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jetpack_monkeyThe rough cut of my Doctor Who vid set to Stuart Davis's Female Friend is out to my trusted and respected betas right now. Hopefully they'll have some useful suggestions (but I'll take unabashed praise and gushing).
Can't say how this falls in terms of quality vs. my Donna Noble vid, since the tone is way more tongue-in-cheek (which fits the song).
Ten is more affectionate with the TARDIS console. Nine is more affectionate with the police box exterior.
Finding good flirty footage of Rose and The Doctor (either one) is simplicity itself. Finding good flirty footage of Martha and The Doctor is much easier than you'd think. Finding good flirty footage of The Doctor and Donna is much harder than you'd think.
I really need to change up more between vids. I ended up replacing a bunch of clips during the editing process because I'd used them in a similar context in my Donna Noble vid. (My next project is How I Met Your Mother, so no issue there).
The Doctor never smells his companions. This is important.
Pacing is everything.
Cheating is fun.
The radio is a very evil thing.![[livejournal.com profile]](https://www.dreamwidth.org/img/external/lj-userinfo.gif)
midnightfae has begun to worry that I'm incapable of listening to a song without thinking of a possible vid for it.
Vidding of any kind makes you appreciate the role that directors play in weekly television. For instance, Charles Palmer (of Smith and Jones, The Shakespeare Code, and the Human Nature two-parter) has a preference for darker colors and blue tones. Joe Ahearne (Dalek, Father's Day, Boom Town, and the Season 1 two-part finale) likes things bright and high-contrast. Colin Teague can be counted on to find a palette appropriate to the subject matter (colorful in Sound of the Drums; a colder, gun-metal feel for The Last of the Time Lords; whites and reds for Fires of Pompeii), but favors skewed camera angles and perspective distortion.
Ignoring stutters and whatnot in your music track is bad. I've had this Female Friend MP3 forever and I think it must have been ripped from a slightly scratched CD. In any case, I'd stopped hearing the stutters ages ago. Last night, as I was prepping the rough to send to my betas, Julia pointed a bunch of the stutters out to me. One of them turned out to actually be part of the song (thank goodness), but the others had to be excised, causing much consternation as the entire vid went a few frames out of sync. Good thing I laid down edit markers (even though I only paid attention to them like half the time).
I'm not starting work on my HIMYM vid until I have at least one Classic-Horror review banged out. Also,midnightfae has kindly requested that I interact like a human being for a little while.
Can't say how this falls in terms of quality vs. my Donna Noble vid, since the tone is way more tongue-in-cheek (which fits the song).
Ten is more affectionate with the TARDIS console. Nine is more affectionate with the police box exterior.
Finding good flirty footage of Rose and The Doctor (either one) is simplicity itself. Finding good flirty footage of Martha and The Doctor is much easier than you'd think. Finding good flirty footage of The Doctor and Donna is much harder than you'd think.
I really need to change up more between vids. I ended up replacing a bunch of clips during the editing process because I'd used them in a similar context in my Donna Noble vid. (My next project is How I Met Your Mother, so no issue there).
The Doctor never smells his companions. This is important.
Pacing is everything.
Cheating is fun.
The radio is a very evil thing.
midnightfae has begun to worry that I'm incapable of listening to a song without thinking of a possible vid for it.Vidding of any kind makes you appreciate the role that directors play in weekly television. For instance, Charles Palmer (of Smith and Jones, The Shakespeare Code, and the Human Nature two-parter) has a preference for darker colors and blue tones. Joe Ahearne (Dalek, Father's Day, Boom Town, and the Season 1 two-part finale) likes things bright and high-contrast. Colin Teague can be counted on to find a palette appropriate to the subject matter (colorful in Sound of the Drums; a colder, gun-metal feel for The Last of the Time Lords; whites and reds for Fires of Pompeii), but favors skewed camera angles and perspective distortion.
Ignoring stutters and whatnot in your music track is bad. I've had this Female Friend MP3 forever and I think it must have been ripped from a slightly scratched CD. In any case, I'd stopped hearing the stutters ages ago. Last night, as I was prepping the rough to send to my betas, Julia pointed a bunch of the stutters out to me. One of them turned out to actually be part of the song (thank goodness), but the others had to be excised, causing much consternation as the entire vid went a few frames out of sync. Good thing I laid down edit markers (even though I only paid attention to them like half the time).
I'm not starting work on my HIMYM vid until I have at least one Classic-Horror review banged out. Also,
midnightfae has kindly requested that I interact like a human being for a little while.
