Podcasts about 100gb

Share on
Share on Facebook
Share on Twitter
Share on Reddit
Copy link to clipboard
  • 65PODCASTS
  • 120EPISODES
  • 49mAVG DURATION
  • 5WEEKLY NEW EPISODES
  • Jan 10, 2022LATEST

POPULARITY

20122013201420152016201720182019202020212022


Best podcasts about 100gb

Latest podcast episodes about 100gb

The Rough Cut
Hawkeye

The Rough Cut

Play Episode Listen Later Jan 10, 2022 59:22


Editors - Terel Gibson ACE, Rosanne Tan ACE and Tim Roche The editors of Marvel's HAWKEYE each brought their own storytelling super powers to the mix for the most recent Disney+ hit.  MCU "newbie" Terel Gibson brought his formidable feature editing skills, while MCU veterans Rosanne Tan and Tim Roche applied their respective tv experience in action/drama and comedy.  Collectively the result was a show that delighted Marvel fans and evoked the holiday spirit of a diverse set of films from DIE HARD to HOME ALONE. Taking place one year after the events of AVENGERS: ENDGAME, Clint Barton (Hawkeye/Ronin) must partner with Kate Bishop to confront enemies from his past as Ronin in order to get back to his family in time for Christmas. TEREL GIBSON ACE Prior to joining the MCU for HAWKEYE, Terel Gibson ACE was best known for his feature film work on movies such as SORRY TO BOTHER YOU (2018), READY OR NOT (2019) and THE FIGHTER (2010). ROSANNE TAN ACE Rosanne Tan ACE makes her record-tying 3rd appearance on The Rough Cut!  Prior to HAWKEYE, Rosanne also cut Marvel's THE FALCON AND THE WINTER SOLDIER and had plenty of other experience editing tv shows (MR. ROBOT, HOMECOMING) that featured action, intrigue and high drama. TIM ROCHE In addition to Tim's previous experience cutting another hit Marvel series (WANDAVISION), Mr. Roche honed his editorial skills in the field of comedy tv, having cut such shows as CURB YOUR ENTHUSIASM and IT'S ALWAYS SUNNY IN PHILADELPHIA. Editing Marvel's Hawkeye In our discussion with the editors of Marvel's Hawkeye, we talk about: Mining the Marvel archives The narrative role of the "walk and talk" Building an epic 360 degree car chase How to make a mega montage from "scenelets" Meeting your heroes The Credits Get your free 100GB of media transfer at MASV Visit ExtremeMusic for all your production audio needs See which Avid Media Composer is right for you Hear Rosanne Tan talk about her work on THE FALCON AND THE WINTER SOLDIER and HOMECOMING Listen to editor Tim Roche discuss his work on WANDAVISION Check out other Hawkeye related Rough Cut podcasts such as AVENGERS: ENDGAME and BLACK WIDOW Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

AWS Morning Brief
Time to Give LastPass the Heave

AWS Morning Brief

Play Episode Listen Later Jan 6, 2022 5:16


Links: “Tokyo police lose 2 floppy disks containing personal info on 38 public housing applicants”: https://mainichi.jp/english/articles/20211227/p2a/00m/0na/072000c LastPass may have suffered a breach: https://news.ycombinator.com/item?id=29705957 “Worst AWS Data Breaches of 2021”: https://securityboulevard.com/2021/12/worst-aws-data-breaches-of-2021/ D.W. Morgan: https://www.hackread.com/logistics-giant-d-w-morgan-exposed-clients-data/ SEGA Europe: https://vpnoverview.com/news/sega-europe-suffers-major-security-breach/ “Identity Guide–Preventive controls with AWS Identity–SCPs”: https://aws.amazon.com/blogs/mt/identity-guide-preventive-controls-with-aws-identity-scps/ Log4j scanner: https://github.com/google/log4jscanner TranscriptCorey: This is the AWS Morning Brief: Security Edition. AWS is fond of saying security is job zero. That means it's nobody in particular's job, which means it falls to the rest of us. Just the news you need to know, none of the fluff.Corey: This episode is sponsored in part by LaunchDarkly. Take a look at what it takes to get your code into production. I'm going to just guess that it's awful because it's always awful. No one loves their deployment process. What if launching new features didn't require you to do a full-on code and possibly infrastructure deploy? What if you could test on a small subset of users and then roll it back immediately if results aren't what you expect? LaunchDarkly does exactly this. To learn more, visit launchdarkly.com and tell them Corey sent you, and watch for the wince.Corey: The first security round-up of the year in Last Week in AWS: Security. This is relatively light, just because it covers the last week of the year, where people didn't really “Work” so much as “Get into fights on Twitter.” Onward.So, from the community, ever see a data breach announcement that raises oh so very many more questions than it answers? I swear this headline is from a week or so ago, not 1998: “Tokyo police lose 2 floppy disks containing personal info on 38 public housing applicants”. Yes, I said floppy disks.The terrible orange website, also known as Hacker News, reports that LastPass may have suffered a breach. At the time I write this, the official LastPass blog has a, “No, it's just people reusing passwords.” Enough people I trust have seen this behavior that I'd be astounded if that were true. If you can't trust your password manager, ditch them immediately.Security Boulevard had a roundup of the “Worst AWS Data Breaches of 2021”, and it's the usual run-of-the-mill S3 bucket problems, but my personal favorite's the Twitch breach because it's particularly embarrassing, given that it is, in fact, an Amazon subsidiary.First one goes to D.W. Morgan by leaking 100GB of client data. And they're a logistics company that serves giant enterprises, so these are companies with zero sense of humor, so I would not want to be in D.W. Morgan's position this week.And the other is a little funnier. It goes to SEGA Europe, after Sonic the Hedgehog forgets to perform due diligence on his AWS environment.Corey: Are you building cloud applications with a distributed team? Check out Teleport, an open-source identity-aware access proxy for cloud resources. Teleport provides secure access for anything running somewhere behind NAT: SSH servers, Kubernetes clusters, internal web apps, and databases. Teleport gives engineers superpowers. Get access to everything via single sign-on with multi-factor, list and see all of SSH servers, Kubernetes clusters, or databases available to you in one place, and get instant access to them using tools you already have. Teleport ensures best security practices like role-based access, preventing data exfiltration, providing visibility, and ensuring compliance. And best of all, Teleport is open-source and a pleasure to use. Download Teleport at goteleport.com. That's goteleport.com.AWS had only a single thing that I found interesting: “Identity Guide–Preventive controls with AWS Identity–SCPs”. I've been waiting for a while for a good explainer on SCPs to come out for a while, and this looks like it actually is a thing that I want. I've been playing around with SCPs a lot more for the past couple of weeks. If you're unfamiliar, it's a way to override what the root user can do in an organization's member accounts. It's super handy to constrain people from doing things that are otherwise foolhardy.And lastly, an interesting tool came out from Google—which I should not have to explain what that is to you folks; they turn things off, like Reader—they also released a log4j scanner. This one scans files on disk to detect the bad versions of log4j—which is most of them—and can replace them with the good version—which is, of course, print statements. And that's what happened last week in AWS security. Hopefully next week will be… well, I don't want to say less contentful, but I do want to say it's at least not as exciting as the last month has been. Thanks for listening.Corey: Thank you for listening to the AWS Morning Brief: Security Edition with the latest in AWS security that actually matters. Please follow AWS Morning Brief on Apple Podcast, Spotify, Overcast—or wherever the hell it is you find the dulcet tones of my voice—and be sure to sign up for the Last Week in AWS newsletter at lastweekinaws.com.Announcer: This has been a HumblePod production. Stay humble.

The Rough Cut
Cut to the Monkey

The Rough Cut

Play Episode Listen Later Jan 3, 2022 50:39


Author / Editor / Documentarian - Roger Nygard ACE Cut to the Monkey author, Roger Nygard has logged many hours in the editing rooms of some of the biggest names in comedy.  It was those sessions with the likes of Larry David, Sacha Baron Cohen and Judd Apatow that inspired him to organize their thoughts, and his own, into a book that can help even more experienced editors confidently take on comedy projects. ROGER NYGARD ACE Roger Nygard is probably best known for his highly-successful and acclaimed documentary Trekkies, about the most obsessive fans in the Universe. Nygard's previous documentary, The Nature of Existence, addressed the impossible subject of the world's philosophies, religions, and belief systems. Nygard has made several other award-winning films, including the car-salesman cult-film, Suckers, and a profile of UFO fanatics, Six Days In Roswell, and now the documentary The Truth About Marriage. His work as an editor includes "Grey's Anatomy," "The League," and Emmy-nominated episodes of "VEEP" and "Curb Your Enthusiasm."  Nygard has also directed television series such as "The Office," and "The Bernie Mac Show". Writing Cut to the Monkey In our discussion with Cut to the Monkey author, Roger Nygard ACE, we talk about: Working backwards to find the best takes faster Studying the classics Staying in the wides and staying on the joke The importance of being a filmmaker first, editor second Navigating the Periodic Table of Nonsense The Credits Get your free 100GB of media transfer at MASV Visit ExtremeMusic for all your production audio needs Get your copy of Cut to the Monkey today Check out the free trial of Media Composer | Ultimate Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

The Rough Cut
Spider-Man - No Way Home

The Rough Cut

Play Episode Listen Later Dec 27, 2021 66:56


Editors - Leigh Folsom Boyd ACE and Jeffrey Ford ACE Editors Leigh Folsom Boyd and Jeffrey Ford are not exactly newbies when it comes to the Marvel Cinematic Universe.  And while they have many prior MCU colleagues in common, SPIDER-MAN: NO WAY HOME represents the first time they've ever worked together on a project.  Jeff was the editor who introduced Tom Holland's Peter Parker to the MCU when he cut CAPTAIN AMERICA - CIVIL WAR.  Leigh has the distinction of also cutting the previous film in director Jon Watts' "Spidey" trilogy, SPIDER-MAN: FAR FROM HOME alongside editor Dan Lebental ACE. NO WAY HOME picks up things up in the moment after Mysterio exposes Parker's identity as Spider-Man to the world in FAR FROM HOME.  Peter then asks Dr. Strange to make it a secret again with magic, but this breaks open the "multiverse" and allows five supervillains from alternate realities to enter Parker's universe. LEIGH FOLSOM BOYD ACE Even before joining the Marvel Cinematic Universe to co-edit ANT MAN, SPIDER-MAN: FAR FROM HOME and BLACK WIDOW, editor Leigh Folsom Boyd had plenty of experience cutting blockbuster action movies.  Her rich resume includes films like FAST & FURIOUS, FAST FIVE, FAST & FURIOUS 6, FURIOUS 7, PIRATES OF THE CARIBBEAN: DEAD MEN TELL NO TALES and TOTAL RECALL (2012). JEFFREY FORD ACE While Jeff Ford's career has been punctuated by the excellent work he has done in smaller projects such as ONE HOUR PHOTO (2002), BLOODWORTH (2010) and THE COMEY RULE (2020), it is his impressive and unmatched roster of ten MCU films (plus THE FALCON AND THE WINTER SOLDIER for Disney+) for which he is most well known. Editing Spider-Man: No Way Home In our discussion with the SPIDER-MAN: NOW WAY HOME editing team of Leigh Folsom Boyd and Jeffrey Ford, we talk about: Taking care to build a film that can stand on its own within both a trilogy and a franchise Integrating the Easter eggs Collaborating under COVID restrictions The experience of editing on set Jeff Ford finally coming clean about his gaffe in AVENGERS: ENDGAME The Credits Get your free 100GB of media transfer at MASV Visit ExtremeMusic for all your production audio needs Save 20% on subscriptions to Media Composer and Media Composer | Ultimate before 2021 ends Hear Leigh Folsom Boyd talk about editing Black Widow Jeffrey Ford and Robin Buday discuss Avengers: Endgame Editor Dan Lebental on cutting Spider-Man: Far From Home See Chancler's Spider-Man Music Video over on Twitter Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube and see the video version of this interview with Jeff and Leigh

Beyond the Screenplay
Episode 110: Die Hard

Beyond the Screenplay

Play Episode Listen Later Dec 24, 2021 87:28


The BTS team discusses how Die Hard changed action movies, why Hans Gruber is such a compelling antagonist, and what has cemented the film's status as a holiday classic.

The Rough Cut
Nightmare Alley

The Rough Cut

Play Episode Listen Later Dec 20, 2021 40:20


Editor - Cam McLauchlin NIGHTMARE ALLEY editor, Cam McLauchlin has been working with director Guillermo Del Toro dating back to their time together on PACIFIC RIM (2013).  But up to this point Cam had exclusively served in assistant editing and associate editing roles for Del Toro.  NIGHTMARE ALLEY marks McLauchlin's first time as lead editor for the celebrated director. Set in the 1940's. NIGHTMARE ALLEY tells the tale of Stanton Carlisle (Bradley Cooper), a down-on-his-luck drifter who endears himself to a clairvoyant (Toni Collette) and her mentalist husband (David Strathairn) at a traveling carnival. Using newly acquired knowledge, Carlisle crafts a golden ticket to success by swindling the elite and wealthy. Hoping for a big score, he soon hatches a scheme to con a dangerous tycoon with help from a mysterious psychiatrist who might be his most formidable opponent yet. CAM McLAUCHLIN As a film & television editor based out of Toronto and Los Angeles, Cam's career began in Toronto working as an assistant editor for Guillermo Del Toro on PACIFIC RIM, THE STRAIN, CRIMSON PEAK and eventually as an associate editor on SHAPE OF WATER.  Cam also edited the horror cult classic, THE VOID with alumni from Canadian film production and directing company, Astron-6.  Other selected work includes; Max Minghellas' feature debut musical, TEEN SPIRIT and Dogme 95 member, Lone Schefrig's KINDNESS OF STRANGERS.  Cam is currently working with Ana Lily Amirpour for Guillermo's Netflix anthology series, CABINET OF CURIOUSITIES. Editing NIGHTMARE ALLEY In our discussion with NIGHTMARE ALLEY editor, Cam McLauchlin we talk about: Rising up the ranks from assistant to associate to lead editor Making bulldogs bark for Guillermo Del Toro Managing notes from the director, producers, stars and the studio The challenge of cutting fluid camera work Assisting neurotic editors The Credits Get your free 100GB of media transfer at MASV Visit ExtremeMusic for all your production audio needs Save 20% on Avid Media Composer Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

The Rough Cut
Ghostbusters: Afterlife

The Rough Cut

Play Episode Listen Later Dec 13, 2021 59:05


Ghostbusters: Afterlife - Dana E. Glauberman ACE, Nathan Orloff, Will Files, Perry Robertson Although editor Dana E. Glauberman ACE and sound editor / re-recording mixer Perry Robertson already had plenty of experience working with director Jason Reitman, editor Nathan Orloff and veteran sound editor / re-recording mixer Will Files were not quite as familiar with the "Reitman-verse".  But together these four very talented people helped create a new film that not only honored the beloved comedy classic, but also paved the way so that a whole new generation could fall in love with symmetrical book stacking. DANA E. GLAUBERMAN ACE Dana E. Glauberman ACE is known for her work on THE MANDALORIAN (2019), CREED II (2018),  UP IN THE AIR (2009) and JUNO (2007). NATHAN ORLOFF Nathan Orloff is known for his work on JOHN WICK 4 (2022), PLAN B (2021) and TULLY (2018). WILL FILES Will Files is known for his work on THE INVISIBLE MAN (2020), VENOM (2018), WAR FOR THE PLANET OF THE APES (2017), STAR WARS:  EPISODE VII - THE FORCE AWAKENS (2017) and CLOVERFIELD (2008). PERRY ROBERTSON Perry Robertson is known for his work on THE FRONT RUNNER (2018), WONDER (2017) and TRUMBO (2015). Editing Ghostbusters: Afterlife In our discussion with the GHOSTBUSTERS: AFTERLIFE post production team of Dana E. Glauberman ACE, Nathan Orloff, Will Files and Perry Robertson we talk about: Using legacy sounds from the original film Bringing back a lost scene from Ghostbusters (1984) How to create voices for ghosts and marshmallow men Dividing up the workload in picture and sounds Advice for up-and-comers looking for a career in editing and mixing The Credits Get your free 100GB of media transfer at MASV Visit ExtremeMusic for all your production audio needs Save big on Avid Media Composer and Pro Tools before 2021 is over Listen to parts one and two from the Season One interview with The Mandalorian editors Hear Will Files and his esteemed colleagues discuss The Psychology of Sound Design Subscribe to The Rough Cut for more great interviews with the heroes of the editing room Visit The Rough Cut on YouTube  

The Cloud Pod
145: The Cloud Pod Evidently Wants to Talk about re:Invent

The Cloud Pod

Play Episode Listen Later Dec 13, 2021 95:22


On The Cloud Pod this week, the team finds out whose re:Invent 2021 crystal ball was most accurate. Also Graviton3 is announced, and Adam Selipsky gives his first re:Invent keynote.  A big thanks to this week's sponsors: Foghorn Consulting, which provides full-stack cloud solutions with a focus on strategy, planning and execution for enterprises seeking to take advantage of the transformative capabilities of AWS, Google Cloud and Azure. JumpCloud, which offers a complete platform for identity, access, and device management — no matter where your users and devices are located.  This week's highlights

Beyond the Screenplay
Episode 108: The Matrix Reloaded

Beyond the Screenplay

Play Episode Listen Later Dec 10, 2021 87:38


The BTS team talks about the challenges that come with sequels, the successes of the car chase scene, and why the clever ideas found within the film don't always make for a compelling viewing experience.

