You know, within the MCU, Bucky’s narrative changes depending on if he’s enlisted or if he was drafted. And I don’t think that’s information that’s ever been released. If he was enlisted, then he’s a guy who offered service to his country, then became a POW, then was brainwashed and tortured and forced to fight for the other side. He had agency, but lost it. But if he was drafted, then he’s never had any agency within his own filmic narrative. He was always a tool of the state. It’s an interesting thing to think about.
(Can’t reblog the ask cause my reply is too long and tumblr will tumblr so I guess Anon won’t see this but I may as well post it now I’ve written it out.)
Sorry to be a bit sort of disagreeing with this fanvidbasics blog but I always think it’s a shame when people say things like “95% of scene selection is intuition” because it mystifies art and makes people believe they can’t learn how to do it. But they can!
And there’s so much out there to help.
Vidding, just like painting or drawing or writing or any art, has teachable and learnable methods and you don’t have to intuit it all yourself. Because it’s a subset of video editing, there are huge amounts of professional resources out there, not just for VFX and technical approaches, but also artistic approaches. Flow, rhythm, and cutting patterns are discussed in depth in the pro editing community. Look at the latest two issues of Assembly Magazine –there’s a really interesting observation by Dr Ran Carmi I’ve been thinking about a lot. The Tao of Colour discusses emotion, colour, and underlying processes regularly, including specifically how you might get the effect you want. Understanding the 5 Cs of Cinematography will help you analyse the footage you’re working with and the choices the source editor has made. And if you can afford to take a course (alas too dear for me) then those are available online too.
Vidding has its own unique techniques obviously because it’s a whole and distinct artform, and you’re right to notice that flow is key to many successful vids. Flow is one of the core challenges of vidding (that is at all concerned with musicality) because you’re integrating scenes from across possibly years of a tv show or even multiple, completely different shows, into one percept or gestalt. The question of how to do this has, frankly, obsessed me for years! 😀 My advice is this:
No clip is just itself.
Vids are like music: each clip acts in relationship to the one before and after, or else it’s just noise.
Try thinking of each clip as actually three clips: IN LAND OUT. Your land* is your story clip. Put that down on your lyric (or leading up to your lyric or wherever you are placing it). Now put down your next story clip (or LAND). Now you need to connect them up. There are numerous methods. Here are three basic ones:
I laboriously intuited this a long time ago, and described it in 10TiK like this:
To smooth transitions: Cut like to like. (Someone walks across the camera: cut on the most amount of black to another almost completely black frame.)
For smooth motion: Match subjects’ velocity.
It took me years to work this out but it turns out it’s basic continuity editing, and it’s really useful for linking sequences. An example of smooth motion matching is here at 00:57
Once you’ve got your IN LAND OUT sorted you can build out those sequences to do more interesting things or go for longer. You can cut very quickly with similar shapes. Try varying the size and lightness of the shapes to achieve pulsing or beat expression. Try scaling up and moving around to blend flow and motion.
Again in Expo at 2:14 I cut this 13 clip sequence in 5 seconds with 2 real lands. Here’s 9 clips in a row (screenshotting one frame from each) of pure raccord so you can see how simple shape and object matching can build up:
Still with me? 😛
Light building
That sequence also demonstrates a common technique in vidding that is less common elsewhere, which is light building, where you pulse and shimmer light sources for expressive effect. TV and film editing uses this a little – in bloom and solar transitions, in white flash cuts, and in blowouts, but not really to the extent and depth of fanvidding.
The opposite is also heavily heavily used in fanvidding (the youtube fadebop), where fades to black are used to hit beats or blend scenes.
Once you’ve got your head round these three basic techniques, it’s easy to start noticing others, if you look. The next thing to look for is when people disrupt continuity, when they break the flow, and start to think about why you might do that. And then you get obsessed with montage theory. 😛
There are so many ways to create flow. I’ve focused here on some specific basic techniques, but there’s also flow and continuity of meaning and narrative to be considered. Anyone want to weigh in on this (or on cutting of course)? Go for it!
*Sometimes people feel overwhelmed by that black space on their timeline in between their lands/money shots but I say, don’t be overwhelmed! Those black spaces are your fun places, your grace notes, your triple axel toe loops! Money shots are islands in a vast black sea and the happiness of vidding is building beautiful, satisfying bridges between them. 😀
Completely agree with everything. I love to geek out about flow, rhythm, and cutting patterns, about what makes a video work and how a vidder creates a perfect flow both visually and story wise. Cutting clips to create the flow is something I’ve been doing intuitively for years before I started actually thinking about it, and it helped me a lot understanding different approaches and ways to influence the storyline and the viewer through your choice of clips and transitions. Now it’s just a really fun game – to find the perfect IN LAND OUT’s and that’s what vidding is about – fun.
peggy carter is the best marvel hero. full stop. no powers? no problem she’ll just pick up whatever the fuck she can find and beat the living shit out of the bad guys while jazz music plays in the background and her red lipstick and curls remain pristine
There are posts about Finn that come across my dash frequently that really concern me.
It’s not that I don’t think musings about what a sweet innocent soul he is and imagining what his humble life must’ve been like are coming from a loving place, but Finn’s character has already been filled in via a canon source, and it was not humble.
Read the novel “Before the Awakening,” where you will learn that while FN-2187 may have pulled shifts as a janitor just like any military trainee has to work some shit jobs, he was actually the absolute rock star of his elite band of Stormtroopers. He was the natural leader, the best of them all, the highest scores in every possible measure, someone Phasma and Hux were well aware of as the shining example of what their pet Stormtrooper program could accomplish. He was everything they’d worked for for years.
The only problem was, he cared too much about his fellow Stormtroopers, even though they didn’t return the feeling, due to indoctrination and some envy of his superiority. It is pretty obvious, reading BtA, that Finn is Force sensitive. It is that Force sensitivity that set him apart, and made him the one who could overcome a lifetime of indoctrination and get out.
I know it’s the fault of the film for sketching him so lightly, but guys, it is crucial that we start acknowledging who Finn is, and his strengths. Which, canonically, are leadership, strategy, all the skills a commander must have. I worry that there is too much PRECIOUS PURE CINNAMON ROLL going on and not enough shared knowledge of his *canon character background and gifts*.
Please spread the word about Finn. This sort of thing shortchanges him horribly. When the FO lost FN-2187, they lost more than just another Stormtrooper. They lost a future general, and the Resistance picked one up.
“They lost a future general, and the Resistance picked one up.”
I know everybody’s losing their mind over the possibility of a female Burr and I am too but can we please stop for a second and imagine a lady Washington
the intro of “Right Hand Man” and the “here comes the general”/”RISE UP” repetition giving way to A BADASS WOMAN TURNING AROUND. SWORD IN HAND. “WE ARE OUTGUNNED! OUTMANNED!” the cannons! the sheer visual of seeing that kind of pure intense MILITARY RESPECT directed at a woman! when have we ever seen this onstage?
all of “Meet Me Inside” with a woman as Washington – the sort of narrative justice of seeing Hamilton’s mom die in the opening and then “Your wife needs you alive, son, I need you alive” coming from a father figure played by a woman – the textual layers, my friends….
honestly, everything about it – “young man, I’m from Virginia, so watch your mouth,” “winning was easy, young man, governing’s harder,” literally everything. I love this. where is the prospective Lady George Washington art. where is the meta on this. why aren’t we talking about this
