haha. i love in LAME when they have that super exhaggerated rail shot of (i forget who it is) on that tiny rail, he's got a huge ass helmet, a boom box hangin from the rail, and someone holding a small tree in front of the camera. "ahhh so sick"
Freezing Point 32
'Straight creeping on this bitch; Blonde haired chicken head.... she turned around and it was fuckin G to the Teezy." - OMAR
You mean a white pop? Its a naturaly occuring effect from the slow down and stop of the flim running through the gate of the camera producing a short gradual over exposure (hence the white) of the film.
Most "film"makers out there these days (not talking the pros) just copy what they see in the big name movies, not really knowing WHY they use objects in the foreground, nor HOW to do it properly. It's lame for sure, but hopefully it'll go away, just like when people edit movies and throw random things in the middle like "skiing, skiing, duck!, skiing, popcorn!, skiing, clown guy!".
Thanks for continuing to drop knowledge . . . but I'm not talking about the subtle artifact of film that you so eloquently described. No, I am talking about something done in the editing process. I'm going to have to do this in imovie-speak because it's all I know. You can split a clip and place a brief(.3 sec) clip of white or black in to make your editing go with the beat. I'm sure you've done it a million times.
Please inlcude this method in your tyrade.
monistat 7 was coming out of your dropper
the louder the background yelling, the hotter the trick OOOOHHHHHHHHH!!!
it seems like this stage of life for a lot of people around our age is like when you are playing a video game and you beat the Final Boss, only to find out that was just a decoy Final Boss and the real Final Boss
I believe Jibtech, that you're actually getting called out on the misuse and abuse of white and black frames that you tie to beats. I agree with your accusers, its certainly a little old at this point, as in, it really went out of style with Propaganda, but then again, that was before your time?
The REAL progression in ski filmmaking is transitioning a singular shot from color to black and white, or vice versa, right Jibtech? Or, for those super advanced in progressive editing techniques, you can go BACK to the original saturation level (yes, a second transition within a shot!), or better yet, tie your transition to a change in the clip's speed. Thats the new hotness if you ask me.