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  1. As a child what were your early influences towards cinema? Art, literature, graphics, photography? I’m from middle class family, my father has a small mechanical workshop. I remember he used to take us to the theatre. I watched films like “Hum saath saath hai” “Hum Dil De Chuke Sanam” “Hamara Dil Aapke Paas hai” etc… But my parents thought that we should watch films for 2 or 3hrs only for entertainment. They were strict and never allowed me for cable connection as it would have spoilt my studies, so I used to watch films only on Friday Saturday on Doordarshan. My mind was always thinking about the scenes, dialogues, action sequences and dressing styles when I would watch films. That time I was not aware about the director, editor & other crew, who work on films. I always thought that actor is the one who makes films & curious to know the life of actors, so at the beginning that influenced me towards cinema. I was fond of photography though not aware about the word “Photography” but I just enjoyed getting clicked and click others. I just knew that it captures memory and we can preserve that memory for long time, always thought that there is some similarity in photography and films. How did you first become interested in film editing? When I was in 3rd year of my graduation in Software (B. Tech), I made a short film for college competition and it got appreciated from teachers & friends. I shot that film, edited and directed it. I edited that film using moviemaker software. I was not aware about full concept of editing but I enjoyed the process when I put the shots one after the another and created some meaning and that was the time when I felt that I was in a wrong field. Then I decided to join film school exactly second day after my graduation. I moved to Mumbai for direction course where I met cinematographer Nadeem Khan (Cinematographer from FTII), who told me that its better if I go for editing as I possessed technical background. I had heard that technical people easily get jobs and that is very important if you want to survive in Mumbai. Then I joined editing course with direction dream and that was a right decision & when I started working with filmmaker Onir on his films that was when I got hooked to editing. What steps did you take to train yourself? After small course in editing I felt that I’m not going to survive with this limited knowledge, so I decided to go to FTII and SRFTII. I tried twice for both but never appeared for it. Later I attended Film Appreciation course in FTII which taught me how to take decisions in my field. After that I got job in Prime Focus as an Online Editor for 3D films. I worked on films like Immortals, Ra-One, Harry Potter and Deathly Hallows. I learnt a whole new concept of stereoscopic films & how 2D film got converted in to 3D. Meanwhile I got a chance to edit feature film called “MLA”. After editing that film, I felt that I was not ready yet & I decided to assist industry people to gain more knowledge. I met Onir, worked with him for films like “I AM” “CHAURANGA” “SHAB” as an associate editor. I also worked with Suresh Pai for “Ankhon Dekhi” & Dibakar Banerjee for “Bombay Talkies”. I simultaneously started working on my own projects. I always used to go for film festivals. I think this is the way you learn a lot, get a chance to meet new people, watch world cinema and you actually understand the impact of cinema. It always motivates me and of course Youtube is Guru for nowadays. Have you assisted anyone? How does it help one? Yes, I assisted Onir and Suresh Pai. In that case I always felt lucky because Onir is Editor & Director and Suresh Pai who is from FTII, where I always wanted to join. I had started assisting Onir on his film “I AM”. I wanted to be a director so I felt I got proper opportunity where I could learn both the things. I assisted Suresh Pai for “Ankhon Dekhi” which was a golden opportunity. I learnt very important things from both, like how to be patient on edit table, whether as a person you are patient or not. This is what I had heard in theory lectures. Onir knew that I wanted to be a director so he always used to tell things in that way. Assisting always helps. How did your first film project come about? Tell us something about experience. I did a film MLA in 2012, where I shared name with another editor so I consider my first project as an Editor is “Pagla Ghoda”, 2016 Directed by Bikas Mishra. That project came to me because earlier myself and Bikas Mishra worked together for a film “Chauranga”. He was the director of that film & I was assistant editor & promo editor for the same. Things were falling at the right place and he gave me chance for this project. What are your inspirations? To get connected with people who are honest in their field, get to know experiences of people, attend film festivals, solo traveling and visit my hometown with long intervals. Is film editing intuitive or is it something you learn? Intuitive, earlier when I was in college I use to make small videos. That time I was not aware about editing, it was intuitive. Later I learnt it and got to know about all editing grammar. What part does risk-taking play in your work, if any? Of course, risk is always there from first day of edit to the release date. After shoot editor is the only person who handles all post production process. He has to backup all rushes (Original video) & project files. He can’t take the risk of losing rushes or project files that he has spent days working on. Also, editor is the one who again tells or writes the story using his own technical knowledge and if he fails to do it then someone has to pay for it. People say good editor can save the director from suicide but I think good editor can save the producer from suicide. Do you think the audience is perceptive about an edit? What kind of feedback do you get from non-film maker audience for your work? Yes, I think nowadays because of new cinematic experience audience have started talking