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CBS/Paramount sues to stop Axanar 2 - Electric Boogaloo-Fanboys gone WILD-too many hyphens

Do you enjoy pie?

  • Yes, sweet, please

    Votes: 79 40.9%

  • Yes, savory, please

    Votes: 42 21.8%

  • Yes, any kind

    Votes: 80 41.5%

  • No, I'm a heathen

    Votes: 37 19.2%
  • Total voters
    193
Some of Paul Jenkins comics in at least one of the Marvel series I'm planning on reading, but I'm honestly not sure if I'm going to be able to bring myself to actually read them now that he's involved with Axanar. At least he hasn't made a complete ass of himself the way some of the people involved have.
 
JD said:
Some of Paul Jenkins comics in at least one of the Marvel series I'm planning on reading, but I'm honestly not sure if I'm going to be able to bring myself to actually read them now that he's involved with Axanar. At least he hasn't made a complete ass of himself the way some of the people involved have.
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How many others were planned to be important parts of Axanar and currently... aren't? Christian Gossett, Robert Meyer Burnett, Bill Hunt. It's only a matter of time before Paul Jenkins sees Alec for who he is and leaves too.
 
Sgt_G said:
My wife likes Sexy Garth. :adore:

So says the guy whose real-life given name happens to be "Garth". :biggrin:
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There was a donor email yesterday to "upgrade the USS Ares bridge." They were looking to sell $500.00 worth of merchandise to complete the upgrade so that the bridge would be more "energy efficient" or something like that. There were so many emails about this patch coming in, that patch coming in, buy a coffee cup, etc that I still haven't read them all.
 
I'm kind of surprised Comic-Con would associate itself with a fan production like Axanar.
 
Csalem said:
Interlude update:
https://fanfilmfactor.com/2020/02/19/interlude-confidential-5-the-latest-chatter/
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From the blog post:
[...]warned me not to expect too much “excitement” from the initial rough cut. It’s also known as a “wide” cut because the takes are purposefully cut to be a little longer (meaning they have a bit more at the beginning and end of the lines).
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I don't know anyone who calls the Rough Cut a "wide" cut. And if anyone did, they'd probably call it that because of the tendency to use more master shots rather than how much "handle" is left on either end of each cut.

The typical sequence is more like:
  • 1st Assembly (on a feature usually put together as the footage comes in)
  • Rough Cut (sometimes what the 1st Assembly is called)
  • First Cut
  • Fine Cut (film gets locked here)
  • Final Cut (film with all audio work, scoring and color grading)
Also, there’s a lot missing from a rough cut. The music isn’t there, for one thing, and that will eventually add a lot of excitement and richness. But right now, it’s all just people speaking their lines on an otherwise quiet set—no red alert klaxon, no explosion sounds, not even the pressing of buttons and the beeps they make. As they said, don’t expect much yet…and I didn’t.
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No big surprise... that's the definition of a rough cut: it's a rough assembly of the footage. Or course it's got none of that.

[...]I used my imagination to fill in what was missing. As I watched the rough cut, I mentally added in the explosions, the red alert, the music, and the camera shake. And in my head, it was MUCH more exciting! But even in my mind’s eye (or rather, ear), it felt like something was still missing.

And almost immediately I knew exactly what it was!
[...]
The thing that was missing from our battle scenes was—drum roll, please—BRIDGE CHATTER!
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This makes me laugh. It's adorable in the way that watching a child figure out something really basic is. It's kind of fun watching him be excited over something I long ago realized was so obvious.

But, frankly, he's making the classic beginner's mistake of looking too far down the road. Polish doesn't matter at this stage. In fact, it's a dangerous drug.

As I've said elsewhere, I think that often the best way to edit a film is to put it together without the bells and whistles, see how much excitement and emotion you can generate just with the rawest of elements. Then, once you have maximized the raw material, you can make informed decisions about how much or little to need to add to it. It's one reason I dislike laying temp track music in too early, because the emotion of the music may make the scene seem like it's emotionally resonant when the edit itself isn't doing that work. It's possible what you're responding to not the entree itself, but the sauce you've ladled atop it. The food underneath may still be bland.

This is why I always say, "Do the scoring and sound effects as late as possible; let the film do all the work it can before you add the bells and whistles. That way you get the most out of everything and you don't overdo it."

A fer instance...

What I delivered of the First Cut of Polaris (long out of my hands) I called it the Rough Cut even though it wasn't, as I didn't want the editor who was going to take over to feel beholden to anything I had done. When it was actually at the Rough Cut stage I, of course, didn't put any effects or music into it. Even at the First Cut stage I was trying to let the acting do all the work it could. Once I had that as good as I could get it I would normally have left it alone.

But Dennis was concerned that some of the stakeholders of the film, some inexperienced with being able to see past all the obvious limitations of such an early edit, would have trouble seeing the film's potential if they could not imagine what was still missing (VFX shots, etc.).

So at the point I cobbled together a temp title sequence and end credits, laid music where the holes in the film needed something to carry the emotion over, likewise laid ambient sound in only for places where its absence was distracting. Hell, most of the "chatter" I eventually laid into this First Cut was actually old recordings from the Disneyland Tomorrowland rides, most of that I played very low and backward because I wanted the feeling of conversation but I didn't want you to understand a word of it.

Normally I would not have bothered with any such fine tuning at that stage.

When I cut the big Act 4 finale action of "The Tressaurian Intersection" I used music from the final battle in Star Wars as a "click track" to establish the cutting tempo I wanted. I then ripped that music out before I showed it to anyone because what was important was the rhythm I wanted, not the emotional tone of the music.
 
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