All language subtitles for Module 22

And now let's talk about obstacles.

And that includes blowups, reframing,
repositioning, flipping and flopping,

screen direction, speed changes, morphs,

tricks to help you tell your story.

When we went through color,
we sharpened it.

And but but it is a blow.

It's a blow up.

And I should say that, you know, that's a
that's a basic tool

that we have in editing.

And what we do today in the editing room

is very different
than what people used to do.

You know, in the studio days you did that
a lot less in the studio days.

I mean, they did some amazing things.

They would blow up shots, you know.

But now we do that so frequently.

We reposition, we enlarge, we blow up,
we flop the screen direction.

We slow shots down, we speed them up.

Those things we don't really even
call them visual effects.

We call them opticals.

After the
the old term, the way they used to do

those type of effects, they would
optically have to re photograph the film.

And so in Hollywood,
we just refer to them as opticals.

They're little simple effects.

But in older movies, they,
they might do a handful of them.

Now, today
we do a handful just in a single scene.

There's a lot of repositioning,
a lot of perfecting of the frame.

Damian, as you can tell by
now, is a perfectionist.

We would reframe quite a bit
and if we need to blow up because

we have a great performance we like,
but it's in the wrong size, we blow it up.

We usually do it very liberally.

We do.

We often do it past the point
where we're supposed to do it.

On a second level, they or the lab or

the colorists or even the cinematographers

don't like blowouts.

They don't like it
because it changes their composition

and the quality is degraded.

And it's something that

I like to think I'm very sensitive about.

I respect cinematographers.

I love what they do, and I like to think
that I never alter their images

unless it helps the story,
unless it does something emotionally.

And I think that's
the most important thing.

And I think if it works emotionally,

then the audience shouldn't really.

Notice it in the case
you brought up with the cuts,

that's supposed to have impact,
that's supposed to be noticeable.

But most of the time
when I do these things, when I reposition,

I frame, reframe, blow up.

You're not supposed to notice it.

And, you know, if
if you have a scene that you're editing

and you want to underline a point,

underline something that a character says
or a reaction, you might.

Wish that you had a closer shot,
but you don't have it,

so you may end up blowing it
up, resizing it.

Well, if it feels right

when you're watching the scene,
if it feels right emotionally.

You're not going to think
about the quality.

That's not.

You're not going to feel the difference
in quality because you won't know.

You don't know because you don't have
the original shot to compare it to.

To say this is the original shot. Oh,
my God.

The resolution looks
so much better than the blown up shot.

You don't.

The audience doesn't look at it that way.

All they see it in is context.

And if it works in the context,
if you're watching a scene

and it feels right to go to a tighter
shot, a close up, that's

all you need to know because it'll work
and no one's going to notice that.

So you can get away.

I've found you can get away so much
with so much when you need to.

But again, it's not something I do
lightly.

It's not something that

I do randomly.

It's always at the service of
the story or the characters.