How to rank youtube videos very fast in 2020 || YouTube seo || Part 3

v-raemakes:

Hey Monkie Kid fans! I put in 8-9 hours of work into this amv for you all to enjoy! I wanted to make something exciting that uses at least one clip from every episode, all meticulously synced to a metal cover of The House of the Rising Sun. 

I thought the title of the song was appropriate for MK. Please watch! A HUGE amount of work went into the timing and I’d love to see what fellow fans think of it.

Storyboards.

Here’s a post that was almost lost to the ages, fallen between the cracks during the rush this Summer.

MAKING THE FIREWATCH E3 TRAILER

Firewatch had a trailer in Sony’s E3 2015 keynote (read more about that process here), and though everyone at Campo contributed to putting the trailer together, it wouldn’t have been more than a pile of clips without the help of the trailer’s editor and producer, Derek Lieu. 

Derek put together a blog chronicling his creative process when he finished editing, including a bunch of behind-the-scenes process imagery, and then we accidentally sat on it for months. We should have known better: the first image he included is a cat photo, which cements this as a Great Post. Enjoy:

Hello there! I’m Derek, and I put together the Firewatch trailer for the Sony E3 Press Conference. Editing trailers for games is my day job, but I also freelance and occasionally just for fun I cut trailers for games that I like!

My assistant editors

Firewatch was already on my list of games I wanted to edit a fan trailer for, so you can imagine how ecstatic I was when six weeks before E3 Sean contacted me with the gig. He basically said they had no mental bandwidth to concept, capture and edit a trailer so they needed someone to take over the project. Doing it themselves would’ve cost precious development time, so I was glad to help!

I had a lot of creative freedom, the only hard guideline was that the trailer had to be a minute long. Most of what had previously been shown was dialogue, some gameplay systems, and very small hints at the plot. The high level direction for this trailer was to show the audience in no uncertain terms that SHIT HAPPENS IN THIS GAME.

First thing I did was read the whole script, and select expositional dialogue or character moments. I boiled it all down to a few pages of potentially usable dialogue, and started on a paper edit to pitch to the team. When going through a script I highlight dialogue with short self contained thoughts, and usually pass over dialogue that’s too specific to a moment in the story

My text document of potential dialogue (redacted)

With only 60 seconds we needed to very quickly hook the audience, move on to some exposition, and then end on a super intense cliffhanger. My hope was that by the time the last shot cut to the title card everyone in the audience would be dying to find out what happens next.

I love cold opens for trailers, so the cave scene was one of my first ideas because it’s funny, says a lot about Henry and Delilah’s relationship, and most importantly it’s short! Having seen a fair number of press conferences I was confident that a moment like this would really stand out and hook the audience.

The next most important beat to nail down was the climax. The “Then who is?” immediately stuck out as a huge “OH SHIT” moment, and the only reason I considered not using it was because I didn’t want to spoil that moment in the game. But after talking over the alternate options we decided this would work the best. At this point I could already see how the final moments of the trailer would play out, and hoped it would leave the audience in chills.

The middle section of the trailer needed to tease how Henry and Delilah’s relationship develops, and introduce a bit more intrigue with the teens at the lake. After my initial pitch, Sean and I went back and forth writing script ideas until we whittled it down to just a few lines.

It’s important to time dialogue out, especially when you have a time limit. I usually assume the actors or narrators will perform slower than my temp VO so I put in as much buffer as possible. This early rough cut was already about 23 seconds too long.

Throughout this process I recorded temp voiceover of myself, and cut it into a sequence to see how much dialogue could comfortably fit in the 60 seconds. When it’s just on paper you can’t necessarily tell that the whole thing might be 30 seconds too long! It was really important to me that the rhythm of the dialogue sound natural, so I compressed every moment as much as possible for breathing room. In the end we decided to go over our time limit by just a few precious seconds. We made up for it by shortening the script for what the person at the conference would be saying to introduce the game.

Scripts are important for when you have multiple people who all need to work on their own separate part of the trailer.

With the paper edit finalized Sean could record any missing dialogue, and I started to think of shot ideas for the trailer. Before I had a build of the game I brainstormed shots based on the dialogue, and put title cards to get a sense of the timing. It’s really intimidating when there are infinite shot possibilities, so narrowing it down as soon as possible really helps.

This was one of my incredibly unhelpful title cards for a shot idea

The first Firewatch trailer mostly showed the game during sunset so we wanted to emphasize the scope of the game by using multiple environments with totally different color palettes. I especially couldn’t wait to cut to the aspen tree area with its rich greens that would sharply contrast with the warm tones of the other scenes.