about editing. After screening I often heard people saying that story was lagging because of edit, film was good but it was lengthy, they discuss about effects, cuts, colors. I think when audience discusses the film on edit level then that’s a bad news for editor. Because of changing technology people get to know more about it. Film Technology is continuously changing. Do you think it affects you as an editor, in the way you want to tell stories? Yes, sometimes, technology is such a thing where you unexpectedly get to know new things and you adopt those things in your work, it helps a lot, same way sometimes it creates new challenges. Like, it has made editing tools easy. Today everyone learns it. People direct their own stories and they start their own creative edit. After that they come to editor with their first cut (sometime they say they need only operator) & then editor starts his work in midway from the provided first cut. At this point of time it is very difficult for the editor to think fresh and new on the project because the first cut has already blocked his mind with re-telling their story once in the script and another with your own edit, I have seen such cases. If the director has editing knowledge then the case is different. Favorite films or editors? At least two of them? My Favorite films are Khosla Ka Ghosla, Love Aaj Kal, Zindagi Na Milegi Dobara, Before Sunrise/Sunset, 127 Hours and editors are Suresh Pai, Namrata Rao, Walter Murch, Thelma Schoonmaker. Any hurdles you have encountered in your journey. Things that are blocks in a achieving your vision while working on your film. Health problem. Because of excessive sitting I faced back problem and I have taken break for long time now. I am back again on my track. I never faced any another problem other than this. Do you often get all that is in your wish list or is it hard bargain every time? Yes, I get all that is in my wish list but sometimes I have to bargain for it and who doesn’t? Advice for the editor? Don’t make your own edit style because that doesn’t work. What is in the kitty now? Working on ad films & documentaries, soon starting new project but still untitled. Any memorable blunders? Mistakes happens when you are a beginner but I don’t think I did any memorable blunder Dream project? To edit my own feature film. Who do you want to take out for dinner? Golshifteh Farahani What are you listening to right now? And most recent book? And Movie? Reading Hitler and busy with watching TV Series “Narcos” https://www.youtube.com/watch?v=begIowbZEjo https://www.youtube.com/watch?v=UmzgEtnJ5ac https://www.youtube.com/watch?v=LVMTYTEUO1Q https://www.youtube.com/watch?v=Yq_1L_8bep0 https://www.youtube.com/watch?v=FrnWZzXWsFQ
    3 points
  2. Dependent Films has an excellent collection of essential production documents that they are allowing for a free download. You may use them as they are, or as templates and customise them to your requirements. Either way, these are excellent documents to learn from and to work with. Download them here. Included downloads: Script Template for Word * A nice template for Word. Comprehensive menus and customizable macros. (69K) Script Maker Very simplistic template for Microsoft Word. Macro's make this template extremely easy to use. (53K) Simply Screenplay Once again, something we use periodically. Can be set up to format either screenplays or sitcom formats. (96.6K) These zipped templates are in the .pdf file type. Editing Log - (24K) * Field Tape Log - (8K) * Location Contract - (8K) * Camera Shot List - (12K) * Talent Release Form - (4K) * Call Sheet Template - (36K) * Location Relase Form - (12K) * Personal Release Form - (16K) * Location Scouting Sheet - (32K) * Production Budgeting Proposal - (20K) * These templates are in the .xls file type. Call Sheet - (7.27K) Daily Editors Log - (14.4K) Cast Contact Sheet - (7.27K) Crew Contact Sheet - (2.53K) Daily Continuity Log - (19.8K) Daily Progress Report - (6.22K) Easy Script Breakdown - (6.99K) Script Supervisor Notes - (3.48K) Daily Production Report - (4.82K) Continuity Synopsis Sheet - (18.1K) * StoryBoard Tools * Windows based program with simplistic, yet effective tools. Downloadable in .zip format - (1Mb) Widescreen (16:9) - 15 frames (5K .gif) Standard Ratio (4:3) - 20 frames (7K .gif) Standard Ratio w/ Overhead Plan (4:3) - 8 frames (9K .gif) Standard Ratio w/ Detailed Angle * (4:3) - 4 frames (8K .pdf) Standard Ratio: Simplistic * (4:3) - 9 frames (8K .pdf) Sample Location Contract * Downloadable in .txt format - (4K) Sample Performer Release * Downloadable in .txt format - (4K) Sample Script Agreement * Downloadable in .txt format - (4K) Sample Compensation Contract * Downloadable in .txt format - (4K) Camera Journal Printable Journal in .gif format - (47.2K) Equipment List Equipment List in Excel format. - (7.09K) Downloadable in .zip format Film Icons Random icons for your desktop. - (38.8K) Downloadable in .zip format Film Budget Detailed Budget in Excel format. - (29.5K) Downloadable in .zip format P.P. Databases Databases for your Palm Pilot - (38.0K) Color Bars SMPTE Color Bars for your computer Screen - (6.80K) Time Code Time Code Calculator for Camera number crunching - (247Kb) Vid Prompt Turn your computer screen into a teleprompter. Good program to have - (89.2K)
    2 points
  3. Often when writing PPM dockets and treatment notes, I want to use themes that are not part of the standard limited theme set. I found some amazing links to themes for Apple Keynote at Bored Panda. And some at SpeckyBoy. UI Cookies lists some. HiSlide.io has plenty of options for Apple Keynote, MS Powerpoint and Google Slides. Quertime has some...
    1 point
  4. s_meera1, yep its 5D
    1 point
  5. I liked the concept ...all the best
    1 point
  6. It's a nice idea to get solar panels to remote villages. I hope you are also teaching them to stay away from plastic!
    1 point
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  8. Its nice... where do you plan to screen it?
    1 point
  9. Team