The Rough Cut
The Power of the Dog

The Rough Cut

Play Episode Listen Later Dec 6, 2021 45:10


Editor - Peter Sciberras THE POWER OF THE DOG editor, Peter Sciberras had never met director Jane Campion prior to their working together on this film, but their initial discussion about maintaining the tension throughout the film and the kind of tenacious editor that would require, left no doubt that Pete was the one for this project. THE POWER OF THE DOG is a western drama. both written and directed by Jane Campion, based on the 1967 novel of the same name by Thomas Savage. The film stars Benedict Cumberbatch, Kirsten Dunst, Jesse Plemons, and Kodi Smit-McPhee. PETER SCIBERRAS Prior to his work on THE POWER OF THE DOG, Pete had cut his storytelling teeth on a number of short films and then went on to make his mark in Australian cinema with films such as; HAIL (2011), THE ROVER (2014), WAR MACHINE (2017) and THE KING (2019). Editing THE POWER OF THE DOG In our discussion with THE POWER OF THE DOG editor, Peter Sciberras we talk about: The skills an editor can develop doing short films Editing in isolation during the pandemic Shifting perspectives between characters The role of the DI assistant? Telling a story between the lines of dialogue The Credits Get your free 100GB of media transfer at MASV Visit ExtremeMusic for all your production audio needs Save 20% on Avid Media Composer Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube  

The Rough Cut
Dune: Hans Zimmer and Joe Walker ACE

The Rough Cut

Play Episode Listen Later Nov 29, 2021 52:45


Hans Zimmer and Joe Walker ACE Long time friends and collaborators, Hans Zimmer and Joe Walker ACE have had the pleasure of working together on five feature films.  Their first was Steve McQueen's 12 Years A Slave, followed up by Dune director Denis Villeneuve's Blade Runner 2049.  After that came Widows (again with McQueen), Dune and their upcoming film, The Unforgivable.  Feature films aside, their relationship dates back even much further than that.  Both creative talents were part of a BBC TV series called First Born in 1988.  And while Hans filled the roll he's become most known for by scoring three episodes of the series, twice Oscar®-nominated film editor Joe Walker actually contributed as a sound editor and not a picture editor for First Born.  In fact, musically trained Walker began his career as a sound editor before switching to cutting picture. HANS ZIMMER The work of legendary composer Hans Zimmer is notable for integrating electronic music sounds with traditional orchestral arrangements. Since the 1980's, Zimmer has composed music for over 150 films. His works include The Lion King (for which he won the Academy Award for Best Original Score in 1995), Crimson Tide, Gladiator, the Pirates of the Caribbean series, The Dark Knight Trilogy, Inception, Interstellar, Dunkirk, Blade Runner 2049 and Dune.  In addition to his Academy award, he has received four Grammy Awards, three Classical BRIT Awards and two Golden Globes. He was also named to the list of Top 100 Living Geniuses, published by The Daily Telegraph. JOE WALKER ACE Formally trained in music and with a career that began as a sound editor, Joe's decision to pursue a life as a picture editor clearly paid off as he is one of the most celebrated feature film editors working today; having been nominated for an Oscar® for his work on the films 12 Years a Slave and The Arrival.  Those films also notched Joe two of this three BAFTA nominations, with the third being for Blade Runner 2049. The Details In our discussion with the dynamic "DUNE" duo of Hans Zimmer and Joe Walker ACE we talk about: How Hans's early film scores messed with the monitors Creating "the voice" The horizontal and vertical editing Joe Walker does within the frame Building a better bagpipe The brief and inauspicious careers of Hans Zimmer, film editor and Joe Walker, sound editor The Credits Get your free 100GB of media transfer at MASV Visit ExtremeMusic for all your production audio needs Check out the free trial of Media Composer | Ultimate Watch this Rough Cut episode on YouTube Listen to the interview with Hans Zimmer that inspired this new one with Joe Walker ACE. Subscribe to The Rough Cut podcast and never miss an episode

The Rough Cut
Belfast

The Rough Cut

Play Episode Listen Later Nov 22, 2021 49:03


Editor - Úna Ní Dhonghaíle ACE, BFE BELFAST editor, Úna Ní Dhonghaíle joins director Kenneth Branagh once again for their third feature together; having previously collaborated on ALL IS TRUE (2018) and the upcoming DEATH ON THE NILE (2022).  Branagh describes BELFAST as his "most personal film" about a young boy's childhood amidst the tumult in Belfast, Northern Ireland in the late 1960's. ÚNA NÍ DHONGAÍLE BELFAST editor, Úna Ní Dhonghaíle is also well known for her work on THE CROWN, MISBEHAVIOUR, THREE GIRLS and STAN AND OLLIE. She has worked on the leading lights of British drama in what some are calling "The Golden Age of Television". Having completed a degree in Film and Media Studies in her native Dublin, Úna specialized in film editing at the National Film and Television School (NFTS) from 1995-1998. Úna earned her first of four BAFTA nominations in 2009 for the Abi Morgan's TV feature WHITE GIRL.  Over a five year period, she co-directed and edited a documentary INVISIBLE MAN, for which she won the 2016 IFTA for Best Editing in Television. Úna has also received much recognition for her editing of the highly acclaimed BBC drama THREE GIRLS, for which she won the BAFTA award for Best Fiction Editing, the Technicolor Craft Award from Women In Film UK, the IFTA for Best Editing, the RTS Award for Best Editing of Fiction, the RTS West of England Award for Editing and the Televisual British Bulldog Award for Editing. Editing BELFAST In our discussion with BELFAST editor, Úna Ní Dhonghaíle, we talk about: Finding the film's narrator in Van Morrison's music Aligning the audience with a child character Establishing a scene through sound design Collaborating with director Kenneth Branagh Leveraging the inherent tension from a historical event The Credits Get your free 100GB of media transfer at MASV Visit ExtremeMusic for all your production audio needs Check out the free trial of Media Composer | Ultimate Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Beyond the Screenplay
Episode 106: There Will Be Blood

Beyond the Screenplay

Play Episode Listen Later Nov 19, 2021 81:50


The BTS team discusses the film's brilliant performances, evocative cinematography, and deeper themes.

The Rough Cut
Last Night in Soho

The Rough Cut

Play Episode Listen Later Nov 15, 2021 54:19


Editor - Paul Machliss ACE THE LAST NIGHT IN SOHO editor, Paul Machliss ACE is reunited once more with director Edgar Wright.  The two first met on Wright's BBC TV series, SPACED (1999-2001) where Machliss served primarily as on-line editor until he moved into the offline role for four episodes from the final season. LAST NIGHT IN SOHO is a 2021 British psychological horror film directed as well as co-written by Wright.  The film stars Thomasin McKenzie, Anya Taylor-Joy, Matt Smith, Michael Ajao, Diana Rigg and Terence Stamp. It marks the final film appearances of Rigg and Margaret Nolan, who both died in 2020.  Focus Features states that the film "tells the tale of Eloise, an aspiring fashion designer, who is mysteriously able to enter the 1960s where she encounters a dazzling wannabe singer, Sandie. But the glamour is not all it appears to be and the dreams of the past start to crack and splinter into something far darker". PAUL MACHLISS ACE While known most prominently for his work with Wright; SPACED (1999-2001), SCOTT PILGRIM VS THE WORLD (2010), THE WORLD'S END (2013), BABY DRIVER (2017) and LAST NIGHT IN SOHO (2021), Paul also edited the pilot episode of FLEABAG (2016), eighteen episodes of THE IT CROWD (2006-2008) and films such as THE KID WHO WOULD BE KING (2019) and THE GENTLEMEN (2019).  Paul is currently working on THE FLASH (2022) with editor Jason Ballantine ASC ACE for director Andy Muschietti. Editing LAST NIGHT IN SOHO In our discussion with THE LAST NIGHT IN SOHO editor, Paul Machliss ACE, we talk about: The early BBC days with Edgar Wright Using Media Composer and Pro Tools on set for lighting and camera control Solidifying the soundtrack before production Taking an analog "tape loop" approach to sound design Using dupe detection to build an edit The Credits Get your free 100GB of media transfer at MASV Visit ExtremeMusic for all your production audio needs Check out the free trial of Media Composer | Ultimate Visit with Paul on the set of Baby Driver Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube Leave some feedback or a question you want asked on a future episode

Beyond the Screenplay
Episode 105: Our Favorite Films of the '90s

Beyond the Screenplay

Play Episode Listen Later Nov 12, 2021 53:31


The BTS team counts down our favorite films of 1990-1998, discusses what makes various films important to each of us, and uncovers a few surprises along the way.

The Rough Cut
Eternals

The Rough Cut

Play Episode Listen Later Nov 8, 2021 54:44


Editors - Craig Wood ACE and Dylan Tichenor ACE   Editor Craig Wood ACE returns once again to the Marvel Cinematic Universe and this time he brought the formidable talents of Oscar®-nominated editor Dylan Tichenor ACE with him.   Despite their extensive careers and wide variety of credits, ETERNALS marks the first time that Dylan and Craig have co-edited together.  It's also the first film, possibly for any editor, where the director (Chloe Zhao) received an Oscar® nomination for Best Film Editing (NOMAD) while their current film was still in post production. CRAIG WOOD ACE While ETERNALS is Craig's fourth film with Marvel, following GUARDIANS OF THE GALAXY (2014),  GAURDIANS OF THE GALAXY - VOL.2 (2017) and ANT-MAN and THE WASP (2018), most of Craig's own "cinematic universe" has been with director Gore Verbinski.  Together they made the films; MOUSEHUNT (1997), THE MEXICAN (2001), THE RING (2002), THE PIRATES OF THE CARRIBEAN: THE CURSE OF THE BLACK PEARL (2003),  THE PIRATES OF THE CARRIBEAN: DEAD MAN'S CHEST (2006), THE PIRATES OF THE CARRIBEAN: AT WORLD'S END (2007), THE WEATHERMAN (2005),  RANGO (2011), THE LONE RANGER (2013) and A CURE FOR WELLNESS (2016)...just to name a few.  Craig even cut MALEFICENT: MISTRESS OF EVIL (2019) along with editor Laura Jennings, who appeared on THE ROUGH CUT when that film came out. DYLAN TICHENOR ACE In addition to his work on ETERNALS, Dylan has done a number of films with many acclaimed directors.  Most notably with director Paul Thomas Anderson on films such as BOOGIE NIGHTS (1997), MAGNOLIA (1999), THERE WILL BE BOOD (2007) and PHANTOM THREAD (2017).  And when he wasn't working with Paul Anderson, he was doing BROKEBACK MOUNTAIN (2005) with Ang Lee,  ZERO DARK THIRTY (2012) alongside editor Billy Goldenberg ACE for Kathryn Bigelow, UNBREAKABLE (2000) for M. Night Shamalan, THE ROYAL TENENBAUMS (2001) for Wes Anderson and THE TOWN (2010) for Ben Affleck.  Dylan received Oscar® nominations for his work on ZERO DARK THIRTY as well as THERE WILL BE BLOOD. Editing Eternals In our discussion with the ETERNALS editing team of Craig Wood ACE and Dylan Tichenor ACE we talk about: The challenge of introducing 11 new characters in one film How Eternals is just The Revenant with laser beams Working in 7.1 surround in the cutting room Keeping the team together via "Zoom Hallways" Mentoring the next generation of super hero editors The Credits Get your free 100GB of media transfer at MASV Visit ExtremeMusic for all your production audio needs Check out the free trial of Media Composer | Ultimate Watch editor Dylan Tichenor ACE take you on a guided tour of his ETERNALS timeline Hear director/editor Chloe Zhao talk about her love of editing Hear editor Laura Jennings discuss the film she did with Craig Wood ACE, Maleficent: Mistress of Evil Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

The Rough Cut
The French Dispatch

The Rough Cut

Play Episode Listen Later Nov 1, 2021 51:12


Editor - Andrew Weisblum ACE THE FRENCH DISPATCH editor, Andrew Weisblum ACE joins forces for the fifth time with director Wes Anderson.  Andy's history with Wes began with THE DARJEELING LIMITED (2007) and was followed up by FANTASTIC MR. FOX (2009), MOONRISE KINGDOM (2012) and ISLE OF DOGS (2018). THE FRENCH DISPATCH was written, directed, and produced by Wes Anderson and stars an ensemble cast featuring Benicio del Toro, Adrien Brody, Tilda Swinton, Léa Seydoux, Frances McDormand, Timothée Chalamet, Jeffrey Wright, Bill Murray, Owen Wilson and many more talented actors.  It tells the tale of the French foreign bureau of a fictional Kansas newspaper, compelled to create its final issue when Arthur Howitzer Jr., the editor of the newspaper, dies suddenly of a heart attack. According to the wishes expressed in his will, publication of the newspaper will be suspended following one final farewell issue in which three articles from past editions of the paper are republished, along with his obituary. The project was first mentioned in August 2018 as an untitled musical set after World War II.  That December, the film was officially announced with Anderson calling it a "love letter to journalists."  Filming took place between November 2018 and March 2019.  Following a year delay, THE FRENCH DISPATCH had its world premiere at the Cannes Film Festival on July 12, 2021 and was theatrically released in the United States by Searchlight Pictures on October 22, 2021. ANDREW WEISBLUM ACE Aside from his rich body of work with Wes Anderson, Andy is also a frequent collaborator with director Darren Aronofsky.  In addition to his Oscar®-nominated work on Aronofsky's BLACK SWAN (2010), Andy also collaborated with him on THE FOUNTAIN (2006), BROKEN ENGLISH (2007), THE WRESTLER (2008), NOAH (2014) and MOTHER! (2017).  The two are currently at work on Aronofsky's next film, THE WHALE. Editing The French Dispatch In our discussion with THE FRENCH DISPATCH editor, Andrew Weisblum ACE, we talk about: Editing from an animatic Wes Anderson's disdain for ADR Using color and framing for punctuation The fun of splits and morphs and sub-frame editing When an editor has to neuter a film The Credits Get your free 100GB of media transfer at MASV Visit ExtremeMusic for all your production audio needs Check out the free trial of Media Composer | Ultimate Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Beyond the Screenplay
Episode 103: Dune

Beyond the Screenplay

Play Episode Listen Later Oct 29, 2021 90:45


The BTS team discusses the filmmaking behind the film's immersive power, how it deftly handles mountains of exposition, and the stellar performances by all the actors. Sponsor

