The Con Artists English Subtitle Download
Lakia Limthong
I know how to do plain subtitles with the alpha-over effect. What I would rather have is an alpha that changes at the beginning and end of the subtitle strip, so that the subtitles fade in and fade back out. I hope you understand this description.
I usually generate my titles (either still image, image sequence or movie) using the Compositor to effect any fades in and out. You can use Mix, Alpha Over and many other nodes either alone or in combination to put the titles over the main action.
Have you tried adjust the alpha using the IPO editor. You can control click anywhere to start. This creates a horizontal line. Then you can click another position to make a curve. You then just edit the curve as you see fit.
chipmasque, I think I understand the principle of using composite nodes in the VSE, but this is something I have never done before, nor have I seen it done, so a tutorial is necessary. Can you point me to a tut, or a .blend file to study?
'nother example: All the transitions (cross fades mostly) and the text overlay in the later clips from this montage video were done with the Compositor, as was the final scene composition, where three different Scenes were assembled to form the three rows of rotating objects, each Scene using a common camera and the objects having IPO curves that were essentially identical except for timing.
Yeah, playback is not realtime by means, because of the node processing that has to be done. The VSE is better in that regard but is also subject to playback hitches. For both I usually end up doing a fair amount of trial rendering.
What was I going do: Some of My Best Friends: A Microaggression? Some of My Best Friends: A Virtue Signal? (Okay, I admit, this is actually very close to one that somebody suggested.) I had tried to write a smart book about a subject that attracts a lot of dumb discourse. And, as the weeks wore on and we got no closer to finding a subtitle that seemed workable, I was really feeling that chasm.
The ECU 2010 Official Selection will be subtitled as follows: English films will be subtitled in French, French films subtitled in English and all other foreign language films will be subtitled in English. We believe this is the best way for the international audience and jury to watch, appreciate and get maximum ejoyment from the CU 2010 Official Selection. With the Official Selection announcment on the 15th February, and the festival one month later, competing directors need to start thinking about how to address the subtitle situation if they have not done so already.
This really needs to be disseminated to the Directors. As a foreign film fan, I agree it can be frustrating to not be able to read the subtitles. That said, I am not sure I want someone to get too creative on the film, and the words start to take away from the visual creation of the original film content. Readable but not dominate.
Tyler is a calming presence, much like his paintings. His words are thought out but not calculated, he has a genuine warmness and sensitivity when talking about his process and the meaning of his work. His studio is shared with another painter, both of them, alongside the other graduates in the building were selected after an arduous application process.
He explains that during the painting process he manipulates the characters in the photographs, giving them a new lease of life, adding more expression to their faces and personality, as if you were there in the moment with them.
After admiring his latest work and taking some photographs of Tyler inside and outside of the studio, we sat down to discuss his career thus far, experience of going to art schools and his advice for other students and emerging artists.
When I did not get into CSM I went to do a foundation at the Royal Drawing School. It kicked the doors off of my brain. What you get taught at school is wrong, they know nothing about art. In the way that they push you through this treadmill of how to get an A*, there is nothing creative about it, unless you get lucky and get a great teacher, it is all about the grades.
The scope of what art is, how it can be. Having this constrained idea that artists make paintings full stop. Then you see mad performance art. You unearth this whole layer of nuisance and subtlety. Coming from this very heavy handed world of GCSE art, it was mind blowing.
As your eye adapts, to complexity, certain elements, suddenly you understand more, you can see see works from a different perspective. It must be amazing to have that in your first year, enabling you to develop your craft. What changed the most in that year?
They have this policy in the first year to break down your idea of drawing. They teach you the technical faculties of observation of drawing and painting, on a really fundamental level. Loads of life drawing, drawing from observation, landscape, it is very traditional. If you want to make different art they are also happy to engage with you in the conceptual. However they try to give you the skills of physical making first, including composition and drawing. What they are giving you is a more skilled based approach to then make conceptual work from.
You would gain the basic principles in painting and drawing, but at the same time they are nurturing this conceptual, analytical approach to art and art history. You went to galleries every Friday to see another show and they would make you draw a piece from the show. You would sit there for three hours drawing it. They taught you the idea of slow looking at pieces, rather than the scrolling you do on the internet. In doing so you would give the piece a piece of yourself.
Yes, with the foundation being five days a week and with lectures every evening, we spent an enormous amount of time together, there were only 35 people on the course. We were all in the same building five days a week, 9 to 5, you have to be in. It is the strictest foundation I have ever heard of. Therefore you naturally grow together and form a bond.
There were a few gallery days like that in the first year, a few big projects, for the most part however it was self led. Not a lot of art history either, maybe a critical studies lecture. They did have a guest artist come to CSM every Monday to give a lecture. Really good artists, sometimes big artists. For the exams you would make a portfolio every year at the end of the course and they would grade your portfolio for that year.
We had COVID in second year so we did not. We did have CSM open studios on the other years, they open up the whole university, in the summer and you can put your best work up in the studios to get exposure. It is rammed. Thousands of people go through the university. These range from families, tourists, collectors, whoever, a lot of people come it is open to the public. There is no selection process for the summer show, everyone just puts their art up in the studios. It is quite an event in itself.
Yes definitely. I would go and listen to other peoples critiques when I was not scheduled to be in. It was the most frustrating thing when other people did not come to the critiques. What are you here for if you are not going to discuss it with your peers?
It is a group of students and a tutor. Each student presents their work and the tutor would field the discussion and the other artists would hopefully engage in a discussion. The more you give the more you get. It is a reciprocal thing. If you turn up, give your time and energy and try to really understand their work and give them helpful feedback and promote an interesting conversation then you find that people do the same for you.
You must make friends on the course, on the last year you must discuss what the next steps are in all of your careers. Does CSM to give you any advice on the next stage of your career, introducing you to galleries or are you just left to do what you want?
You have had some success so far, being in the studio here and getting into other shows. What advice would you give others to get themselves into a position to be involved in shows, if they were in year two, how do they get into a position to get involved in shows?
Be in the studio, make as much as you can, speak to as many people as you can. It is a daunting institution that comes with a lot of hang ups. However by spending more time at the university people begin to recognise you, your face and then they speak to you and you will make connections. I got into a show in Shoreditch as I spent most days at CSM when I was not working, from morning till closing, then someone who was a tutor at CSM happened to be there, saw all my work out in the studio, wanted to work with me and offered me to be a part of the show further down the line.
Spend time in the school even when you are not making works, talk with people, just to have conversations, turn up to the critiques, go to other peoples critiques, go to as many shows as possible. This is all pretty cliche but these are things that other people do not necessarily tell you when you join, which you wish you would have known at the start.
Your work has progressed a lot throughout the years there are a lot of social elements to your work, juvenile expressions in a way, youths are often grouped together in your imagery. Has your interest in social work and art merged in a way?
Not specifically however there is this idea of the humane, empathy and compassion that run through my work. There is a slippage. The slippage is through some of the precepts of what you may think of when you think of social work and then through what runs into my own practice and own motivations of making art.
I am very wary of making people trying to feel certain things. I am against that. If anything I am trying to encourage people to take their time to consider things. In that way there is not necessarily a considered message, I am not trying to make people feel one emotion or another. What I am, if I am honest with myself, is trying to make people feel something, to take that bit of time and try to engage with something on a deeper level.
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