    Freelance Editor Wanted

    Searching for one freelance editor for subtitling the independent feature film on final cut pro. And, for polishing the another feature film in which lineup is already done with the director. The editor must know the final cut pro. Paid job. Remuneration can be discussed. Location is in Mumbai. Urgent requirement. Please send your CVs on following e-mail id -dashankp96@gmail.com
    1 point
  10. Lightworks is an advanced video editing software that is available as a free download from here. Unmatched format support Lightworks has the widest support available for formats currently available in a professional NLE. MXF, Quicktime and AVI containers, with every professional format you can think of: ProRes, Avid DNxHD, AVC-Intra, DVCPRO HD, RED R3D, DPX, H.264, XDCAM EX / HD 422 – check out the detailed Tech Specs for a full list of supported formats. Incredible timeline We like to shout about our timeline. It looks uncomplicated – and it is. But it’s more powerful than any other timeline out there. With the most comprehensive drag and drop support, and all the standard insert, replace and fit-to-fill edit commands, a Lightworks timeline probably gives you the most advanced feature set available. Change clip speed, control clip and track volume levels, add effects and transitions in realtime – all in an uncluttered and flexible timeline that out-performs anything else out there. And it’s free. Resolution, format and codec independent timeline We live in a complicated world of formats, frame rates, codecs and standards, which is painful when all you want to do is edit. So we’ve taken that headache away. Put whatever you want on your timeline – any standard frame rate, any format, any codec – we don’t think you should worry about that. In fact, the only thing you have to decide is what you want to export your edit as. That’s all you have to do. If we could make it easier, we would. Trimming If Lightworks had one key advantage 20 years ago it was its ability to trim media. Most NLEs make you perform unnecessary editing functions to delete, lift, cut or move media when all you really want to do is trim it. Lightworks sets the standards for trimming, with an AutoSync feature that has never been matched. Why make something complicated with several edits when you can do it with just a couple? Once you’ve trimmed in Lightworks, you won’t look back. Multicam Sync Groups Not everyone shoots with multiple cameras. But when you do, you need the best tools to edit. Syncing-up shots and switching angles in realtime all help create a great multicam edit. The last thing you need is technical restrictions getting in your way. So we removed them. Edit unlimited sources and any mixture of resolutions or formats in our unique Sync Group for the most flexible multicam editing feature available in a professional NLE. It doesn’t get easier than this. Stereoscopic Support Stereoscopic is here to stay. And we’re here to support it. But why change the way you edit, just because the way you view media has changed? Lightworks has a completely unique way to edit stereoscopic media – exactly the same way you edit the rest of your media. We automatically keep track of your left and right eye media during import, editing and export; all you have to do is decide how you want to view it. And we offer plenty of ways to do this: Anaglyph, Side-By-Side, Checkerboard, Difference. You can even view stereoscopic media on a regular 2D display. Who said 3D workflows had to be expensive? Project Sharing Seven years ago we developed the EditShare shared storage solution based on real world experience: working on location with shared FireWire drives drove us mad. We believe we understand project sharing better than anyone. We’ve developed a solution for Avid and we are the only company to develop one for Final Cut Pro. But with Lightworks, we’ve taken it one step further. This is what realtime collaboration should be. Share media, bins and edits in realtime with full permissions control over which user has read / write access. If you need to work together then this is probably the best solution available. Easy to configure, easy to maintain and it works on any network storage. Powerful, realtime effects Remember the big announcements about background rendering last year? We remember them too and we’re still wondering why. Modern graphics cards are fast – lightning fast. Why render effects when they can be handled in realtime by inexpensive GPUs? Lightworks has a realtime GPU pipeline architecture, designed from the ground up to deal with compositing and effects, such as primary and secondary colour correction, blurs, mattes and masks – completely independent of the source media. HD? 2K? 4K? No problem, we’ll deal with it in real time. The faster your GPU, the faster your system. Unique and Patented Console Since 1989, Lightworks has had a unique and Patented hardware Console at the heart of its editing philosophy. Based around a flatbed film editor, the console offers the most tactile and intuitive editing experience available. There’s nothing else quite like it. Just because we edit using files and not film these days doesn’t mean we have to throw away the best way to edit. Using the console means you spend at least 50% more time looking at the images and not at shortcuts or disruptive application menus. It’s fast and it’s how the professionals edit. Every film that has been edited with Lightworks has been cut with a Lightworks console. And for those who fancy something different, we’ve developed a dedicated keyboard with an ergonomically designed layout for optimal use. AutoSave There’s nothing more depressing than losing your last edit. You’ve spent hours fine-tuning a cut and the power fails or your hard drive dies. We’ve been there and we know what it’s like. So that’s why we have an AutoSave feature that is as good as it gets. To put it simply, you’ll never lose your work again. Lightworks saves every keystroke, every edit, every change you make in your project. Not only does Lightworks save your project continuously, but it also saves incremental backups of each Edit. You can decide how often and how many versions are kept. Peace of mind that you can return to any point and not lose any of your hard work. Powerful media management Multiple Terabytes of media: It’s a headache. How do you filter content quickly and efficiently? How can you log your media so that others can find it? Lightworks offers a powerful solution for managing your media, and doesn’t leave you at the mercy of a consumer operating system’s file system. Knowing where your media is and what you have available can make the difference between a great final product and an average edit. Log media, Storyboard, make automatic edits, and advance search for content. Powerful tools for any editor or assistant who collaborates with other departments such as audio of VFX. Lightworks Community We would love to think we have all the answers, but some of the best ideas come from people using Lightworks every day… and we are more than happy to listen to them! The Lightworks Community is full of great people – editors who not only love editing, but also enjoy sharing knowledge and helping others find better ways of using Lightworks, with tips, tricks, or just good old-fashioned advice. Lightworks has the largest growing community in our industry and we’re proud of it. Join us and experience something above and beyond the software!
    1 point
  11. deepak88