The Rough Cut
No Time To Die

The Rough Cut

Play Episode Listen Later Oct 25, 2021 61:46


Editors - Tom Cross ACE and Elliot Graham ACE NO TIME TO DIE editors, Tom Cross ACE and Elliot Graham ACE combine their collective talents for storytelling and their love for the Bond franchise in director Cary Joji Fukunaga's take on the iconic super agent. NO TIME TO DIE is the twenty-fifth film in the James Bond series. It stars Daniel Craig in his fifth and final outing as fictional British MI6 agent, James Bond.  In this film, Bond, who has left active service with MI6, is recruited by the CIA to find a kidnapped scientist, which leads to a showdown with a powerful adversary. TOM CROSS ACE Editor Tom Cross first really made a name for himself working alongside director Damien Chazelle on their breakout film, WHIPLASH.  Among the many accolades garnered by the film was Cross's Oscar® win for Best Film Editing.  Chazelle and Cross would follow that up with another hit movie, LA LA LAND, for which Cross was again nominated for an Oscar®.  The two would team up yet again for FIRST MAN, a biopic about astronaut Neil Armstrong.  Cross is currently working with Chazelle on the forthcoming film, BABYLON. ELLIOT GRAHAM ACE Editor Elliot Graham wasted no time in making his way into the editor's chair, bypassing the more traveled route of assistant editing.  Graham cut his teeth on a healthy mix of music videos and action movies, punctuated by his work with Oscar®-winning editor John Ottman (BOHEMIAN RHAPSODY) on Bryan Singer's X2: X-MEN UNITED.  Although Elliot would go on to do more action/superhero movies like SUPERMAN RETURNS and CAPTAIN MARVEL, it was his work on MILK, the story of gay rights activist and politician, Harvey Milk that brought Elliott an Oscar® nomination. Editing No Time to Die In our discussion with the NO TIME TO DIE editors Tom Cross ACE and Elliot Graham ACE, we talk about: Creating action within a dialogue scene What they require in their editing suites Hans Zimmer taking over the music during post How Tom and Elliot got started in the business Considerations when cutting IMAX footage   The Credits Get your free 100GB of media transfer at MASV Visit ExtremeMusic for all your production audio needs Listen to the podcast on First Man with Tom Cross ACE See Tom Cross take you on a tour of his First Man timeline Check out the free trial of Media Composer | Ultimate Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

The Rough Cut
Sex Education

The Rough Cut

Play Episode Listen Later Oct 18, 2021 49:32


Editors - David Webb, Steve Ackroyd, Phil Hignett and Izabella Curry The Sex Education editing team of David, Steve, Phil and Izzy join The Rough Cut to talk about their work on Season Three of the hit series. Sex Education is a British teen comedy-drama streaming television series created by Laurie Nunn for Netflix. The show follows the lives of the students, staff and parents of the fictitious Moordale Secondary School as they contend with various personal dilemmas, often related to sexual intimacy.  The first season of Sex Ed was released in January 2019, the second in January 2020 and, after a pandemic related delay, the third in September 2021. The series has been renewed for a fourth season. DAVID WEBB David Webb is partner, Managing Director and a film editor at Final Cut Ltd . He cut his teeth on music videos in the early 2000's for George Michael, Charlatans, Super Furry Animals, Paul McCartney and Robbie Williams among others. David also collaborated with Edgar Wright on many of his early music videos, including Mint Royale's 'Blue Song', the inspiration for Wright's film Baby Driver. Earlier in his career, he spent a decade cutting commercials before moving into long-form at the request of director Jim Field-Smith. Webb has collaborated with Jim ever since, working on The Wrong Mans; Endeavour; Criminal; Defending The Guilty and, most recently, Truth Seekers. STEVE ACKROYD An editor on all three seasons of Sex Education, Steve is also known for his work in television on the series Frank of Ireland, Hang Ups, Catastrophe and Truth Seekers, the last of which he edited alongside Sex Ed co-editor, David Webb. PHIL HIGNETT Prior to joining the post team for Sex Education in Season Two, Phil's work could be seen on the series Dead Pixels and Year of the Rabbit, also helmed by Sex Education director, Ben Taylor.  Phil is also credited with editing six episodes of the comedy, Stath Lets Flats. IZABELLA CURRY Izabella is a film editor based in Brighton and London. Her credits include the feature film Two For Joy [directed by Tom Beard] which premiered at Edinburgh International Film Festival 2018 and the short film Kara [directed by Deepa Keshval] which was premiered at The London Film Festival 2017. Editing Sex Education In our discussion with the Sex Education editing team of David Webb, Steve Ackroyd, Phil Hignett and Izzy Curry, we talk about: Balancing multiple story lines and "checking in" with characters Collaborating in a COVID bubble Team building through table tennis Working with director Ben Taylor Taking inspiration from Steven Soderbergh's Out of Sight The Credits Get your free 100GB of media transfer at MASV Visit ExtremeMusic for all your production audio needs Check out the free trial of Media Composer | Ultimate Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Beyond the Screenplay
Episode 101: Psycho

Beyond the Screenplay

Play Episode Listen Later Oct 15, 2021 79:11


The BTS team discusses Psycho's expert filmmaking, its control of information through character point-of-view, and what exactly—if anything—Hitchcock was trying to say. Sponsor Sign up for MASV today using https://massive.io/beyond-the-screenplay and get 100GB free towards your transfer for free. Show Notes Lindsay Ellis: Tracing the Roots of Pop Culture Transphobia: https://youtu.be/cHTMidTLO60 Dsiclosure: https://www.disclosurethemovie.com/about Beyond the Screenplay Patreon: https://www.patreon.com/beyondthescreenplay LFTS Merch: https://standard.tv/collections/lfts Find us on Twitter Beyond the Screenplay: https://twitter.com/BTScreenplay Michael Tucker: https://twitter.com/michaeltuckerla Tricia Aurand: https://twitter.com/TriciaJeanA Brian Bitner: https://twitter.com/BrianBitner Alex Calleros: https://twitter.com/Alex_Calleros Produced by Vince Major: https://twitter.com/VinceMajor Edited by Eric Schneider: https://twitter.com/ImEricSchneider Website: http://lessonsfromthescreenplay.com For Inquiries and Booking: Vince@Plusfortyseven.com

The Rough Cut
Venom: Let There Be Carnage

The Rough Cut

Play Episode Listen Later Oct 11, 2021 57:13


Editor - Maryann Brandon ACE Venom: Let There Be Carnage editor, Maryann Brandon ACE completes a trilogy of her own with her third appearance on The Rough Cut podcast!  Having previously appeared to discuss her work on the Star Wars sequels (The Force Awakens and The Rise of Skywalker), Maryann once again finds herself on board a high-profile franchise flick. Venom: Let There Be Carnage is directed by Andy Serkis and stars Tom Hardy as Eddie Brock / Venom and Woody Harrelson as serial killer Cletus Kasady / Carnage.  In the film, Brock struggles to adjust to life as the host of the alien symbiote known as Venom, while Kasady escapes from death row after becoming the host of Carnage, a chaotic spawn of Venom. MARYANN BRANDON ACE Maryann Brandon is, without question, no stranger to the big movies and big movie franchises.  She first teamed up with director JJ Abrams, someone who would become a central figure in her career, back when Abrams was doing the action tv series, Alias.  In fact, Maryann even directed a few of those shows.  From there, Maryann worked with JJ on Mission Impossible 3, Star Trek, Super 8, Star Trek Into Darkness, and finally Star Wars: The Force Awakens and Star Wars: The Rise of Skywalker.  Among the many other films Maryann has edited was a film that came out in 2018 called Venom, which she co-edited with Alan Baumgarten ACE. Editing Venom: Let There Be Carnage In our discussion with Venom: Let There Be Carnage editor, Maryann Brandon ACE, we talk about: Managing the amount of VFX so as not to exhaust the audience or the budget The tonal balancing act of Venom The qualities of a great assistant editor The value of shooting clean plates on set Reactions to Star Wars editor, Marcia Lucas's comments on the sequels The Credits Get your free 100GB of media transfer at MASV Visit ExtremeMusic for all your production audio needs Check out the free trial of Media Composer | Ultimate Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

The Tech Blog Writer Podcast
1745: Re-Experience Life's Best Memories With Free AI Cloud Storage

The Tech Blog Writer Podcast

Play Episode Listen Later Oct 9, 2021 21:25


Degoo is an experience-driven cloud provider offering 100GB of free, secure storage with an AI-empowered interactive display that helps users re-discover their best, stored memories. Designed in the bursting Swedish startup scene, Degoo's platform offers users a place to securely store and uniquely experience their photos and memories anywhere in the world. With Degoo, users will never run out of space for their photos and have protection knowing that running out of storage space or a broken phone no longer equals the loss of your favorite photos. In addition, Degoo is available across operating systems and on the web, meaning that users will never be without their memories. Degoo is constantly innovating and improving their product, having recently released AutoAlbums, which uses AI to create albums of similar photos - whether they are taken during the last year or are photos of basketball games or specific landmarks. Carl Hasselskog joins me on the podcast and discusses how Degoo has watched competitor after competitor acquired by Google Photos, making it one of the few challenger brands left on the market. He also shares how Degoo has navigated the changing landscape of photo cloud storage.

The Rough Cut
The Guilty

The Rough Cut

Play Episode Listen Later Oct 4, 2021 36:52


Editor - Jason Ballantine ASE ACE The Guilty editor, Jason Ballantine ASE ACE had always wanted to work with director Antoine Fuqua; he just figured it would be on an action film in the vein of the features Fuqua is known for (Training Day, The Replacement Killers, Olympus Has Fallen).  But with Fuqua's remake of the critically acclaimed Danish film, Den Skyldige "The Guilty" (2018), Ballantine instead finds himself at the editorial helm of a psychological thriller. The Guilty takes place over the course of a single morning in a 911 dispatch call center.  Call operator Joe Baylor (Gyllenhaal) tries to save a caller in grave danger—but he soon discovers that nothing is as it seems, and facing the truth is the only way out. JASON BALLANTINE Jason Ballantine began his editing career in the horror genre (one which he would return to often) with the Australian thriller Wolf Creek (2005).  From there he would edit other fright flicks, such as Prom Night (2008), Crush (2009) and Needle (2010).  But it would be his work on director Andy Muschietti's adaptation of Stephen King's It (2017) and It: Chapter Two (2019) that would put an exclamation point on Jason's work in the horror medium.  Currently at work on Muschietti's The Flash (2022), Jason has also previously teamed up with directors Baz Luhrmann and Matthew Vaughn for The Great Gatsby (2013) and The King's Man (2021) respectively. Editing The Guilty In our discussion with The Guilty editor, Jason Ballantine, we talk about: Interviewing with a director Recording dialogue over zoom An assistant who's also a VFX editor Everything you'd ever want to know about futzing audio Ignoring the notes and making the movie the director wants to make The Credits Get your free 100GB of media transfer at MASV Visit ExtremeMusic for all your production audio needs Check out the free trial of Media Composer | Ultimate Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Success Unscrambled | Blog Traffic Tips | Business Success Stories
How to Organise Google Drive for Business

Success Unscrambled | Blog Traffic Tips | Business Success Stories

Play Episode Listen Later Oct 4, 2021 14:57


The story is told of a working mom of 3 who wanted to organise Google Drive for business use but she felt a bit stuck. You see Susan had 8 clients and she needed to find a way to manage their data effectively. While Susan used ClickUp to manage her daily and weekly client projects. Each project resulted in content that she created for her clients. As a result, she needed to store that content somewhere to keep it safe. If you ever used ClickUp or any project management software you'll know that it is easy to attach files. It is possible to use the Doc and Table view inside ClickUp to create content. However, if you are creating a lot of content daily, ClickUp can become cluttered quickly making it difficult to easily find and retrieve data. In this post, you'll learn how to organise your Google Drive for business making it simple to manage many clients. Google Workspace vs Google One Before looking at how you can organise Google Drive for business use, the first challenge you'll encounter is a need for more storage. So, let's look at the storage plans available on Google Drive. The free version of Google Drive comes with 15GB of storage. I still remember when, many years ago, 15GB was a lot of storage space. It's interesting how small businesses now have a need to store more data virtually. Google One In case you weren't aware of it Google One is the paid version of Google Drive for personal use. The price of Google One ranges from $19.99 a year (100GB) all the way up to $99.99 a year (2TB). The Google One price plan gives you the ability to add family members as well. Another added benefit is that you'll get access to Google experts on any of the paid plans. Google Workspace Small business owners with a team of assistants may prefer Google Workspace formerly G Suite. This is because it is the paid version of Google Drive designed for business use. Prices for these plans range from $6.00 (30GB) per user per month up to $20.00 (5TB) per user per month. The business benefits include video meetings and recordings, security and management control, custom and secure business email. At the end of the day, it really depends on your business needs to choose between Google One or Google Workspace. Mapping Out Your Drive Hierarchy If you plan to hire a team or build out an agency, it is super important to map out the structure of your folders. Let's look at three different examples of service businesses using Google Drive. The 3 service businesses I'm going to feature are: Web Design AgencySocial Media ManagementLaunch Management Agency Let's look at each one in turn so that you'll understand how to organise Google Drive for business. Web Design Agency Any web design agency will tell you that they have a specific process for onboarding their clients. When a client signs up with a web design agency they'll need to sign a contract and complete an intake form. The client would also need to supply a branding guide as well as images that they want to include on the website. There'll also be a need for other content like copywriting unless the agency will be providing it as part of the package. Finally, when the web designer does a mockup of the site using a wireframe these need to be stored somewhere as well. So far, here are the folders needed client work. ContractIntake formBranding ElementsPhotographyCopyWireframesOff boarding Let's look at a different example in order to help you with your structure. Social Media Management Before looking at the files and folders needed for a social media manager it is important to understand what that person does. A social media manager designs the overall social strategy for a business. This means deciding what to post on social media, how often, hashtag research, key messaging, business goals and the overall esthetics of social profile.

Beyond the Screenplay
Episode 99: Skyfall

Beyond the Screenplay

Play Episode Listen Later Oct 1, 2021 74:11


The BTS team discusses Skyfall's incredible cinematography, the film's overall place in the James Bond franchise, and the characters' relationships, including the poignant send-off of M. Sponsor Sign up for MASV today using https://massive.io/beyond-the-screenplay and get 100GB free towards your transfer for free. Show Notes Beyond the Screenplay Patreon: https://www.patreon.com/beyondthescreenplay LFTS Merch: https://standard.tv/collections/lfts Find us on Twitter Beyond the Screenplay: https://twitter.com/BTScreenplay Michael Tucker: https://twitter.com/michaeltuckerla Tricia Aurand: https://twitter.com/TriciaJeanA Brian Bitner: https://twitter.com/BrianBitner Alex Calleros: https://twitter.com/Alex_Calleros Produced by Vince Major: https://twitter.com/VinceMajor Edited by Eric Schneider: https://twitter.com/ImEricSchneider Website: http://lessonsfromthescreenplay.com For Inquiries and Booking: Vince@Plusfortyseven.com

Art of the Cut
Crossing the 180 w/ "The Hard R" Filmmakers

Art of the Cut

Play Episode Listen Later Sep 28, 2021 74:58


The N-word is the granddaddy of all non-PC words. It's been at the heart of many a controversy in the artistic community about its use. Today on the show we have three filmmakers taking on this topic straight on with the production of their short film "The Hard R." But two of the filmmakers are not at all who you might expect to be making such a film: a white, Jewish co-writer, Levi Gordon, and an Assyrian co-writer/director, Adad Warda. They're joined by their creative producing partner, a black woman and veteran film producer, Madisun Leigh. We'll get into how the project came about, how Adad got involved, why Madisun was cool with producing such a project, and we'll also get into some of their thoughts and processes of raising money via a crowdfunding program. If you'd like to learn more or contribute to their campaign, visit their Seed & Spark page: https://seedandspark.com/fund/the-hard-r#story -Adad's website (https://www.adadwarda.com/) -Ron on Twitter (twitter.com/BladeRonner) -Madisun on IMDb Crossing the 180 theme music "Gettin' Paid, Part II" by Alec's Band (CC BY) and curated from FreeMusicArchive.org. Huge thanks to MASV for sponsoring this show. Make sure to go to massive.io/AOTF to get 100GB of FREE file transfers! The Art of the Frame podcast is available on Spotify, Apple Podcasts, Google Podcasts, Anchor and many more platforms. If you like the podcast, make sure to subscribe so you don't miss future episodes!

