line b
Well-known member
In this thread, @kid charlemagne will post us his top ten fan edits and give a short write up on each, and perhaps wax on the fan edit as an abstraction as well
KC’s top ten edits
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kid charlemagne
Well-known member
ok. i will do this. but it will be a rolling thread on edits i find and why I enjoy them.
i find myself attracted to film edits the most. i will include long form and short form edits/fancams. my fascination of these edits mostly spring from the person making them just as much as the content of the edit themselves. who is making these? they have no personality, and you can't point out any stylistic uniqueness to any of them unless you know the account who make them. which i purposefully do not. I allow the edits to organically and algorithmically come into my life. the ones that stick with me, i will share with my friends, and bookmark them for later viewing.
these edits, and all posts in general, present themselves to me as those posted by robots, not real people, unless it is a person showing it is their profile, which it is often not. i act like the truman show when i view social media, everything and everyone lives inside my device, which is why i am surprised and oblivious to when i see people talk about things i hear about online. but this is what is special to me about edits. i hardly believe someone is making them. why would you make this? i guess if you like the movie.
as for the edits themselves and the content, they will be easier to remark upon in singularity, which i shall do when i update this thread.
i find myself attracted to film edits the most. i will include long form and short form edits/fancams. my fascination of these edits mostly spring from the person making them just as much as the content of the edit themselves. who is making these? they have no personality, and you can't point out any stylistic uniqueness to any of them unless you know the account who make them. which i purposefully do not. I allow the edits to organically and algorithmically come into my life. the ones that stick with me, i will share with my friends, and bookmark them for later viewing.
these edits, and all posts in general, present themselves to me as those posted by robots, not real people, unless it is a person showing it is their profile, which it is often not. i act like the truman show when i view social media, everything and everyone lives inside my device, which is why i am surprised and oblivious to when i see people talk about things i hear about online. but this is what is special to me about edits. i hardly believe someone is making them. why would you make this? i guess if you like the movie.
as for the edits themselves and the content, they will be easier to remark upon in singularity, which i shall do when i update this thread.
kid charlemagne
Well-known member
to start this off, what other film would we look at besides oppenheimer?
who is strauss? where is part one? it appears it was taken down, but the video still contains a great amount of singularity. it starts with a fairly apt way for the title, and a fairly climactic moment in the film, specifically the focus of the film on rdj character strauss and his "trial". david hill is called to give a statement in which he, to the court's surprise, condemns strauss for his actions against oppenheimer. essentially the first 40 seconds of the edit is straight up 40 seconds of that scene, but early on here, we are taught a common lesson in edits, and the audience of edits, the attention span. the person who clicked on this video, likely enjoyed the oppenheimer film, and if they just wanted a replay of the scene, they would go to that scene if it is posted on youtube, or they would watch the film again, so you'll see that despite these 40 seconds of that scene, there are images, and clips from other moments of the film spliced in to spark memories and imagery of past moments of the film in the audience, so now, not only is the viewer focusing on the edit, they are now thinking back on these different moments in the film and how it made them feel. this is dopamine working on many levels to heighten and reward brain function. it is like tasting different flavors simualtaneuiosly. as the edit goes on, it depicts the latter half of the film that is dedicated to opposing figures of strauss and oppenheimer, and how they're both torn down as they claw at each other in the shadows, through perspectives of their own, and others, as shown in the black and white vs color photography, bravo chris nolan. obviously, the score plays a large role in the film, so the edit uses the most heightened beats to put the viewer in a 3 minute loop of that experience they had in the theater. we get essentially 2 minutes in, and nearly the whole edit has been david hill speaking, while splicing in moments and shots from that film depicting what he is saying. it is a brilliant skimmed flashback that respects the audience, showing them images and clips, knowing that the audience will connect the dots as to what the edit is performing. we see rdj going for the oscar, oppenheimer looking at picasso, landscape shots, those spliced in shots of physics in motion, leading up to strauss' aid delivering the guy punch. strauss was not as big or as important as he thought. we remember oppenheimer and einstein even before films were made and books were writter, but what of the lowly shoe salesman? nothing. to which we now return to the end of the film, what is important, einstein and oppenheimer. the passing of the torch, from one torn down figure of greatness to another, two men who did what they set out to do with the gifts given to them by god, and were cursed into the eternity of history.
