
>>
>> Search the official Complete Avid-L archives at:
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>> Yahoo! Groups Links
>>
>>
>>
>>
>
>
> [Non-text portions of this message have been removed]
>
>
>
> ------------------------------------
>
> Search the official Complete Avid-L archives at: http://archives.bengrosser.com/avid/
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