Art of the Cut
"Monsters of Man" Writer, Director & DP Mark Toia

Art of the Cut

Play Episode Listen Later Sep 21, 2021 102:31


On this special episode of the Art of the Frame Podcast, guest hosts Matt Jeppsen and Dean Friske talk with "Monsters of Man" writer, director and DP Mark Toia. Available on Amazon Prime, "Monsters of Man" debuted in late 2020 and has since risen to one of the top 10 action films on Amazon. In the episode, Matt and Dean talk with Mark about how he created the slick sci-fi thriller, and the challenges in self-financing and self-distributing the film. “Monsters of Man” can be rented on Amazon Prime, YouTube, Apple TV and more. Enjoy the episode! Check out the films website and trailer here: https://www.monstersofman.movie/ Follow mark on Instagram @mark_toia Follow Matt on Instagram @mjeppsen Huge thanks to MASV for sponsoring this show. Make sure to go to massive.io/AOTF to get 100GB of FREE file transfers! The Art of the Frame podcast is available on Spotify, Apple Podcasts, Google Podcasts, Anchor and many more platforms. If you like the podcast, make sure to subscribe so you don't miss future episodes!

Beyond the Screenplay
Episode 97: Amélie

Beyond the Screenplay

Play Episode Listen Later Sep 17, 2021 77:22


The BTS team discusses how Amélie fits into a specific era of whimsical films, how it achieves its bittersweet tone, and how its romantic plot opens up the main characters to the larger community around them. Sponsor To learn more about Brilliant, go to https://brilliant.org/BeyondTheScreenplay/and sign up for free. The first 200 people that visit that link will get 20% off the annual Premium subscription. Sign up for MASV today using https://massive.io/beyond-the-screenplay and get 100GB free towards your transfer for free. Show Notes Beyond the Screenplay Patreon: https://www.patreon.com/beyondthescreenplay LFTS Merch: https://standard.tv/collections/lfts Find us on Twitter Beyond the Screenplay: https://twitter.com/BTScreenplay Michael Tucker: https://twitter.com/michaeltuckerla Tricia Aurand: https://twitter.com/TriciaJeanA Brian Bitner: https://twitter.com/BrianBitner Alex Calleros: https://twitter.com/Alex_Calleros Produced by Vince Major: https://twitter.com/VinceMajor Edited by Eric Schneider: https://twitter.com/ImEricSchneider Website: http://lessonsfromthescreenplay.com For Inquiries and Booking: Vince@Plusfortyseven.com

CppCast
Dart and Crafting Interpreters with Bob Nystrom

CppCast

Play Episode Listen Later Sep 16, 2021 59:26


Rob and Jason are joined by Bob Nystrom from Google. They first discuss git commands explained via cats and an analysis of how Visual Studio 2022 could use all your RAM. Then they talk to Bob about some of the programming languages he's created, his two books 'Crafting Interpreters' and 'Game Programming Patterns' and his work on the Dart programming language at Google. News Safer Usage of C++ in Chrome Git commands explained with cats Meeting Embedded 2021 How Visual Studio 2022 ate up to 100GB of RAM Links Crafting Interpreters Game Programming Patterns Dart Programming Language Flutter Robert Nystrom's Blog Vigil on GitHub Sponsors Use code JetBrainsForCppCast during checkout atJetBrains.com for a 25% discount  

Art of the Cut
Crossing the 180 w/ "Mare of Easttown” Editor Naomi Filoramo

Art of the Cut

Play Episode Listen Later Sep 14, 2021 121:58


As of this episode, we're less than a week away from the Emmy's. HBO's critically acclaimed limited series Mare of Easttown has 16 nominations, including two for editing. One of the show's editing nominees is today's guest, Naomi Sunrise Filoramo. Naomi is a passionate lover of film and has an impressive CV that includes editing work on productions like One Night in Miami, White House Down, and Grey's Anatomy. Chances are you've read or heard one of the many interviews with her. But I'm confident in saying that you have not read or heard an interview with Naomi quite like this! In addition to covering her journey as a professional editor, her work on the show, her thoughts on some of the show's most riveting scenes, how she does what she does, etc., we also cover such engaging and provocative topics as: -Can you separate the sins of an artist from their art -The legacy of John Hughes films -The history of women in editing -Gender and racial representation in film and television -The origins of her unique middle name This is the longest episode of Crossing the 180, and I promise you'll enjoy every minute. Connect with: Ron on Twitter: https://twitter.com/bladeronner Naomi on Twitter: https://twitter.com/thenaomisunrise Huge thanks to MASV for sponsoring this show. Make sure to go to massive.io/AOTF to get 100GB of FREE file transfers! The Art of the Frame podcast is available on Spotify, Apple Podcasts, Google Podcasts, Anchor and many more platforms. If you like the podcast, make sure to subscribe so you don't miss future episodes!

Art of the Cut
Frame & Reference w/ "The Upshaws" DP Donald Morgan, ASC

Art of the Cut

Play Episode Listen Later Sep 7, 2021 70:57


On this episode of the podcast, host Kenny McMillan brings another fantastic interview with a top cinematographer to the feed. Today we hear from multi-Emmy winner Donald Morgan, ASC about the Netflix series "The Upshaws." Donald has had a storied career having shot many of the most influential multi-cam sitcoms of the past few decades. Some of his credits include "Home Improvement", "The Ranch", "Last Man Standing", and "The Conners." As mentioned, Donald has won many Emmy's (10 to be exact) most recently for "The Ranch" in 2020 and stretching back to 1992 for "Home Improvement." Enjoy the episode and make sure to check out "The Upshaws" now streaming on Netflix! Donald's IMDb: https://www.imdb.com/name/nm0604625/ For more interviews with cinematographers, check out the Frame & Reference Podcast streaming on all major podcast apps! Huge thanks to MASV for sponsoring this show. Make sure to go to massive.io/AOTF to get 100GB of FREE file transfers! The Art of the Frame podcast is available on Spotify, Apple Podcasts, Google Podcasts, Anchor and many more platforms. If you like the podcast, make sure to subscribe so you don't miss future episodes!

The Rough Cut
Shang-Chi and the Legend of the Ten Rings

The Rough Cut

Play Episode Listen Later Sep 6, 2021 54:12


Editors - Elísabet Ronaldsdottír ACE, Nat Sanders ACE and Harry Yoon ACE Shang-Chi and the Legend of the Ten Rings editors Elísabet Ronaldsdóttir ACE, Nat Sanders ACE and Harry Yoon ACE combined their unique skills and sensibilities to craft the heart, comedy and action that made Marvel's latest entry in the MCU a hit with audiences and critics alike. Directed by Destin Daniel Cretton, "Shang Chi" tells the story of a skilled martial artist who was trained to be an assassin by his father at a young age.  Shang Chi chooses not to follow the same path as his father, the immortal leader of the "Ten Rings" army of assassins, and runs away to San Francisco to live a mild-mannered life parking cars. ELÍSABET RONALDSDOTTÍR ACE Iceland native, Elísabet Ronaldsdóttir, is widely known for her work on high-adrenaline action films such as Deadpool 2 (2018), Atomic Blonde (2017) and John Wick (2014).  She is currently editing the action movie, Bullet Train (2022). NAT SANDERS ACE Once named as part of Filmmaker magazine's "25 New Faces Of Independent Cinema" in 2009, Nat Sanders is known for his work on If Beale Street Could Talk (2018), Moonlight (2016), and the tv series, Girls (2016).  Nat is also the only person has won the Independent Spirit Award for Best Editing twice. HARRY YOON ACE Immediately prior to his work on Shang-Chi and the Legend of the Ten Rings, Harry Yoon was being lauded for his work with director Lee Isaac Chung on the Oscar®-nominated film, Minari (2020).  Harry's other work includes the films The Last Black Man in San Francisco (2019), First Man (2018) and Detroit (2017). Editing Shang-Chi and the Legend of the Ten Rings In our discussion with Shang-Chi and the Legend of the Ten Rings editors Elísabet Ronaldsdóttir ACE, Nat Sanders ACE and Harry Yoon ACE we talk about: Finding the beats of hand-to-hand fight scenes Turning a problematic open into contextual flashbacks Dialing in characters that exist for comic relief Overcoming the resistance to making big cuts that come with big costs Being typecast into specific genres The Credits Get your free 100GB of media transfer at MASV Visit ExtremeMusic for all your production audio needs See which Avid Media Composer is right for you Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube  