    From the album: Mauritius Locations Valleys

    Mauritius valley and meadows locations. Call Raj +919820092416
    1 point
  12. parambyte

    JFF | Jagran Film Festival2014

    JFF | Jagran Film Festival2014 Delhi / Mumbai
    1 point
  13. AmitParmar


    From the album: me

    1 point
  14. oncemoreentertainmentsevents@gmail.com Full crew wanted.
    1 point
  15. Welcome! Thats a fair deal of work!
    1 point
  16. Hi Madhav! Excellent idea! We already have a gallery of locations and if everyone can keep uploading snaps and details it would be great. Do you have anything to add here? (by the way, what do you do?)
    1 point
  17. Hi Everyone, I am new on the site. However i do have a suggestion. Can we start a topic called MUMBAI LOCATIONS and every one can list down locations where they have shot with contact numbers of the people incharge off the location. You can also upload the pics of locations in the gallery . That way it will be an online location database for people shooting in Bombay . Regards Madhav Roy Kapur
    1 point
  18. Team

    Hero Glamour Commercial

    Hero Glamour TVC: Nain Mattaka Agency: JWT, Delhi Creative: Hitesh Jain Dir-Dop: Shikha + Param Kiss Films Team: Sana Ahmed, Srikanth Iyer, Maulik Sharma First AD: Deepak Magoo Second AD: Kritika Shekhar Music Director: Sneha Khanwalkar Singers: Aditi Singh Sharma & Saumya Rao Sound Engineer: Annu, Shankh Studio Line Producer: Salim Javed Casting: Mohit & Meera Costumes: Meisha, Reena & Ruchika Art: Sapna Picture Post: Pixion Telecine : Shivesh Editor : Dev
    1 point
  19. s_meera1

    Yoo Hoo!

    Hello Everybody! I think this is a fantastic forum for all film makers to come to and discuss our interests! Thanks to the guys and girls behind this!
    1 point
  20. Vidhi Gandhi

    Cover Shoot

    From the album: Fashion Styling- Cover Shoot

    Cover Shoot of Time'n Style Magazine- Olympics

    © All rights reserved

    1 point
  21. Nidhi

    Raymond Vivan suit

    From the album: Nidhi : Make Up

    Campaign for Raymond. Makeup by Nidhi Makan. Photography by Atul Kasbekar.
    1 point
  22. Hello all! We started DesiShoots with the aim to bring together the community of creative, independent film makers in India. Share your knowledge, experiences, worries, questions, films and reels etc. Hoping to see a lot of reels soon! - Admin
    1 point
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