Joshua Gizelt (swashbuckler332) wrote,
Joshua Gizelt

"...and who the #&@% eats eggs at night!?!"

Video Assist
Over the course of more recent projects, I've become accustomed to having the ability to check footage just after having shot it. This is something that was made possible from the move from film to digital video, and it can be an invaluable tool. It can also be a royal pain in the ass if you're looking to match footage and lose track of where you are on the tape. There is also the danger that you could miss the right point on the tape when you resume shooting and record over something that you needed.

My new camera, however, rather than storing the footage on external media such as a tape or disc, has a 120 gb hard drive. Part of what made the shoot on Saturday move as smoothly as it did was the ability to review the footage without having to rewind a tape at all. All I had to do was switch from camera to playback mode, and each take came up as a separate file. I could look at anything without worrying about losing my place, which is something that will be a great advantage when I'm editing.

To that end, I have just picked up an additional hard drive to have a place to store the uncompressed footage. I also plan to back up the CD images of my mixes at some point in the not-too-distant future.

I will admit, however, that the tiny camera did look a little silly on that big tripod, but I digress...

2.0 Unlimited Rant
The Film Score Monthly decision to make an unlimited run, remastered reissue of Ron Grainer's score from The Omega Man was, in my opinion, fantastic news as I was lackadaisical about picking up the original release of that particular title until it was too late to do so. Lukas explained quite eloquently why he did what he did in the online program notes, and so I was quite surprised to find in this discussion that there were some people who felt somehow betrayed by the move.

I tried to understand their point of view, I really did. I read every comment in the thread and tried to see the situation from their perspective. Unfortunately, every single post they made only reinforced my initial impression that they're only pissed that FSM re-released it because either they bought the discs for speculation purposes or they get a kick out of owning something other people don't have. The people in the latter camp come across as being pretty pathetic to me, and those in the former camp have earned my ire long ago for their hoarding and price inflating, and I have absolutely no sympathy for them whatsoever.

I noticed many people who paid through the nose for their copies of the old one during the period it was out of print applauding the new release. Those people bought the disc for the music, not its value as a collectors' item, and are therefore quite happy to see those who missed the original disc finally be able to get their hands on the music.

As far as grousing about how the original was "limited," well, it was a limited pressing of 3,000 copies (a number is one that was settled upon through the agreement with the AFM) released in 2000 that sold out in 2002, and it was out of print for six years. The score is now being re-released with a different mix and artwork, the fact that it is the same company releasing it make no difference whatsoever; as I point out on that thread, major labels do stuff like this all the time.

Nobody broke a promise, if anything the new disc is further proof that Lukas wants to get this music out to as many people as want it. As far as I'm concerned, those grousing about it can go to hell, go directly to hell, do not pass "GO" and do not collect two hundred dollars.
Tags: cinema, film music, filmmaking, the early mixes
  • Post a new comment


    Comments allowed for friends only

    Anonymous comments are disabled in this journal

    default userpic

    Your reply will be screened

    Your IP address will be recorded