Reversim Podcast
419 Navigation @Waze

Reversim Podcast

Play Episode Listen Later Sep 1, 2021


[קישור לקובץ mp3]שלום וברוכים הבאים לפודקאסט מספר 419 של רברס עם פלטפורמה, התאריך היום הוא ה-24 באוגוסט 2021, עדיין בקיץ הלוהט של ישראל . . . (אורי) עדיין באוגוסט . . . (רן) עדיין באוגוסט . . . אוטוטו - והכבישים כבר מתחילים להראות סימני אוגוסט, וזה רמז וסימן לפרק של היום: היום אנחנו מתכבדים לארח את חנוך מ-Waze - היי חנוך! ברוך הבא ותודה שבאת.(אורי) מצאת את בדרך? . . . . (חנוך) כן, והגעתי לפה עם ה-ETA, ממש בול . . . (רן) מעולה - אז תיכף נדבר על איך באמת עושים את זה, את כל הסיפור של (1) למצוא את הדרך ו-(2) לשערך ETA . . . חנוך עוסק בעיקר ב-Routing ב-Waze - ובוא, חנוך - ספר קצת על עצמך, מה אתה עושה שם, קצת על Waze היום - את Waze אני מניח שכולם מכירים, אבל מה עושים ב-Waze היום? אז בבקשה . . .(חנוך) אוקיי - אז שלום לכולם, אני חנוך, 4 שנים בישראל, 11 שנים ב-Googleהגעתי ל-Google אחרי התואר השלישי ב-Columbia ואמרתי להם שאני, במקצוע ב-++C ב-Hardware - אמרו “אחלה, בוא תעשה JavaScript ארבע שנים . . . “אחרי זה עשיתי כמה תפקידים ב-Google ואחרי זה עשינו עלייה - ובאתי לפה והתחלתי ב-Wazeכרגע אני “ראש ניווט” ב-Waze - זה אומר שיש לי שני צוותים - אחד שעובד על Routing - מה המסלולוהשני שאחראי על מה ה-ETA - כמה דקות זה יקח להגיע, למסלול (אורי) אז “מחשב מסלול מחדש” - זה אתה?(חנוך) כן . . . .בגדול כן - מצטער, זה אני . . .אבל גם “הגעת ליעד!” - כל הדברים הטובים.אז אני אחראי על הגרסא הנוכחית - זאת אומרת ש-Waze, כמובן, היה קיים הרבה שנים לפני כן, ויש הרבה היסטוריה של Waze בישראלכרגע, Waze הוא חלק מ-Google, כמו שרמזתי - כבר ב-2013 קנו אותם, וזה אומר שיש לנו תמיכה של החבר'ה פה בארץ ואפשר לעשות דברים שאולי בזמן שזה היה סטארטאפ קטן אז לא היו עושים.כרגע אנחנו עושים הימור גדול על Waze Carpool - אולי שמעתם על זה, יש לנו גרסא חדשה . . .זה . . . אני לא רוצה להגיד שזה הפוקוס היחיד, אבל זה אחד מהפוקוסים הגדולים שלנו.אז זה אחד מ”העתידים” של Waze - לאן Waze הולך: חלק זה גם להשקיע עדיין ב-Waze שאתם מכירים, של ה-Routing וה-ETA, שאני אוהב - וגם חלק שהוא של ה-Waze Carpool.אז אנחנו, פחות או יותר, עושים את שניהם במקביל.(רן) אוקיי, אז כן - אז למי שלא היה כאן בעשור האחרון: Waze היא היום חלק מ-Google, ואחת השאלות שעולות היא “רגע! אבל יש את Google Maps, או את Google Mobile Maps, ויש גם את -Waze . . . .” - אז מה ההבדל ביניהן? מתי אני ארצה להשתמש ב-Waze ומתי אני ארצה להשתמש ב-Google Mobile Maps?(חנוך) Google Maps, כן . . . אז זו שאלה טובה, והיא שאלה שלפעמים לא ברורה . . . וודאי יש חפיפה בין מה שהאפליקציות עושות.ה-Waze מפוקס אך ורק על הנהג, למשל, ויש הרי use cases אחרים - יש הליכה ברגל, יש חיפוש מקומות, יש Public transportation . . . אנחנו לא מפוקסים על זה בכלל - אנחנו רק מפוקסים בלהיות הכי טובים לנהג.גם ב-GMM, ה-Google Mobile Maps, יש את ה-Mode של הנהג - אז יש לנו “תחרות חברתית” פנימית על העניין הזהאבל בדרך כלל, אם אתה משתמש ב-Waze אז אנחנו אומרים “כן, אמור להיות לך גם Google Maps על הטלפון, כדי תוכל לעשות את כל הדברים האחרים שאנחנו לא תומכים בהם”.אז אנחנו לא מנסים להיות התשובה השלמה.אז למה להשתמש בנו [Waze] ברכב, במקום להשתמש ב-Google Maps, אם כבר אומרים לך שיהיו לך את שניהם?אז אנחנו [Waze] מנסים לתת לך את החווייה הכי מפוקסת והכי טובה . . . אפשר להיכנס לפרטים על ההבדלים, אבל ההבדל הכי גדול זה הרעיון של הקהילה: ש-Waze הוא, מכמה כיוונים, דומה ל-Wikipedia . . . יש משתמשים שמעדכנים את הזמן שלהם ומעדכנים את המפה כל הזמןכש-Google Maps זה יותר Top-Down - זה אומר שיש להם צוות ענק שעושה את זה, אבל זה לא אותו הדבר, שאתה יכול בעצמך להיכנס ולתקן.יש לנו חצי מיליון אנשים שמתקנים [מעדכנים] את המפה באופן אקטיבי, יש לנו מיליוני Wazer-ים שמדווחים כל הזמן מה קורה על הכביש בזמן אמיתי - ומזה אנחנו בונים תמונה מאוד מאוד “טרייה”, מאוד מאוד “נוכחית” של מה שקורה . . . (אורי) . . . “עדכני” . . .(חנוך) - “עדכני”, תודה, זו כנראה מילה יותר טובה.ולמרות שלפעמים גם, כמו ב-Wikipedia, יש משהו שהוא חדש ועדיין צריך קצת שיפור . . . אז אנחנו יותר רצים להיות היותר מעודכנים מלהיות אלו שעברו [בדיקה] מקצועית [מדוייקת].(רן) אז אמרת (1) אחד-עשר מיליון אנשים שבאופן אקטיבי . . .(חנוך) חצי-מיליון . . .(רן) חצי-מיליון, סליחה . . . חצי-מיליון אנשים שבאופן אקטיבי הולכים ועורכים מפות, מעדכנים דרכים חדשות . . .(אורי) . . . וזה בכל העולם, חשוב להדגיש . . .(רן) . . . בכל העולם, כן - המספר מאוד מאוד משמעותי.(חנוך) הכמות של הממש-אקטיביים היא כמובן הרבה יותר קטנה מזה - יש חצי-מיליון שעשו את זה בערך, אני לא יודע, בשנה האחרונה - ועשרות-אלפים שעושים את זה כל הזמן.(אורי) אז חנוך - אם ה . . איך נקרא לזה - Driver Assistant? אם אתה צריך לתת שם לקטיגוריה של ה . . .(חנוך) אני אוהב את ההגדרה של “ניווט” . . . ואנחנו מפוקסים על זה שאנחנו צריכים לתת לך את את חוויית הניווט ה . . . זה לא רק . . .בוא נדבר על ההבדל באפליקציה בתוך הרכב לבין מה שהיה לפני כן - שהדפסת משהו מ- Google Maps [!], או MapQuest בזמנו . . . אז ההבדל העיקרי הוא שאנחנו בודקים עבורך כל הזמן, מעדכנים את המסלול, בודקים את ה-ETA, נותנים לך אופציות חדשות - וכן, אנחנו איתך כל הזמן.אני לא רוצה להגיד Driver Assistant בגלל שכמו שאמרתי, הפוקוס שלנו הוא אך ורק על הנהיגה - יש צרכים שיכול להיות . . . אנחנו נותנים לך כפתור ל-Spotify, אבל בגדול זה לא הפוקוס שלנו . . .(אורי) כן . . . השאלה שלי היא שאלת Market Share - מתוך סך-כל הנהגים שמשתמשים בתוכנת ניווט כזאת או אחרת, אתה יודע להגיד כמה ב-Waze, כמה ב-Google Maps?(חנוך) ב-Waze יש לנו 140 מיליון משתמשים - חודשי [MAU], אז זה פחות או יותר.אני לא יודע להגיד לך את המספר ב-Google Maps . . . אני יכול להגיד לך, אני חושב, שאם אתה רק מתפקס על ה-Use Case שלנו, של הנהג, ולא על ה-Use Case הכללי, שיש לנו תחרות משמעותית גם מ-Google Maps, גם מ-Apple Maps . . .יש לנו חלק משמעותי מהשוק, עם הפוקוס הזה - אם אתה אומר [שואל על] אחוז האנשים שמשתמשים בטלפון כל הזמן, אז אנחנו פחות בגלל שכמו שאמרתי, אנחנו רק עושים תפקיד אחד.(אורי) לא, אני מדבר על Drivers . . . (חנוך) אז אנחנו ב-Drivers . . . אני לא יכול להגיד מספר . . . יש לנו 140 מיליון שלנואת המספר של השוק אתה יכול אולי לחפש במקומות אחרים [יש להם חטיבה-אחות שמפתחת פתרון לא רע לחיפוש] - אבל זה אחוז לא קטן של השוק.(רן) כשאתה אומר “שימושים במפות שלא ל-Driving” - הכוונה לנסיעה באוטובוסים, חיפוש מסעדות, דברים בסגנון הזה? . . .(חנוך) כן - יש לי -Google Maps על ה-iPhone [!] שלי . . . (אורי) . . . ללכת ברגל, רחמנא ליצלן . . .(חנוך) בדיוק . . .(רן) אז אתמול נסעתי באוטו ועמדתי בפקק, כמו שקורה הרבה פעמים בכביש 2, והבת שלי ישבה לידי [אינני הנהג!] ואמרתי לה שמחר אנחנו מקליטים פרק עם בחור נחמד מ-Waze, אז היא אמרה לי “אה, רגע - אבא, יש לשאלה!” . . . אז בוא נשמע את השאלה שלה - ומיד נענה . . .(חנוך) אוקי . . . .(יעל) שלום, קוראים לי יעל, אני בת 9.5 ואני מגיעה מיוקנעם - ויש לי שאלה: איך Waze יודע איפה יש שוטר ומתי?(חנוך) אז התשובה היא שאת אמרת לנו . . . יש כפתור כתום ב-Waze, בצד ימין-תחתון, לוחצים עליו - ויש אפשרות לדווח כמה דבריםאנחנו לוקחים את הדברים הללו, ואם זה נראה אמין - זאת אומרת, מי שלחץ, כמה אנשים לחצו וכו' - אז אנחנו נותנים את העדכון הזה לכולם.(יעל) ויש לי עוד שאלה - איך Waze יודע איפה יש פקקים?(חנוך) פה התשובה היא אחרת - אנחנו מודדים את התנועה על הכביש כל הזמן, בכל כביש בעולם שאנשים עם Waze עברוולפעמים אפילו בלי Waze - יש לנו גם Inputs אחריםאז אנחנו יודעים מהי המהירות הנוכחית על הכביש - וגם יש לנו את ההיסטוריה שיצרנו מכל הימים שלפני זה, של מה שאמור להיות פה.אז כשאנחנו רואים שזה חריג, שהמהירות הנוכחית על הכביש היא הרבה פחות ממה שהיינו מצפים לראות עכשיו, אז אנחנו מסמנים את זה כפקק, כי כנראה שיש משהו.במקביל, יש אפשרות לדווח, עם אותו הכפתור הכתום, יש אפשרות לדווח על פקק - וכשאנחנו רואים גם שהמהירות חריגה ואיטית מדי וגם שיש דיווחים, אנחנו נחבר את זה אחד לשני ונגיד ש“זה איטי בגלל הפקק”.אבל אנחנו יודעים על הפקק בכל מקרה - פשוט אנחנו לא כל הזמן אומרים שיש פקק עד שמדווחים . . . (רן) זאת אומרת שאתם צריכים להגיע לאיזשהו Confidence מספיק משמעותי שבאמת יש שם פקק . . .(חנוך) להגיד שיש פקק זה לא דורש Confidence משמעותי - בשביל להתחיל לשנות את ה-Inputs של המסלול ושל ה-ETA, אנחנו עושים את זה באופן אוטומטי כל הזמן.(רן) כן . . . אוקיי, אז זאת אומרת שאם, לצורך העניין, כמה מכוניות עצרו בצד, אתם יכול להיות שאפילו בטעות תחשבו שזה פקק - אבל זה לא מספיק כדי לשנות את ה . . .(חנוך) אז אם זה כמה שעצרו בצד, אז אחרי זמן לא-רב אנחנו נבין שהם לא זזים, אז זה לא שאנחנו פשוט “או, וואו! . . .”וגם אם אנשים אחרים עוברים את ה-Segment הזה, אז אנחנו נדע שאפשר לעבור פה, ופשוט הם לא . . . זה חלק מה-Modeling של מה שקורה על הכביש, שזה מסובך . . .(רן) אז עכשיו, אנחנו בעצם התכנסנו כאן בעיקר כדי לדבר על Routing, ואני מניח שהשאלה הראשונה שעולה בראש, לפני שמדברים על איך עושים Routing, זה בכלל איך מייצגים כביש . . . זאת אומרת, איזה מודל של העולם אתם מחזיקים? איך אתם ממדלים את הכבישים, את הערים את הרמזורים את ה . . .(חנוך) אתה יכול לראות, בגלל שזה פתוח לכולם - זה אחד היתרונות ב-Waze, שאתה יכול להיכנס ל-Waze Account ולראות בעצמך בדיוק איך אנחנו עושים את זה . . .וגם לשנות פרטים . . .בגדול, יש לנו Data structures פנימיים שאנחנו עשינו, שממדלים בדיוק את כל הדברים שאמרת - ועוד מיליון פיצ'רים של הכביש . . .וכל האינפורמציה הזאת, כולה - היא מהקהילה.אז אין לנו בכלל אנשים שיושבים ומתקנים - כולו נכנס דרך אנשים שאמרו, באיזור שלהם, “אני רוצה לתקן את האיזור שלי”.דוגמא טובה לאיך שזה עובד - אני גר בתל מונד [שכן!] ואצלי בבית, בגינה, לפי Google Maps יש רחוב, לא קטן, עם שני נתיבים . . . ב-Waze הוא לא קיים - וגם פיזית הוא לא קיים . . . (אורי) עד שיגיעו ויפקיעו לך חצי מהחצר. . . (חנוך) כן, אז יש מישהו מצד ימין ומצד שמאל, אז בטוח שהם יגיעו אלי אם כבר עברו בגינה של מישהו אחר, אז אני לא דואג לזה . . .אבל אני אוהב את הדוגמא הזו - בגלל שזה שנים ככה . . . אפילו פעם אחת הגעתי עם זה לראש ההנדסה של Google Maps, שכמובן שאנחנו עובדים איתם, והוא אמר לי “בוא, תפתח באג, חנוך, ואני אתקן את זה בשבילך . . .”אמרתי “לא, אני אוהב את זה!” - זו הדוגמא הכי טוב שאני יכול להשתמש בה להבדל בשיטה, באיך שאנחנו מחזיקים מפה, בין Google Maps ל-Waze . . . (רן) כן, אבל פה אתה מדבר על איזה Ground Truth יש לך, איזו אינפורמציה אתה מקבל . . . אני מדבר . . . בוא נדבר הנדסית . . .(חנוך) בעיקר זה גרף . . . הדבר הכי חשוב זה Connectivity, זה גרף של סגמנטים (Segments) עם Nodesזה קצת אחרת ממה שהיית חושב באופן טבעי - אם היית כותב את זה על ה-Whiteboard, אז ה-Node-ים היו ה-Intersections והצלעות [קשתות] היו הרחובות, איך שזה נראהאבל זה להיפך - בגלל שאתה עובר דרך Intersection לכביש, אז ה-Intersection הוא הצלע, בגדול, והרחוב עצמו הוא ה-Node, זה קצת אחרת ממה שהיית חושב.אבל אחרי זה, אנחנו מדברים על Graph-search טהור - אז על כל צלע יש כמה נתונים, שמהם אנחנו בונים את ה-Cost של לעבור אותה.ה-Cost הוא Time-dependent- גם מתי התחלת וגם כמה עברת בתוך החיפוש עצמו.חלק מהסיבוך הגדול זה לעשות ניחוש קדימה - לא רק מה הפקקים הנוכחיים אלא גם מה יקרה בעוד 30 דקות, כשאתה תגיע לכביש 2, על כביש 6 - אז אנחנו עושים אינטרפולציה (Interpolation) כל הזמן של ההיסטוריה ושל ה-Real-time - קדימה.אבל בגדול, אנחנו מדברים על משהו מה-Text-book - זה *A על גרף, שנראה כמו גרף . . .(רן) כן, אוקיי - אז אם אני מבין נכון, למעשה “כביש” זה Node, ובין כל שני כבישים יש קשת, אם יש צומת שמחברת ביניהם באופן ישיר - זאת אומרת שלצורך עניין, צומת מסויימת יכולה להתבטא במספר קשתות, כי היא יכולה לחבר בין מספר כבישים שונים . . (חנוך) כן - אני קצת מפשט את העניין, בגלל שיש כמה סוגי Nodes וכמה סוגי סגמנטים ויש Intersections ו-Junctions שמאוד קשה לעבור [- הוסף כאן את החיבור האהוב עליך לכביש 6 -]“צומת” יכול להיות מודל בפני עצמו - לפעמים צומת הוא מספיק מסובך שאנחנו מייצרים גרף קטן רק עבורונכנסים לתוך הגרף הזה ויוצאים ממנו - אז זה גרף נפרד רק לצומתאבל בגדול, אנחנו מדברים על גרף ממשי בסיסי . . .לא בסיסי - זה משהו שקשה לתחזק, אבל גרף שאתה יכול לקרוא עליו ב-Computer Science 101.עושים את זה ככה, ואז עושים Dijkstra עליו ואחרי זה כל השיפורים וכל מה שעושים אחרי Dijkstra.(רן) אוקיי - וזה גרף כזה פר-מדינה? זאת אומרת, מערכת כבישים . . .(חנוך) יש לנו שלוש סביבות - אחת זו ישראל - התחלנו מישראל, וישראל, למי שלא לא יודע זה “אי” . . . אז יש לה גרף נפרד, שבו אנחנו לפעמים מנסים פיצ'רים חדשים שאנחנו לא מוכנים עדיין להעביר לכל העולם.יש לנו מפה ל-North Americaויש לנו מפה שלישית של כל העולם . . . אז בפועל זה שלוש מפות.(רן) של כל . . . זאת אומרת, לצורך העניין - אוסטרליה זה באותה מפה עם רוסיה או . . . .(חנוך) כן, אין לזה הרבה משמעות כי אין Connectivity ביניהן, אבל זה נמצא באותו קובץ.(רן) ואיך, “פיזית”? - משתמשים באיזשהו Graph Database, או שמידלתם לכם איזושהי סכמה (Scheme) משלכם?(חנוך) הכל בזיכרון . . . אנחנו מעלים את הכל לזיכרון ובונים את כל הגרף, כי אנחנו צריכים “לרוץ" על זה מאוד מהראנחנו מדברים על milliSeconds של כל . . . בדיקת סגמנט זה משהו שחייב להיות מאוד מהיר, ממש - לא milliSeconds אלא microSeconds של מעבר על סגמנט.אז אנחנו חייבים לעבור על עשרות-אלפי סגמנטים בכל חיפוש - אז הכל חייב להיות בזיכרון, אין אפשרות אחרת.(רן) אוקיי, הבנתי - ומפת כל העולם יכולה להיכנס לתוך הזיכרון . . .(חנוך) כן, אנחנו מדברים על עשרות . . . עד 100Gb, משנה בדיוק איזו מפה ואיזו גירסא, אבל כשמשווים את זה לענן זה לא הרבה בכלל.(רן) אוקיי, אז אמרת שעל הגרף הזה מפעילים *A . . . למי שלא זוכר את החומר, בגדול, מה ה-*A עושה? אני רוצה להגיע מ-Point A ל-Point B - מה עושים?(חנוך) אגב, אני רוצה להגיד פה שאנחנו, למיטב הבנתי, היחידים שעדיין משתמשים ב-*A . . . זה אלגוריתם מאוד ישן, לפחות 30 שנים או 40 שנים, לא יודע - מאוד ישן [יותר מ-50, לפחות לטענת ויקיפדיה].ויש סיבות לכך שאנחנו משתמשים בו - אני אסביר עליו, ואחרי זה אני אסביר למה אנחנו לא עושים משהו יותר “מודרני”.אז *A הוא גרסת Graph-Search . . . בוא נתחיל מ-Breadth First Search ,שאתה מחפש בכל כיווןיש לזה גרסא יותר מתקדמת שנקראת Dijkstra, שאומר את אותו הדבר - חוץ מזה שיכולות להיות צלעות עם מחירים שונים, ואז זה לא בדיוק Breadth First אבל עדיין אתה הולך כל הזמן ומנסה למצוא את הדרך הכי קצרה לשלב הבא.(רן) כן - מה שנקרא “Shortest Path” . . .