Oppenheimer vs Strauss [PART 2]
posted by metti who has 1.43k subs on youtube, his about says "Hello! I'm Metti from Bulgaria, my passion is video editing, no matter what." okwho is strauss? where is part one? it appears it was taken down, but the video still contains a great amount of singularity. it starts with a fairly apt way for the title, and a fairly climactic moment in the film, specifically the focus of the film on rdj character strauss and his "trial". david hill is called to give a statement in which he, to the court's surprise, condemns strauss for his actions against oppenheimer. essentially the first 40 seconds of the edit is straight up 40 seconds of that scene, but early on here, we are taught a common lesson in edits, and the audience of edits, the attention span. the person who clicked on this video, likely enjoyed the oppenheimer film, and if they just wanted a replay of the scene, they would go to that scene if it is posted on youtube, or they would watch the film again, so you'll see that despite these 40 seconds of that scene, there are images, and clips from other moments of the film spliced in to spark memories and imagery of past moments of the film in the audience, so now, not only is the viewer focusing on the edit, they are now thinking back on these different moments in the film and how it made them feel. this is dopamine working on many levels to heighten and reward brain function. it is like tasting different flavors simualtaneuiosly. as the edit goes on, it depicts the latter half of the film that is dedicated to opposing figures of strauss and oppenheimer, and how they're both torn down as they claw at each other in the shadows, through perspectives of their own, and others, as shown in the black and white vs color photography, bravo chris nolan. obviously, the score plays a large role in the film, so the edit uses the most heightened beats to put the viewer in a 3 minute loop of that experience they had in the theater. we get essentially 2 minutes in, and nearly the whole edit has been david hill speaking, while splicing in moments and shots from that film depicting what he is saying. it is a brilliant skimmed flashback that respects the audience, showing them images and clips, knowing that the audience will connect the dots as to what the edit is performing. we see rdj going for the oscar, oppenheimer looking at picasso, landscape shots, those spliced in shots of physics in motion, leading up to strauss' aid delivering the guy punch. strauss was not as big or as important as he thought. we remember oppenheimer and einstein even before films were made and books were writter, but what of the lowly shoe salesman? nothing. to which we now return to the end of the film, what is important, einstein and oppenheimer. the passing of the torch, from one torn down figure of greatness to another, two men who did what they set out to do with the gifts given to them by god, and were cursed into the eternity of history.
line b
Well-known member
Ya that’s exactly part of the appeal. They seem to just appear like plants. The idea of someone sitting down to make an edit is so absurd but ofc that’s the only way they happen. Who makes them? You can’t imagine the person it’s impossible
kid charlemagne
Well-known member
Apologies if the embed does not go through but for the next edit, we will be looking at a film and character that has sprung up several iterations of edits, Paul Atreides and Dune.
Recentl, Metro Boomin' and Future released an album that included a track featuring kendrick lamar, who took the opportunity to diss j cole and drake, telling them that there was no big three in rap, and its just him at the top. this brings us to another big feature of the edits, being the music. last time, i did bring up music, but that was a musical score, here, we see a common trend in edits where a popular rap song will be used to take hold of the algorithm. what makes this edit special, is how well the edit lines up with the song. it starts seemingly as a WONKA edit, as chalamet plays that character in a film, and opening with kendricks isolated vocals, it then isolates chalamet's character over the other two actors who have played willy wonka, because he is the top dog. the beat begins to kick in while a clip from WONKA plays, then WONKA "gives to you" a smash cut to isolated vocals of chalamet's paul atreides making his big stand at the council meeting in dune 2, and like a smack to the face, the edit kicks into barage of dune 2 clips with the kendrick verse spinning its way through. the edit also makes more use of cutting, as we weave in and out of more isolated vocals from the film that are seamless in transporting the audience back to the film, and then right back into the roller coaster of an edit. towards the end of the edit, the beat then lines up perfectly with a fight scene in the film, and the edit then ends in a flash. those 30 seconds feel like a sticking your head out of an airplane then shutting the window, pure ecstacy.