Interview with Travis Terrell and Micah Sannan from Soundstripe : Episode 65

"Play it, Sam" - Ilsa, Casablanca

Finding the right music track for your project can be maddening, what with so many choices to pick from out there. And sometimes you can have trouble finding the words to describe what music track you're searching for. On top of that each music licence has its own price tag so you may be limited by your budget (or your own wallet).

Today we are kicking it off with an interview with Travis Terrell and Micah Sassan from Soundstripe, a subscription-based music library that allows you endless uses of its music tracks for all of your projects till the end of time!

You can sign up for as little as $10/month and have full access to their ever-growing library of music. Need help from a human? They also have friendly support staff available to chat directly with at almost any time.

Josh gushes about these guys and their service throughout this episode, and so Nick has followed suit and purchased a year subscription to the service. Let me tell you it's already paid itself off.

We all have those projects that leave little-to-no budget for you to play with when selecting music tracks. Soundstripe solves that problem by making it both affordable and easy to pick the right music track.

Now click play on the episode and check them out for yourself.

Also if you were curious about the book suggestion Travis gives in this episode, it's the Automatic Customer by John Warrillow. Adding it my own reading queue right now.

Don't Be a Digital Hoarder : Episode 64

You often organize the clutter around your desk or office, but what about the e-clutter? All of those projects that need archiving, assets that need managing and all of those loose files on your computer that need a home (or the trash).

We invited Rhonda Thain (editor Brother vs Brother, Brothers Take New Orleans, and Fool Canada) to chat about being a digital hoarder at work, never throwing away any old projects or media files in the off chance that one day they will be needed.

If you've ever said to yourself "You never know!" while transferring that FCP7 project from 2003 onto a hard drive to add to the growing stack on your shelves, then this episode is for you.

Check out the Storified version of all of our follower's answers to the question: How do you archive your projects?

A Long Winded As F#@% Interview with Joe Vallero : Episode 63

Okay so this episode with Joe isn't long-winded as f#@% but his podcast sure is.

I'm not kidding. It's called the Long-Winded As F#@% Podcast.

Let me back it up a bit. Joe Vallero is an editor who made the move to LA and has the IMDB page to show it. In our interview with him here we ask him about how making the transition to LA and finding work went for him, any tips he would have for other editors looking to wedge their foot in the proverbial door of big productions and what myths about working in LA hold water and which ones are just fluff.

His work experience is also pretty interesting if you take a look at his credits. He's edited featurettes for a number of larger productions (War of the Worlds, 300: Rise of an Empire, Argo, Hatchet).

And, as mentioned, he has a podcast that he co-hosts called The Long-Winded As F#@% Podcast where he and co-host Nick review randomly-selected movies from the library of Netflix.

Tweet Joe on Twitter and tell him that you listened to his interview on Command+Edit. Go ahead. We'll wait... (https://twitter.com/lwafpod)

LINKS MENTIONED IN THIS EPISODE:

• Check out Joe's podcast The Long-Winded As F#@% Podcast
• Joe's blog where he puts his experiences transitioning to LA for work and hijinks ensue

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How to be a SENSITIVE Editor : Episode 62

Welcome on back! You may notice that we took a bit of a hiatus there for a bit. So first of all thanks for continuing to subscribe and listen to us.

What do you do when you're dealing with sensitive material at your work?

Have you ever been concerned that you're working on could offend your audience?

Should you play it safe and avoid offending your audience or is a little controversy going to benefit your project?

In this episode Josh and I talk about how to tread lightly when dealing with potentially volatile material in your work, and how it might affect any of your creative decisions.

Nick works on horror features so from his point of view a little bit of controversial material can sometimes equal "bad press". Shock value is highly sought after from horror directors when it comes to excessive gore, nudity or remarks. But how far is too far?

Josh having worked on a number of corporate/commercial videos that represent big businesses knows all too well the concern of representing a brand faithfully without sending any offensive images or messages.