(חנוך) בדיוק - ו-*A הוא גרסת Dijkstra שמשתמשת במידע חיצוני . . . אני מכיר משהו על הגרף - זה לא רק Connectivity, יש גם משמעות פיזית - אז אני יכול להגיד לך ש”בכיוון הזה אי אפשר לחזור . . . אי אפשר שיהיה משהו”, וזו היוריסטיקה (Heuristic)(רן) אז היוריסטיקה אומרת לך ש”אפילו שהמחיר פה נראה זול, לא כדי ללכת לשם, כי . . .”(חנוך) . . . בגלל שאנחנו יודעים שאי אפשר, בכיוון הזה, שיהיה מסלול יותר מהיר.לדוגמא - היוריסטיקה הכי ידועה זה Aerial Distance - אני אומר שנניח שאתה הולך לשם, בכיוון הזה, ונניח שבכיוון הזה יש כביש ישר ומהיר - “כביש 6” הולך בדיוק מהנקודה הבאה ועד ליעד” . . . - אפילו אם זה היה נכון, זה לא היה מספיק.אז אם כן, אין סיבה להמשיך בכיוון הזה.(רן) אז אתה אומר - במקום לפזר את החיפוש ל-360 מעלות, אם אתה הולך בניגוד לכיוון היעד, באיזשהו שלב כנראה שאין טעם להמשיך, כי אפילו אם יהיה כביש ישר [לשם] זה עדיין מרחק גדול מדי.(חנוך) כן, והיתרון ב-*A הוא שמתחילת החיפוש הוא מחשב כל הזמן מחדש - כל משתמש רואה, כל פעם שלוחצים על “Routes” . . . אין שום Pre-caching, אנחנו מדברים על “מפה טהורה” וחיפוש ממש מחדש.זה מאפשר לנו פרסונליזציה (Personalization) מאוד חזקה לחיפוש - גם האופציות שאתה יכול לראות באפליקציה עצמה, גם בדברים שאנחנו שומרים עליך . . . לדוגמא, יש לנו Opt-In Feature שנקרא Personal ETA, שאנחנו רואים איך נהגת ב-30 הימים האחרונים [בהצלחה בסגר הבא . . . ] זה Opt-In לגמרי, אבל עם זה, אנחנו יכולים להגיד: “אתה מהיר מהרגיל, או איטי מהרגיל, אז אנחנו משנים את “המחיר” של כל צלע בשבילך” . . . אז יש לנו הרבה דברים כאלה.וזה מתאפשר ב-*A בגלל שאתה [עושה] הכל ממש מחדש.המחיר של זה זה זמן . . . אם אתה לחצת על Waze ביחס ל-Google Maps, אתה יכול לראות שלוקח לנו הרבה יותר זמן לעשות Route מאשר התחרות, זה יותר איטי . . . (רן) אז אם נסתכל על ה-Worst Case Scenario, לא יודע מהו - נגיד West Coast to East Cost בארה”ב . . . (חנוך) זה יכול להיות שניות . . . 10 שניות אפילו אפשר . . . (רן) ומה גודל ה . . . כמו Nodes עוברים בדרך? זאת אומרת, מה המסלול הארוך . . .(חנוך) יכול להיות . . . המסלול עצמו אולי לא יהיה הכי גדול, פחות מ-1,000 - אבל החיפוש יכול להגיע ל . . . לא יודע, מיליון או יותר.(רן) ואתה אומר שאתם היחידים שעדיין משתמשים ב-*A - אז מה אחרים עושים?(חנוך) אז יש . . . הרי יש התקדמות אקדמאית על זה . . . במשך הרבה שנים, הדבר הכי טוב היה משהו שנקרא Bijection Hierarchies, שזה מתחיל עם אותו גרף של *A ובאיזשהו סדר ידוע עושה Short-cuts ששומרים . . . Short-cuts שלא קיימים באופן פיזי, אבל שומרים על המרחק בין שתי הנקודותיש סדר ויש הרבה חוכמה - ויש הרבה דעות על איך לעשות את זה . . . .יש הרבה שיטות, אבל בפועל - אתה יכול לבנות מפה, שעליה אתה יכול לעשות חיפוש מאוד מהיר.אחרי זה יש גם משהו חדש מ-Microsoft . . . אגב, כל ה-Routing הטוב הוא מ-Microsoft Research - הם הכי טובים בזה . . .אז יש את מה שנקרא Customizable Route Planning, שזה סגו של Tree שאתה בונה -אתה לוקח את העולם ומפרק אותו לארבעה חלקים, ואחרי זה ליותר ויותר . . . זה סוג-של Quad-Treeואתה שומר את הקפיצות על איזשהו חלק, אז כשאתה יודע . . . אתה לא חייב לעבור את החלק כדי לדעת - בכל מקרה אני חייב לעבור את החלק (Segment) הזה, מהכניסה הזאת - זה המחיר לכל היציאות, זה בגדול . . .וזה עכשיו יותר פופולרי . . . לשניהם יש את אותו . . . לא בעיה, כי אלו יתרונות וחסרונות - זה הרבה יותר מהיר ודי הרבה יותר זול, אבל אתה חייב להכניס “חלק מהאמת”, כלומר, את המחיר של כל צלע - זה חייב להיות חלק מהאימפלמנטציה (Implementation).ב-Congestion hierarchies, הסדר שבו את צריך את ה-Short-cuts נגזר מהמחירים של הצלעות - וגם ה-Shortcuts עצמם, אם אתה משנה את ה-Cost שלהם - יש מצב שמה שנשאר לא יהיה נכון.אז אתה מתחיל, ואתה חייב . . . אם אתה משנה את המחיר של איזושהי צלע, בגדול - אתה חייב לבנות את כל המפה מחדש.כש-Customizable Route Planning הוא קצת יותר טוב, יש סוגי Metrics שאתה יכול לשנות On-the-fly, אבל אתה לא יכול לעשות כל מה שבא לך . . .וב-Waze, אתה יכול . . . נגיד שמחר יש לנו פיצ'ר חדש: אתה מעדיף רחובות או כבישים שמתחילים באות ר' . . . אני מעדיף דברים שמתחילים באות ר' . . . אין בעיה - אני אעשה עוד Cost Function בתוך המערכת, כדי לתת איזשהו “Punch-up” למשהו שמתחיל ב”ר'” - זורם . . . כל דבר כזה.בגדול - זה בלתי אפשרי . . . ואנחנו החלטנו - זו החלטה מהמנכ”ל לשעבר, נעם ברדין, שישבנו ודיברנו על זה כמה פעמים - שהאופי של Waze זה הפרסונליזציה (Personalizing), וזה משהו שאנחנו מוכנים לשלם עליו יותר - כסף זה זמן, ואנחנו מוכנים לשלם יותר כדי לתת לך עוד טיפה יותר, מסלול יותר טוב.וזו אחת מהסיבות שאנחנו לא עושים את כל ה . . . זה אחד מההבדלים, הפוקוס על הנהג, לעומת לעשות דברים אחרים - זה נותן לנו את האפשרות לעשות ממש Drill-down לנהג, ועדיף לעשות את זה . . . [ואז החבר'ה של DeepMind שחררו את זה . . .](רן) אני סקרן האם אתם יכולים למדוד עד כמה לקוחות אוהבים את זה, או כמה לקוחות משתמשים בזה? לצורך העניין, אם לקחתם החלטה לא טובה במימוש של ה-Routing, האם אתם רואים את ה-Retention יורד? האם אתם רואים . . . האם אתם רואים החלטות כאלה מתבטאות בהתנהגות משתמשים?(חנוך) יש לנו Checking על זה, ולצערי אני לא יכול להכנס לזה . . . אבל ודאי שיש לנו Checking על זה.אנחנו מבינים אילו סוגי Routing ואילו סוגי תשובות אנשים שמחים איתם ואילו לאאנחנו בודקים את זה כל הזמן - גם פרואקטיבית - אם איזשהו מדד עולה אז מה קרה ואם יורד אז מה קרהוגם ראקטיבית - אנשים שולחים לנו באגים כל הזמן ואנחנו בודקים כמות לא קטנה של הבאגים ורואים אם יש משהו לא נכון.אני יכול להגיד שחלק מהדברים שאנחנו עושים זה עניין של אי-אפשר . . . לדוגמא: פה בישראל זה לא מעניין, אבל בברזיל, ששם יש לנו הרבה משתמשים, יש עניין סביב באיזה יום אתה יכול להכנס לעיר עם ה-License plate הנכון, וזה משהו שדורש שתיהיה לך מפה ייעודית עבורך . . . עם כל ה . . . זה פשוט Explosion of parameters אם אתה לא עושה את כולו, אחרי זה, גם לכל License plate.אז יש סוג של דברים שאנחנו יודעים שאנשים משתמשים [עבורו] בנו - בגלל שאנחנו ממשים פיצ'רים שאי אפשר לעשות בצורות אחרות.(רן) כן, אז זה מביא אותנו באמת לשאלות מעניינות על רגולציות . . . אז, למשל, ימים שבהם מותר להיכנס לאיזור או כמו שהזכרת License Plates שמותר להם להיכנס ביום א' וכאלה שמותר להם ביום ב', לפי האם זה זוגי או לא זוגי או כל שיטה אחרת . . . (אורי) אני חושב שבישראל הייתה בעיה של שטחים מסויימים, שלא רוצים ש . . .(רן) . . . זהו, אז למשל שטחים עירוניים, שכונות יחסית שקטות, שפתאום אולי נחיל של מכוניות עובר דרכן כי היה פקק באיזור . . . דרך אגב, אני מרגיש את זה כל מוצאי-שבת דרך העיר שלי - תמיד במוצאי-שבת מאוד עמוס . . . (חנוך) מצטער . . .(רן) לא, אני מניח שכל אפליקציית Routing אחרת גם הייתה עושה את זה . . . אז כן, למזלי זה יחסית על כבישים ראשיים אבל זה בהחלט מורגש . . .(חנוך) אז אני יכול לענות על זה שמבחינת רגולציות אנחנו . . . דווקא זו אחת החוזקות שלנו, שיש לנו Model מאוד מאוד גמיש לכל סוג רעיון חדש שמישהו יגיד, שעכשיו “רק רכב לבן בשעות זוגיות יכול להיכנס לפה” - אנחנו יכולים לתמוך בזה.ועוד הרבה דברים Hyper-localized כאלואבל מה שאמרת לגבי ישוב שקט - אנחנו בכוונה אומרים שהנהג יכול ללכת לכל מקום שמותר מבחינת החוק.אז אנחנו לא מכניסים, בשום מקום בעולם - לא בישראל, יש הרבה ביקוש לזה בקליפורניה - אנחנו לא מכניסים שום Restriction שלא מגיע מבחינה חוקיתאנחנו עונים כל הזמן לאנשים שזה מדאיג אותם, שהם יכולים לדבר עם פוליטיקאים ולדבר עם הממשלה שלכם שיעשו כאן איזשהו Restriction - ואנחנו נקבל אותו.ברגע שיש כזה חוק - נכבד אותו.(רן) כן, אז אתה אומר שזו לא בעיה לממש את זה, אבל אתם צריכים לקבל את ההנחיה מהרשות המקומית . . .(חנוך) לא רק שזו לא בעיה - אנחנו עושים את זה כל הזמןיש הרבה מקומות בעולם שיש בהם הוראות כאלו - אבל אנחנו לא יכולים לעשות את זה בשבילך . . . (רן) אתם לא מחוקקים, אתם . . . (חנוך) אנחנו לא רוצים להיות בעסק הזה . . . זה interest שלך יחד עם interest של הנהג, ואנחנו לא יכולים לענות.(אורי) יש לי שאלה . . . (חנוך) בבקשה . . .(אורי) בשביל זה אני פה . . . האם אתם מתייחסים לעובדה שמישהו מחליט שלא ללכת לפי ה-Route?(חנוך) כן . . . Compliance . . . מישהו שכל הזמן לא החליט אצלנו [כמו שהמלצנו) או סתם פעם אחת?(אורי) לא, הוא . . . נתת לו Route מסויים, והוא מחליט To Challenge - להגיד “אני חושב שיש דרך יותר קצרה” . . . השאלה היא - אתם לא יודעים, הרי, שהוא אמר “וואלה, ה-Waze הזה לא יודע, אני חושב שיש דרך יותר קצרה” - אתם פשוט רואים אותו סוטה מה-Route . . . אתה תעשה “Recalculating route”, אבל השאלה היא האם אתם מתייחסים לזה כאל סיגנל, זאת אומרת . . .(חנוך) לא ב-Real-time, אבל אנחנו כן בודקים - זאת אומרת שאנחנו בודקים . . .(אורי) לאו דווקא ב-Real time, השאלה היא האם אתם מסתכלים ומתייחסים אל זה כאל סיגנל של . . . (חנוך) . . . יש משהו שאנחנו אולי לא מכירים, כן.אנחנו עושים מחקר ongoing, אבל זה לא online בכלל - כי כשאנשים לא מקשיבים לנו, ובמקרים חריגים שהם צודקים, יש לנו מדד לזה, ואנחנו בודקים כל הזמן אחוז מסוים של זה - לראות מה קרה.אגב, ברוב הפעמים יש סיבה שאנחנו לא יכולנו לתקן - לדוגמא: יש פקק, שהוא [הנהג] לא היה צודק [קודם] - אבל עכשיו הוא צודק בגלל הפקק שנוצר.או שבמקרים רבים יש מקרה של משהו לא חוקי - עשה U-Turn לא חוקי . . . אז זה לא משהו שאפשר להגיד לו . . . (אורי) לא, אני לא מדבר על זה - אני מדבר באמת על המקרים האלה ש . . .(חנוך) אז כן - זה קורה, ואנחנו בודקים את זה.הקטע הוא שכל אחד משתמש ב-Waze כל היום - פעמיים ביום, שלוש פעמים ביום - ולא זוכר בכלל כש-Waze היה ממש על המספר הנכון, וזוכר את הפעם היחידה שהוא לקח שמאלה ו”עבד” על Waze קצת . . . זה יחסית חריג . . . אבל אנחנו כן בודקים את זה - וכל אחד זוכר את המקרה שזה קרה לו, אבל אנחנו כן עושים . . .(אורי) אתם משתמשים בזה כסיגנל כדי להשתפר? (חנוך) כן - אבל לא באופן אוטומטי.אנחנו בודקים את זה ולומדים מזה - ובמקרים רבים עושים תיקונים, כמו “שיפוצים” למערכת . . . אם הבנו שיש בזה איזשהו סוג של דבר שלא חשבנו עליו, אז לפעמים מתקנים את זהלפעמים לומדים שיש בעיה עם המפה - יש מצב שאנחנו אמרנו ככה בגלל שאנחנו חשבנו שהיציאה הזאת תיקח שתי דקות, ובפועל זה עשר שניות . . . וכשאנחנו רואים את זה, אז זה כן Online נכנס לתוך המערכת ואומר “או, וואו - אנחנו טעינו פה ואפשר לתקן את זה” - ועוד יום או יומיים זה כבר יתחיל להיכנס להיסטוריה.(רן) בוא נדבר רגע על ETA, כי המילה עלתה [ואיזה מתכנת בעולם לא אוהב שמדברים איתו על ETA? . . . ]אז אני לא יודע אם אתה זוכר, אבל אני חושב שלפני כמה שנים היה איזשהו בחור, אני חושב אמריקאי, שעשה עבודה מאוד יסודית והחליט שהוא משווה בין ה-ETAs השונים שצפים ב-Google Maps, ב-Waze ו-Apple Maps, אני חושב [ב-Reddit יש כמה Waze vs Google ETA, וכמובן ב-Hacker News] - ואני חושב, אם אני זוכר נכון, שהמסקנה שהוא הגיע אליה היא ש-Waze דרך כלל אופטימיסטית, זאת אומרת - נותן ETA קצת יותר קצר מה-ETA האמיתי, Google Maps קצת יותר פסימי ולא זוכר מה הוא אמר על Apple Maps . . . אבל בוא . . . (אורי) הוא בטח אמר שה-ETA של Apple נורא יפה . . . [1+](רן) מעוצב יפה . . . (חנוך) כן . . . (רן) אז איך מחשבים ETA? איך אתה יודע באמת כמה זמן הולכת לקחת נסיעה?(חנוך) אז יש כאן שתי שאלות, ואני אשמח לענות על שתיהן . . .אז הראשונה, לגבי התחרות הזו . . . זה מאוד שונה ממקום למקום, ואני זוכר את הבלוג-פוסט שהזכרת, והוא עשה את זה באיזשהו מסלול אחד שלו, על פני כמה ימים . . . יש מקומות שאנחנו יותר מדוייקים, יש מקומות שבהם GMM יותר מדויק ויש מקומות שבהם Apple Maps כנראה . . . לא יודע, לא מצאתי, אבל כנראה אפשר לראות.אני בטוח שבאיזור ה-Headquarters שלהם הם מאוד מדוייקים . . . [בנסיעה במעגל מסביב?]אבל את זה אני יכול להגיד בוודאות - הגרסא הנוכחית של Waze, של ה-ETA, היא לגמרי אחרת ממה שהייתה לפני שנתיים או לפני שלוש שנים, וגם של Google Maps - לחלוטין.אז אנחנו כל הזמן משפרים - כולנו, כל האפליקציות - כל הזמן משפרים את זה.עכשיו, אתה שואל מבחינת האופטימיות? אז יש לנו קצת בעית אופטימיות, אני אופטימיים בקצת יותר מדקה, בממוצע . . . זה לא משהו ענק, ואנחנו כן היינו יכולים פשוט לשנות ETA לעוד דקה - הקטע הוא שאנחנו לא יודעים איפה על המסלול לעשות את זה . . .אז אנחנו מנסים לתקן את זה, אבל יש לנו בעיית אופטימיות של כדקה . . .[שזה מעניין - כי מניסיון, כששולחים את המסלול למישהו כ-Share, לפחות בארץ, זה אכן תמיד מוסיף דקה על ה-ETA הנוכחי, ב-Total . . .](רן) עכשיו, זה נשמע די פשוט . . . זאת אומרת, מקודם דיברנו על מציאה של מסלול עם המחיר הנמוך ביותר, וכשאנחנו מדברים על מחיר אנחנו מדברים כמובן על זמן . . .(חנוך) לא, זה אשכרה לא . . . זה רק אחד מהמחיריםאנחנו רוצים לתת לך. . . אם זה היה רק זמן, אז היה ממש קל לדעת אם זה עבד לנו ומי יותר טוב וכל הדברים היו מאוד קלים.הקטע הוא ש-Route טוב הוא לא רק הכי מהיר . . . (רן) אתה יודע מה - בוא נחזור לשם עוד מעט, אבל שנייה נדבר על ה-ETA . . . בכל אופן, הגעתי למסלול, ועכשיו אני, כדי לחשב את הזמן שלו, פשוט סוכם את פרקי הזמן על המסלול . . .(חנוך) אפשר לעשות את זה, אבל יש כמה אתגרים פה - דבר ראשון זה שאם אתה עושה את זה אז זה לא הכי גרוע בעולם - הגרסאות הקודמות של Waze דווקא עשו דבר כזה, וזה עובד.הקטע הוא שיש עניין של Flow - זרימה בין הסגמנטים - ויש אינטראקציות בין זה שהייתי פה והייתי ברמזור ובעוד שני סגמנטים יש עוד רמזור, אבל אם עברתי את זה אז אני ודאי אעבור את השני בלי שזה יהיה אדום בשבילי [הנחה מאוד אופטימית על סינכרון הרמזורים בארץ . . . .](רן) “הגל הירוק”, כמו שקוראים לזה בישראל . . .(חנוך) בדיוק - אז אנחנו לא מודדים דווקא את זה, אבל יש לנו דרך למודל כללי למסלול עצמו.אז מה שקורה זה ש-*A חייב להיות מהיר - על כל צלע יש לנו, כמו שאמרתי, יש לך microSeconds בודדות כדי לבדוק אותו, ואתה חייב לבנות את המחיר של המסלול מאוד מהר.אחרי שיש לך מסלול - או כמה מסלולים, כמה אופציות או אלטרנטיבות - אתה יכול לעשות דברים יותר חזקים:אתה יכול להכניס משהו שלוקח כל מסלול ומבין בעצמו את ה-Flow שיש ממקום למקום - ויכול גם להביא עוד פיצ'רים, שלא קיימים במערכתכרגע אין לנו את זה, סתם - אנחנו אומרים שבגרסא X יהיה לנו מזג אוויר [אלון!], שאי אפשר להכניס לתוך ה-Routing עצמו, אבל אפשר אחרי זה . . .או שהיום יש שלג, אז אולי נחכה עוד כמה דקות . . . לא ידנית אלא דרך המודל.אנחנו בונים מודל שיכול לקחת את זה ולחדד את זה.בהכרח זה אומר שיש מצב שאם לא ידענו את זה על כל מסלול אפשרי, שיש אולי מסלול אחר שהיה מצליח בזה טיפה יותר - אבל מאוד נדיר למצוא את זה.בדרך כלל, עדיין - עם כל הנתונים האלה, באופן כללי, על כל המקומות - אם היה לנו את הזמן לעשות את זה לכולם, היינו נותנים פחות או יותר את אותו המסלול + ETA יותר מדויק.(רן) כן - אתה יוצא מתוך נקודת הנחה שאם שני מסלולים . . . זאת אומרת שאם אורך של מסלול אחד זה X ואורך של מסלול אחר זה Y, ו-X

