How to Make a Kitchen-Sink Sandwich

When you edit it's easy to become enamored with your favorite moments, maybe a bit of narration here or a visual sequence there–parts you think are really working. It's easy to do and it's natural. But the more important question is, do these sections actually work within the context of the larger piece? Sure, they're beautiful on their own but how do they affect the overall story? Do they advance it? Or are they like a beautiful roadside dinosaur attraction, striking but totally out of place next to the suburban highway? The question is, are you making a kitchen-sink sandwich? Have you fallen in love with every ingredient in your refrigerator: the mayonnaise, the bleu cheese, the horseradish, the sauerkraut? Sure, they're all fine on their own but slap them together and nothing quite makes sense anymore. So when you're structuring your movie, ask yourself this, does the section in question connect…

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MediaStorm Guide to Recording Voice-Over in Premiere Pro 2014

This article is part of a series of posts with tips and tricks from our producers’ experience working with Adobe Premiere Pro CC after years of working in Final Cut Pro. To read more about why we made the switch, check out this post.


Recording voice-overs in Premiere Pro 2014 is both easy and straightforward.

First, you’ll need to connect your audio interface. From the Premiere Pro menu select Preferences > Audio Hardware.

I use the Mackie Onyx Blackjack 2×2 USB interface with a Heil Pr–40 microphone.

Therefore, from the Audio Hardware preference window, I select Onyx Blackjack. Depending on the input source, your options may vary.

Next, set the destination for recorded audio. From the File menu, select Project Settings > Scratch Disks… Change the Captured Audio destination to a folder where you’d like to store your voice-overs.

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For the Sake of the Story

I’ve been making movies for a while now. Along the way I’ve seen some things: An $800 wireless mic destroyed in a sword fight Horribly early mornings Relentless traffic No vegetarian options except fried cheese, four days in a row Self-doubt Lawyers and threats of suits Layovers and missed flights Sickness, not limited to: colds, the flu, vomiting and food poison Exhaustion Yelling and screaming and hurt feelings I say this not because I believe myself to be some kind of martyr. I am certainly not. For the most part, I sit at a desk these days, going home each night to my wife and dogs. Others have given far more. I write this because in the end, your production problems are hurdles. Unless of course you’re Warner Herzog and you’re trying to move a river boat over a mountain. But for the rest of us mortals, these obstacles are a footnote.…

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MediaStorm Guide to Adding Quick Audio Dissolves in Premiere Pro 2014

This article is part of a series of posts with tips and tricks from our producers' experience working with Adobe Premiere Pro CC after years of working in Final Cut Pro. To read more about why we made the switch, check out this post. Note: This tip only works on the most recent update to Premiere Pro 2014.

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Responding to Critique Sessions

Several weeks ago at our Methodology Workshop, we screened a fine cut of a film I’m wrapping up. I thought I was close to done. The group thought otherwise. I have to admit it stung to hear so much criticism so close to the end. After dusting off my ego, I wrote down some thoughts on how best to consider a critique: Following a screening, if at all possible, take time to digest feedback before returning to your edit. Lots of comments can feel like a barrage. Having an opportunity to reflect on them before jumping back in can offer clarity. What is the common denominator of all the feedback? Write it down in a single sentence. As you make revisions, ask yourself, are you addressing that issue? Pay attention to the comments that make you angry. Often that’s resistance talking. Question what you’re holding on to. The writer Neil Gaiman once wisely said,…

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