This year has seen its share of controversy, especially in pop culture. Hollywood seems to offend people regularly with its advertising material:

• There was the fiery reaction to the adverstising of X-Men Apocalypse
• Snickers Super Bowl ad blasted for being anti-feminist/anti-transphobic
• Companies called out for sexist commercials
• 10 Surprisingly Sexist Movies That You Still Love to Watch
• Comedians mock car advertisements for blatant sexism with a simple parody
• And perhaps the BIGGEST lightning rod of controversy this year out of Hollywood: the Ghostbusters reboot. Honest Trailers, a parody YouTube channel that roasts big movies by recutting/redubbing their trailer, knew what hot water they were getting into when they took on the female-led reboot of a beloved movie...so they disabled comments right away. Check it out here.

Have you ever found yourself walking on thin ice when working on your edit? Share your stories with us so we know we're not just talking to ourselves here. We would really like to hear from you.

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Roll the credits! Interview with Endcrawl creators Pliny Eremic and Alan Grow : Episode 61

Here's something you never think about until it's biting you in the tookus: creating your end credits.

Every movie needs 'em, so does yours. So why leave them as the last step before completing your film and let them look like garbage?

Enter Endcrawl, the online service that saves your time by making your credits for you.

And today we are talking with Pliny Eremic and Alan Grow, the co-founders of this service, about how it solves a problem so many films have struggled with in the past.

Credits are tedious, suck your time away and they are never...EVER...finished. There always seems to be one last change to make to them: a name missing, a mispelled credit, someone credited with the wrong job, someone to thank at the end...ad infinitum! Endcrawl solves the problem by allowing you easily make changes to your credit crawl and then it will send you a fresh, new render of it for you to drag 'n drop into your timeline.

"We have certainly serviced major motion pictures [like] 10 Cloverfield Lane...but most of our productions are movies you've never heard of...even ultra-low budget pictures. And that's awesome." - Pliny

Nick has experimented with the beta version of this service in his recent features and it IS as smooth an operation as it sounds.

It also fixes the technical issues that come with creating your own credits through Premiere, After Effects or Photoshop. Ever played your film on a big screen? Notice that ugly jitter or shudder as your credits scroll up? There's a reason for that. And Endcrawl can promise that it won't happen with yours.

That ugly jittery effect

And if that doesn't convince you...it's FREE to sign up and get started! Endcrawl is looking for beta users and will gladly let you jump in with your production and start making your crawl. (1K renders are free for you to preview it or as a placeholder, 2K renders belong to a pricing tier).

Check out our interview with these two gentlemen and sign up for Endcrawl for your production.

And Pliny would be pained if I didn't link to his article/rant 2k is not 2048x1152. Wait for me to trigger him on that one at the end of the episode.

Talking About The Walking Dead Season 7 Premiere : Episode 60

SPOILER ALERT: If you are not caught up on The Walking Dead when you listen to this then you may be very upset by what we discuss. You have been warned.

Anybody who's anybody was glued to TWD Season 7 premiere this week, so let's talk about the style of the show, how it's managed to survive 7 seasons with its story arc and also what common tools do horror films/series use often to grab their audience's attention?

The show suffered a drop in ratings during season 6 and the writers pulled an H-bomb out of their pocket by teasing the death of an important character. This left fans biting their nails while they waited for the answer: Who bit the bullet?

Cliffhangers and teases like this are used very often, especially in horror movies. Jason Voorhees jumping out of the water at the end of Friday the 13th, Freddy's last jumpscare at the end of the first Nightmare on Elm Street, the ending of every Saw movie...in fact, now that I think of it pretty much ALL of the horror films out there end with a cliffhanger.

Was the use of it here appropriate and smart for TWD series?

And what about how they upped the ante when it came to gore and violence in this episode? Did it serve the story well to communicate the brutality of these deaths? Or was it excessive and took away from the show?

How about the pacing? We still waited 20 minutes to get our answer finally and the whole episode was told with a lot of jumps through time back and forth. Was it the right way to unfold the horror of this chapter in TWD?

These are the questions we will discuss herein in Episode 60. Press play, listen on and let us know what you also thought of it.

LINKS MENTIONED IN THE EPISODE:

• The Verge article - The Walking Dead Season 7 Premiere Recap, Review and End of Quitters Club
• Independent article - The Walking Dead season 7 episode 1 review: Bold, stoic, and bleak as hell
• Not all fans were thrilled with the violence of the episode...or the Negan Bat emoji

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