Art of the Cut
Crossing the 180 w/ "Pray Away" Filmmakers Kristine Stolakis & Jessica Devenay

Art of the Cut

Play Episode Listen Later Aug 31, 2021 67:04


In today's episode of Crossing the 180, Ron speaks with the filmmakers behind the Blumhouse Pictures and Ryan Murphy executive-produced Netflix documentary Pray Away. This is a powerful documentary about the conversion therapy movement in the evangelical church. Essentially the campaign helps "cure" members of LGBTQ+ community. Producer Jess Devaney of Multitude Films and writer/director Kristine Stolakis are on to share their background, the making of this doc, how it got to Netflix, and their own personal journeys. It's a captivating conversation you won't want to miss. Kristine Stolakis on Twitter Jess Devaney on Twitter Ron on Twitter Sapna on IMDb Crossing the 180 theme music "Gettin' Paid, Part II" by Alec's Band (CC BY) and curated from FreeMusicArchive.org. Huge thanks to MASV for sponsoring this show. Make sure to go to massive.io/AOTF to get 100GB of FREE file transfers! The Art of the Frame podcast is available on Spotify, Apple Podcasts, Google Podcasts, Anchor and many more platforms. If you like the podcast, make sure to subscribe so you don't miss future episodes!

The Rough Cut
Hacks

The Rough Cut

Play Episode Listen Later Aug 30, 2021 60:52


Editors - Jess Brunetto, Susan Vaill ACE, Ali Greer Hacks editors Jess Brunetto, Susan Vaill ACE and Ali Greer each find themselves nominated for an Emmy® award for their work on Season One of their hit series.  For those not familiar with the show, Hacks is an American comedy-drama series created by Lucia Aniello, Paul W. Downs, and Jen Statsky that streams on HBO Max.  The show tells the story of two very funny women at different points in their careers.  Deborah Vance, a legendary Las Vegas stand-up comedy diva, is struggling to maintain relevance while the head of the casino where she performs tries to pare down on her performance dates. Ava is a Gen Z comedy writer who is unable to find work due to being "canceled" over an insensitive tweet. The two reluctantly team up to freshen up Vance's material, while learning to respect each other's differences along the way. JESS BRUNETTO Jess Brunetto is a director, writer, producer and editor. Her film work has screened at Cannes, Venice and Sundance. Her directorial debut Sisters (2021) premiered at SXSW and was nominated for the Grand Jury Award.  In addition to Hacks, her other editor credits include; Awkwafina Is Nora from Queens (2020), Broad City (2014), American Vandal (2017) and Jordan Peele's The Last O.G. (2018), on which she also served as an associate producer. SUSAN VAILL ACE Susan's love of music-driven storytelling has led her to be described as 'a legendary music supervisor masquerading as an award-winning editor.'  After assistant-editing documentaries and feature films like The Last Samurai (2003), Susan edited over 70 episodes of Grey's Anatomy (2005) which won the Golden Globe for Best Drama Series in 2008. Susan also directed three episodes of the series, one of which featured an Emmy-winning performance by guest actress Loretta Devine.  In addition to Hacks, her other television editor credits include; Space Force (2020), Grandfathered (2015), Me, Myself and I (2017), This Is Us (2016), and Lodge 49 (2018). ALI GREER In addition to her Emmy® nomination for Hacks, Ali was twice nominated for an ACE Eddie award for her work on the series, Portlandia.  In fact, Ali's editorial career is highlighted by several standout series in the comedy genre.  Her time as an assistant editor was punctuated with a stint on Kroll Show (2015) as well as the aforementioned Portlandia (2015).  From there she went on to edit such shows as Dream Corp LLC (2018), Black Monday (2020) and Schmigadoon! (2021). Editing Hacks In our discussion with the Hacks editing team of Jess Brunetto, Susan Vaill ACE and Ali Greer, we talk about: The money is no object approach to needle drops The danger of checking your email on a Friday night Breaking the rules of network television Honoring When Harry Met Sally Doing mixes over Zoom...in a car The Credits Get your free 100GB of media transfer at MASV Visit ExtremeMusic for all your production audio needs Check out the free trial of Media Composer | Ultimate Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Art of the Cut
Editor Chancler Haynes on Commercials & Music Video Editing for Taylor Swift & Others

Art of the Cut

Play Episode Listen Later Aug 24, 2021 53:21


On this week's episode of Art of the Frame, host Scott Simmons chats with editor Chancler Haynes. Chancler has a background in commercial and music video editing as well as feature films. He has worked on videos for artists such as Taylor Swift, Jennifer Lopez and Imagine Dragons. Commercial work includes spots for Lexus, General Motors and Fox Sports. Chancler also has a long collaborative history with director Joseph Kahn that includes the feature film Bodied. While the intention of this podcast was to talk about music video editing (and they do just that) there is also a lot of discussion on editing commercial spots, dealing with agencies, on-set editing, and Chancler tells a fantastic story about how he began that relationship with Kahn. Enjoy the episode! Huge thanks to MASV for sponsoring this show. Make sure to go to massive.io/AOTF to get 100GB of FREE file transfers! The Art of the Frame podcast is available on Spotify, Apple Podcasts, Google Podcasts, Anchor and many more platforms. If you like the podcast, make sure to subscribe so you don't miss future episodes!

The Rough Cut
Free Guy

The Rough Cut

Play Episode Listen Later Aug 23, 2021 41:58


Editor - Dean Zimmerman ACE Free Guy editor, Dean Zimmerman ACE wrapped working on location for the film exactly two years ago.  Like so many movies lately, Free Guy had been locked in a pattern of pandemic postponement.  It was originally supposed to be released late in the spring of 2020, but then got bounced around until it eventually hit theaters on August 13th of 2021. Free Guy stars Ryan Reynolds as a bank teller who discovers he's actually an NPC (non-playable character) in an MMORPG (massive multiplayer online role-playing game).  With the advent of his self-awareness, Guy decides to become the hero of the story and save his friends from deletion by the game's creator, played by Taika Waititi. DEAN ZIMMERMAN ACE Free Guy finds Dean collaborating once again with director and longtime friend, Shawn Levy.  The two have been working together for over twenty years on projects like the Night at the Museum franchise and a little series called Stranger Things.  In fact, a lot of Dean's crew from Stranger Things is on board for Free Guy.  Assistant editor Kar Naranjo, VFX editor Brad Tobler and sound editor Craig Henighan are all on hand for the film.  So, clearly Dean takes a family-oriented approach to putting a crew together and keeping them together.  And editing is a family business in more ways than one for Dean.  His father, Don Zimmerman, is a highly accomplished editor in his own right. Dean is currently working on Shawn Levy's upcoming film with Ryan Reynolds, The Adam Project (2022). Editing FREE GUY In our discussion with Free Guy editor, Dean Zimmerman ACE, we talk about: The pain of cutting out Taika Waititi scenes Questions editors ask test screening audiences How working on Free Guy compares to Stranger Things Why stereo is better than 5.1 monitoring Teaching the Duffer brothers about "cowboy shots" The Credits Get your free 100GB of media transfer at MASV Visit ExtremeMusic for all your production audio needs Check out the free trial of Media Composer | Ultimate See Dean's Avid timelines from Free Guy See the Stranger Things panel with Dean, Kat, Brad, Craig and all the gang Listen to the Sound Design podcast with Craig Henighan, Will Files and Ai-Ling Lee Subscribe to The Rough Cut podcast and never miss an episode

Beyond the Screenplay
Episode 93: Indiana Jones and the Last Crusade

Beyond the Screenplay

Play Episode Listen Later Aug 20, 2021 100:59


The BTS team discusses the film's similarities to Raiders of the Lost Ark, the brilliant unification of MacGuffin and Henry Jones Sr., and the magnetism Harrison Ford brings to the character of Indiana Jones. Sponsors To learn more about Brilliant, go to https://brilliant.org/BeyondTheScreenplay/ and sign up for free. The first 200 people that visit that link will get 20% off the annual Premium subscription. Sign up for MASV today using https://massive.io/BTS and get 100GB free towards your transfer for free. Show Notes Listen to our episode on Indiana Jones and the Kingdom of the Crystal Skull by supporting us on Patreon: https://www.patreon.com/beyondthescreenplay LFTS Merch: https://standard.tv/collections/lfts Find us on Twitter Beyond the Screenplay: https://twitter.com/BTScreenplay Michael Tucker: https://twitter.com/michaeltuckerla Tricia Aurand: https://twitter.com/TriciaJeanA Brian Bitner: https://twitter.com/BrianBitner Alex Calleros: https://twitter.com/Alex_Calleros Produced by Vince Major: https://twitter.com/VinceMajor Edited by Eric Schneider: https://twitter.com/ImEricSchneider Guest editors: Caleb Burg, Graham Haerther Website: http://lessonsfromthescreenplay.com For Inquiries and Booking: Vince@Plusfortyseven.com

Art of the Cut
Crossing the 180 w/ "We Are Lady Parts" DP Diana Olifrova

Art of the Cut

Play Episode Listen Later Aug 17, 2021 65:03


Peacock TV's "We Are Lady Parts" is a hilarious, touching, and uplifting comedy with a "Scott Pilgrim vs. the World" kinda vibe. The brainchild of British television writer and producer Nida Manzoor, it is a 6-episode series the follows the trials and tribulations of an all-Muslim woman punk band. Those two apparently diametrically opposed aspects of the band are the perfect recipe for a show that is funny, quirky, and at the same time, explores themes of faith, friendship, loyalty, and obligations. The show has a very distinct look in its color and composition, so I was thrilled to have a conversation with the director of photography for the show, UK-based Diana Olifrova. Follow Diana on Instagram Ron on Twitter Crossing the 180 theme music "Gettin' Paid, Part II" by Alec's Band (CC BY). Huge thanks to MASV for sponsoring this show. Make sure to go to massive.io/AOTF to get 100GB of FREE file transfers! The Art of the Frame podcast is available on Spotify, Apple Podcasts, Google Podcasts, Anchor and many more platforms. If you like the podcast, make sure to subscribe so you don't miss future episodes!

The Rough Cut
The Suicide Squad

The Rough Cut

Play Episode Listen Later Aug 13, 2021 53:53


Editors - Fred Raskin ACE and Christian Wagner   The Suicide Squad editors, Fred Raskin ACE and Christian Wagner join forces once again to assist director James Gunn with his latest movie; a standalone sequel to Suicide Squad (2016) and the tenth film in the DC Extended Universe.  The film features Gunn's patented take on action and comedy, plus a little blood, guts and gore for good measure. FRED RASKIN ACE To help him with the latest installment in the DCEU, James called on an old friend from his Marvel days, editor Fred Raskin.  Fred worked with Gunn on both Guardians of the Galaxy films, so James knew quite well that Fred was up for the challenge of The Suicide Squad.  In addition to his work with Gunn, another prominent director that Fred is known to cut for is Quantin Tarantino.  Fred handled the editorial duties for Django Unchained, The Hateful Eight and, most recently, Once Upon a Time in Hollywood. CHRISTIAN WAGNER While Quentin Tarantino has written AND directed most of his films, True Romance is one of the few that he wrote but did not direct.  It was directed by Tony Scott and edited by a man Mr. Scott worked with quite often throughout both of their careers, editor Christian Wagner.  In addition to True Romance, Chris also cut Man on Fire, The Last Boy Scout, Days of Thunder and several more films for Scott.  When he wasn't cutting for Tony Scott, Chris spent a little time on some of the "Fast and Furious" films.  Two of which, Fast and Furious and Fast Five, Chris co-edited with Fred Raskin.  The Suicide Squad sees the two editors reuniting for the third time. Editing The Suicide Squad In our discussion with The Suicide Squad editing team of Fred Raskin ACE and Christian Wagner, we talk about: Collaborating with a co-editor for the first time Scaling back the Harley Quinn sub-plot The sacrifices editors make in working remotely Directors who don't understand pre-viz Mentoring the next generation of super hero editors The Credits Get your free 100GB of media transfer at MASV Visit ExtremeMusic for all your production audio needs Check out the free trial of Media Composer | Ultimate Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Art of the Cut
Editors on Editing: "The Suicide Squad" Editors Fred Raskin, ACE & Christian Wagner

Art of the Cut

Play Episode Listen Later Aug 12, 2021 49:57


Welcome to another episode of Editors on Editing, this week Glenn talks with editors Fred Raskin, ACE & Christian Wagner about the summer blockbuster "The Suicide Squad." Written and directed by James Gunn, "The Suicide Squad" follows supervillains Harley Quinn, Bloodsport, Peacemaker and a collection of nutty cons as they are dropped off at the remote, enemy-infused island of Corto Maltese. You likely know Fred from his work on films like "Once Upon a Time… In Hollywood”, “Guardians of the Galaxy 1&2”, “Django Unchained” and many more. Christian has had an extremely illustrious career having worked on films such as “Men in Black: International”, “Total Recall”, “Fast & Furious”, Die Another Day”, “Face/Off” and many many more. Enjoy the episode and make sure to check out “The Suicide Squad” on HBO Max and in theaters! Huge thanks to MASV for sponsoring this show. Make sure to go to massive.io/AOTF to get 100GB of FREE file transfers! Thanks again to ACE for partnering with us on this podcast, check out their website for more. Want to see more interviews from Glenn? Check out "Editors on Editing" here. The Art of the Frame podcast is available on Apple Podcasts, Spotify, Google Podcasts, Anchor and many more platforms. If you like the podcast, make sure to subscribe so you don't miss future episodes.

