“My resolve has never been stronger!”
Actually, it would have been kind of embarrassing had you gotten Episode I out before my Ep. II, considering the much shorter time period you were giving yourselves. I am very pleased that Commander Courage is stepping up to the plate as the new manager and editor, so to speak, of Episode I. All I ask is that the film is given to me before release to tweak and to add my own bit of style to it. Also, the DVD format should be the same from movie to movie, so I’ll probably do the subtitles and special features for you. As far as editing programs…I’d strongly recommend that you get Vegas 5. Greencapt recommended it back when I was about to get a high-end editor, and I’ll never regret that decision. Having edited using several different programs (including Adobe), I can tell you that Vegas will save you such a ridiculous amount of time, it isn’t funny. It’s absolutely flexible. The other advantage of this would be that were it ever necessary for you to give me the raw files and the project files, or vice-versa, our set-ups would be totally compatible as well. I’d really recommend Vegas.
I would also love as many different talented people to get involved in this as possible (Sluggo, Musicman, Preston, special effects artists, and others I'm forgetting). I have no idea where MTH went, but he was also a critical visionary for Ep. I. It’s important to have his input throughout as well.
My only word of caution is this: In a project like SOTDS, with only myself doing the work, there are a lot of disadvantages (no second opinions and a longer working time). However, the critical benefit is that my editing is totally dependent on music (and sound effects, to a lesser extent). There are many different shots in the film that are very specifically coordinated with points in the music for dramatic effect. So to me, doing a whole rough cut with the editing, and then throwing in the music and sound effects afterwards is not nearly as effective, unless the music and sound editor is prepared to take the film apart again to re-edit and retime shots to create the best and most dramatic effect. Obviously in the real world of films, the score typically comes after the editing, but the composer is scoring to specific shots and actions. When you superimpose an existing piece over the film, it usually won’t line up, no matter how good it is. I have been fortunate enough to carry out these two processes at the same time, which is filmmaking at its greatest.
Sorry for the long-windedness, but I guess my point is I think it would be better if the same person that cuts the footage in a given scene should be the person that synchronizes the music, unless the music editor also has license to cut the footage as he pleases. That’s why one of my ideas for collaboration was to give each of us a 30-minute chunk for us to work on and put our own touch and style into. Then, the sections (which would be completed much sooner), would be sent to one person, who would unify it as a whole. But you see, in this method, you would still have the same man creating individual scenes, and it would be less of an assembly-line type of approach.
And that was about as clear as mud
Anyhow, I’m very glad you guys are going to continue to pursue this. You are making me happier than you know by carrying on with this project without waiting for me to complete everything else. Things get done so much faster that way. And good luck, ID and TJ! -TM
P.S. It’s occurred that we will also need the Nemoidian dialogue tracks for Ep. I and II from InfoDroid to continue (as well as some possible Owen dialogue?…I PM’d you, ID).