The Rough Cut

Editors - Paul Crowder ACE and Ede Bell Crowder The UFO post production team of editor Paul Crowder ACE and lead assistant editor Ede Bell Crowder didn't just share the workload on JJ Abrams' new docuseries for Showtime, they also share the same last name.  Ede had to look no further than her own father, veteran documentary editor Paul Crowder ACE, to know that she wanted to be an editor.  While she's hoping for a career in scripted editing, the chance to work with her dad on such a high-profile project was too good to pass up.  Together, with the rest of the post team, Paul and Ede created a riveting series that raises new questions about the phenomenon of unidentifiable flying objects; including what the U.S. government might have known (and covered up) all along. PAUL CROWDER ACE A British-born musician turned filmmaker now living in the USA, award-winning editor Paul Crowder ACE is best known for documentaries such as; Dogtown and Z-Boys, Riding Giants, Sound City and The Beatles: Eight Days a Week - The Touring Years.  Paul is also known for directing the films Amazing Journey: The Story of The Who and 1.  He can also be seen around Los Angeles playing with the classic power pop band, The Automatics. EDE BELL CROWDER Daughter of editor/director Paul Crowder ACE, Ede is a recent graduate of the University of North Carolina film program.  Prior to her work on UFO, Ede had been sharpening her editorial skills on numerous short films. Editing UFO In our discussion with UFO editor Paul Crowder ACE and assistant editor Ede Bell Crowder, we talk about: The critical decisions that go into the opening of a series Using reaction shots to comment on...comments Whether or not to use image manipulation tools on UFO footage How to manage large amounts of media for remote workflows A second-hand account of an actual UFO sighting The Credits Get your free 100GB of media transfer at MASV Visit ExtremeMusic for all your production audio needs Check out the free trial of Media Composer | Ultimate Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Art of the Cut
Crossing the 180 w/ "America's Test Kitchen" Exec Producer Mykim Dang

Art of the Cut

Play Episode Listen Later Aug 3, 2021 82:57


When it comes to digital media production and marketing, few people have quite the experience as Mykim Dang (pronounced ME-kim). She's produced work for such companies as Facebook and in her role as Executive Producer of video production at America's Test Kitchen, she's helped create and distribute content for one of the premier brands in the world of cuisine. In this in-depth interview with her, we cover a wide range of topics related to producing content for a YouTube channel with about 1.3 million subscribers. We also dive into her thoughts related to diversity in the industry, the Bon Appetit and Reply All podcast fiasco, and why she thinks David Fincher has been the most profound influencer on the evolution of streaming video. Also back on the show this week is actress, musician, and filmmaker Sapna Gandhi, head of content at the film collective We Make Movies. If you're interested in applying for the film competition she mentioned, go to wemakemovies.org/competition. Mykim on Twitter Ron on Twitter Sapna on IMDb Crossing the 180 theme music "Gettin' Paid, Part II" by Alec's Band (CC BY) and curated from FreeMusicArchive.org. Huge thanks to MASV for sponsoring this show. Make sure to go to massive.io/AOTF to get 100GB of FREE file transfers! The Art of the Frame podcast is available on Spotify, Apple Podcasts, Google Podcasts, Anchor and many more platforms. If you like the podcast, make sure to subscribe so you don't miss future episodes!

The Rough Cut
Framing Britney Spears

The Rough Cut

Play Episode Listen Later Aug 2, 2021 42:58


Editors - Geoff O'Brien and Pierre Takal Framing Britney Spears editors Geoff O'Brien and Pierre Takal joined forces to take on the monumental editorial challenge of compressing twenty years into just over an hour of screen time to tell a story that is both informative and provocative.  Released on February 5, 2021 as an edition of The New York Times Presents on FX and FX on Hulu, the documentary explores Spears's rise to fame as a pop star, her treatment by the paparazzi, her highly publicized breakdown in 2007, and her court-mandated conservatorship overseen by her father.  The documentary received critical acclaim and garnered two nominations at the 73rd Primetime Emmy® Awards; including a nomination for Geoff and Pierre's work in the cutting room. GEOFF O'BRIEN Aside from his work on Framing Britney Spears, Geoff has been a major creative contributor and editor for series including The Weekly from The New York Times, Fiasco on Epix and PBS's Frontline. He also worked on three award-winning feature documentaries, Note By Note: The Making of Steinway L1037; Brick By Brick (a documentary that chronicles segregation in the Yonkers public school system) and It Started As A Joke (chronicling Eugene Mirman and his comedy festival). PIERRE TAKAL In addition to his work on the New York Times Presents series, Pierre has cut for the PBS investigative series, Frontline and on documentaries such as Eagle Huntress, Rats, I am Human and One Direction: This Is Us.  But that's not all.  Not only does Pierre Takal do Emmy®-worthy work in the editing room, he's also an accomplished composer, at times taking on both composing and editing duties on the same project. Editing Framing Britney Spears In our discussion with Framing Britney Spears editors Geoff O'Brien and Pierre Takal, we talk about: Utilizing the resources of The New York Times Collaborating  remotely during the pandemic Quickly setting the context for the conservatorship controversy Knowing where to stop on a story that is still unfolding How this project evolved their opinions of their own industry The Credits Get your free 100GB of media transfer at MASV Visit ExtremeMusic for all your production audio needs Check out the free trial of Media Composer | Ultimate Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

The Rough Cut
Billie Eilish: The World's a Little Blurry

The Rough Cut

Play Episode Listen Later Jul 26, 2021 55:16


Editors - Greg Finton ACE and Lindsay Utz ACE Editors Greg Finton ACE and Lindsay Utz ACE hadn't worked together prior to Billie Eilish: The World's a Little Blurry, but they each had plenty of experience in the world of unscripted storytelling to bring to the table for director R.J. Cutler's film.  The story centers around singer-songwriter Billie Eilish and reveals the behind the scenes creation process of her debut studio album When We All Fall Asleep, Where Do We Go?   Released in select theaters via Neon and on Apple TV+ on February 26, 2021, the film has garnered four Primetime Emmy® nominations, including Outstanding Picture Editing for Variety Programming for Greg and Lindsay. GREG FINTON ACE Although Greg had previously worked with "Billie Eilish" director R.J. Cutler on the series American High, Greg's storied career in documentary editing actually began in the film cutting rooms of some legendary scripted editors.  Working as an assistant to editors such as Lynzee Klingman ACE (A River Runs Through It) and Sandra Adair ACE (Dazed and Confused), Greg learned first hand how just changing the rhythm and pace of the dialogue can have a big impact on the way a scene felt.  Greg took this knowledge into his work on highly acclaimed documentaries such as It Might Get Loud, He Named Me Malala and Robin Williams: Come Inside My Mind. LINDSAY UTZ ACE Prior to teaming up with Greg and R.J. Cutler for the "Billie Eilish doc", Lindsay had made quite a name for herself in the documentary world, having been nominated for both an Emmy® and an ACE Eddie award for her work on the Oscar®-winning documentary, American Factory.  A recipient of the 2012 Karen Schmeer Fellowship, Lindsay's talent as a storyteller can also be seen in the documentary projects; Bully, Quest, Miss Americana, as well as the experimental narrative feature, Buoy. Editing Billie Eilish: The World's a Little Blurry In our discussion with the editing team of Greg Finton ACE and Lindsay Utz ACE, we talk about: Enjoying the challenge presented by documentary editing The deep reservoir of footage afforded by the cell phone era Lower thirds being a crucial decision in doc filmmaking How award nominations can impact a documentary editor's career The advantages of starting out as an assistant in film cutting rooms The Credits Get your free 100GB of media transfer at MASV Visit ExtremeMusic for all your production audio needs Check out the free trial of Media Composer | Ultimate Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Art of the Cut
Crossing the 180 w/ Kimmy Gatewood, Director of the Netflix Rom-com "Good on Paper"

Art of the Cut

Play Episode Listen Later Jul 20, 2021 74:30


Welcome to another episode of Crossing the 180 with host Ron Dawson. This week, Ron talks with director Kimmy Gatewood about the Netflix rom-com "Good on Paper." Kimmy has an impressive CV as a television writer, editor, actor, and primarily director. Her narrative feature debut is the Netflix Original "Good on Paper" written by and starring comedian Iliza Schlessinger. On this episode we take a deep dive into Kimmy's career. From her early days doing improv, to her television career, to what it was like directing this feature. Along for the ride is guest co-host Tehana Weeks of We Make Movies. Tehana is a talented actress in her own right who also has an improv background, so the two of them geek out on that a bit. Stick around for the post-interview discussion Tehana and I have. Good on Paper Trailer Girls 5 Eva Trailer Kimmy Gatewood Ron on Twitter Huge thanks to MASV for sponsoring this show. Make sure to go to massive.io/AOTF to get 100GB of FREE file transfers! The Art of the Frame podcast is available on Spotify, Apple Podcasts, Google Podcasts, Anchor and many more platforms. If you like the podcast, make sure to subscribe so you don't miss future episodes!

The Rough Cut
Loki

The Rough Cut

Play Episode Listen Later Jul 19, 2021 62:03


Editors - Paul Zucker ACE, Emma McCleave, Calum Ross PAUL ZUCKER ACE (Classic Loki) Prior to making his mark on the MCU, Paul had worked with some of today's most innovative filmmakers; from Harmony Korine (Mister Lonely) and Michel Gondry (Eternal Sunshine of the Spotless Mind, to Lena Dunham (Girls, Camping).  Paul cut his first feature at age 24 for Gus Van Sant (Gerry).  Moving easily between independent and studio projects, he has worked with such noted directors as Tom Dicillo, Joel Schumacher, and Mike Judge (the pilot episode of Silicon Valley). He has also edited two films for Judd Apatow (This is 40 and Trainwreck, for which he received an ACE award nomination). Paul is also an accomplished commercial editor and a member of American Cinema Editors. EMMA McCLEAVE ("Florida" Alligator Loki) Emma McCleave studied at Flinders University Film School in Adelaide, Australia, and within the York University Film program in Canada. On graduation, Emma moved to Sydney where she started her career as a Commercials Assistant Editor, before moving to films in 2008. Through her career Emma trained under some of the most prolific editors in the film industry, including Dody Dorn ACE (Australia, London Boulevard, Fury, Come Away), Michael McCusker ACE (Australia, Captain America: The First Avenger), Chris Dickens ACE (Rocketman), Conrad Buff ACE (Thor: The Dark World, Infinite) and Paul Hirsch ACE (The Mummy). CALUM ROSS (The One True Loki) Calum Ross has been in TV cutting rooms for fourteen years.  Over that time he has routinely taken on one of the most feared genres in editing, comedy.  Calum has been in the cutting rooms of shows such as Pixelface, Murder in Successville, Lovesick, Action Team and his latest work featuring the comedy duo of Sue Perkins and Mel Giedroyc, Hitmen.  But it was his work on the Netflix original series, Sex Education that first introduced him to director Kate Herron, a job that would ultimate land him on Marvel's Loki, once again working with Kate. Editing Loki In our discussion with the Loki editing team of Paul Zucker ACE, Emma McCleave and Calum Ross, we talk about: Editorial Easter Eggs The demands of a Marvel series compared to a Marvel feature Integrating footage from Avengers: End Game to set up the pilot Having to let go of The Frog of Thunder Who is the True Loki The Credits Get your free 100GB of media transfer at MASV Visit ExtremeMusic for all your production audio needs Hear the podcast with The Falcon and The Winter Soldier team Meet the Emmy®-nominated editors of WandaVision Check out the free trial of Media Composer | Ultimate Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

The Rough Cut
Black Widow

The Rough Cut

Play Episode Listen Later Jul 12, 2021 40:04


Editors - Matthew Schmidt and Leigh Folsom Boyd Editors, Matthew Schmidt and Leigh Folsom Boyd are no strangers to the Marvel Universe, yet Black Widow represents the first time they've ever worked together on a project.  It's also the first Marvel film for indie director, Cate Shortland. Black Widow is the 24th film in the MCU, but the first in the franchise's "Phase Four".  Eagerly awaited since it was announced after Avengers: End Game, the film has suffered multiple delays in its release due to the pandemic.  Taking place after the events of Captain America: Civil War, Black Widow delivers the long overdue backstory and greater depth of focus on the character of Natasha Romanoff (aka Black Widow). MATTHEW SCHMIDT Matthew's career with Marvel dates back to The Avengers.  Back then he was an assistant on that film as well as first assistant on Iron Man 3.  Matt then made the jump to editor on Captain America: The Winter Soldier and would go on to co-edit the Marvel films, Avengers: Age of Ultron, Captain America: Civil War, Avengers: Infinity War, Avengers: End Game and Black Widow. LEIGH FOLSOM BOYD Even before joining the Marvel Cinematic Universe to co-edit Ant Man and Spiderman: Far From Home, editor Leigh Folsom Boyd had plenty experience cutting blockbuster action movies.  Her impressive resume includes films like Fast & Furious, Fast Five, Fast & Furious 6, Furious 7, Pirates of the Caribbean: Dead Men Tell No Tales and Total Recall (2012). Editing Black Widow In our discussion with the Black Widow editing team of Matthew Schmidt and Leigh Folsom Boyd, we talk about: Taking advantage of some extra "lockdown" related time to refine the film Making the 24th film in a series understandable to audiences new to the MCU Developing immersive soundscapes The iterations of an action scene Negotiating the workload between two editors The Credits Get your free 100GB of media transfer at MASV Visit ExtremeMusic for all your production audio needs Check out the free trial of Media Composer | Ultimate Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

BestPhonePlans Podcast
Best Fixed Wireless Solution: T-Mobile Home Internet vs Verizon vs AT&T

BestPhonePlans Podcast

Play Episode Listen Later Jul 2, 2021 45:04


Stetson and Dennis discuss the various fixed wireless home internet solutions available from T-Mobile, Verizon, and AT&T and pick out which one they think is best. T-Mobile Home Internet: https://www.t-mobile.com/isp Verizon LTE Home Internet: https://www.verizon.com/home/lte-home-internet/ Verizon 5G Home Internet: https://www.verizon.com/5g/home/ AT&T Home Internet: https://www.att.com/support/article/wireless/KM1048698/ AT&T Prepaid $55 100GB plan: https://www.bestphoneplans.net/data-plans/att-prepaid-data-plan-55 Support us on Patreon and get exclusive content: https://www.patreon.com/stetsondoggett Subscribe on YouTube: https://www.youtube.com/stetsondoggett Compare cell phone plans: https://www.bestphoneplans.net/ Cell phone plan & smartphone deals: https://www.bestphoneplans.net/deals Contact Us: podcast@bestphoneplans.net Social Links: https://twitter.com/stetsondoggett https://twitter.com/DennisBP3 --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/bestphoneplans/support