Gradually the shot idea title cards got more specific. This is one of Sean’s.

My first pass at capturing visuals ended up being too disconnected from Henry’s primary goal of investigating the wire. A lot of them looked like beautiful trailer shots which isn’t bad unto itself, but it was important for the camera to be Henry’s POV, and not a disembodied camera. With some help from James we locked down the key shots for the trailer. And of course the turtle was a key moment that we wanted to highlight!

The first version of this shot from an earlier build vs the final shot. Just having Henry’s hand in the frame makes a big difference.

It was important to lock down the shots as soon as possible because then it was up to Jane, Olly and effects artist Mark Wood to polish up those areas of the world to “shipping” quality to make a build for final capture. Also James had to animate the last shot according to my edit since it was impossible to capture the precise timing necessary with a controller.

I edit on a 2010 Mac Pro, but used a PC to capture all the game footage using Nvidia’s Shadowplay software which is great because the GPU does the work so there’s no perceptible impact on performance. The only downside to Shadowplay is that it can’t capture uncompressed, but h.264 at a high bit rate still looked great. The special E3 trailer build of Firewatch let me teleport to the location of each specific shot, which saved me tons of time, and made it easy to re-capture shots after I got notes from the team.

This setup is temporary, I swear.

When capturing I used a combination of keyboard and mouse and a controller. Keyboard and mouse is good for fast camera moves, but WASD controls don’t allow for variations in walk speed. Controllers can’t do fast camera moves, but allow for fine tuned camera moves. Since it’s a first person game, every camera movement is an action made by Henry so I had to make sure to keep things smooth, frame them well, and also show Henry’s intentions during each moment.

One of the shots I had to re-capture most was the cave scene since there were a lot of actions that had to happen in a specific order all in one take. My Mac and PC are both on the same desk, so I cut together a sequence of the cave dialogue with a five second countdown to use as a guide track while capturing.

I put a five second countdown of 2-pops for when I needed to start my capture performance.

This took several tries because sometimes I’d forget to have the walkie talkie out at the beginning of the shot, or I’d have a bumpy camera movement, or something would be framed weirdly, or I’d forget to pull out the walkie talkie when Henry spins around to look at the cave’s exit. I’m happy with my final performance, and I think the timing of the turn at the end really helps sell the humor.

A rehearsal shot from an earlier build which had some object tags floating on screen. The HUD was turned on, I forgot to pull out the radio, and the cave exit’s was framed too high. Game capture isn’t all fun and games.

Most of the other shots were just a matter of going to the specific environment, and getting a good camera movement. The shot with the birds in particular had several takes because I had to wait for them to fly to the right spot. I chose the final bird shot because their flying pattern matches the camera movement.

One of my many unused takes. The birds flying at the top draws the eye away from the center, and just doesn’t look good.

To help capture multiple takes without restarting the game, Jane set up scenes with extra props for me to use. For the turtle shot there was a table with about a dozen turtles on it! The animation of the turtle triggered almost immediately, so I had to quickly grab a turtle then walk towards the supply box. It took several tries to frame the background well, walk smoothly and get a few seconds of the turtle in the sunlight.

This includes the beginning of what ended up being the final shot. SO MANY TURTLES.

The whiskey shot also took a lot of capture attempts because of the series of actions I had to do in very quick succession. The main problem was that the bottle kept on rolling down the gentle slope when I put it on the ground. Damn you physics!!!

Jane placed a few bottles so I could do multiple takes in a row. 

The last shot was animated by James, so the build was set up such that when I got to the cut wire area I just had to touch a floating cube that triggered the animation. Then at the right moment I had to right-click to zoom in on Henry’s tower.

Touch me and I will animate your trailer finale.

PHEW

After I had my shots captured I struggled for a while with the music. Usually when I’m making a trailer the music is the first thing I cut together because it guides me through the edit, but I didn’t receive the first draft of the music until a couple weeks before the trailer was due. I wracked my brain over how to separate two pieces of music with the cut to black. Also, the tone of my temp music was too sedate which made it even more difficult to make the transition. In one of his cuts Sean picked a piece of temp music that better fit the energy and tone of the final trailer, and from there things went much more smoothly.

I’m still kind of amazed how quickly it all came together, but the whole team worked very quickly. This project was so much fun that even after a long day of work I was happy to come home, work on the trailer, and send out a new version for the team to look at in the morning.

As for other tools I used, this project was also the first time I ever used Slack, and now I want every single person I work with to use Slack because it makes communication super efficient. We also used Wipster to send out password protected versions that members of the team could make notes on specific sections of the video.

We didn’t use the feedback feature too much, but it was handy for making notes. Olly and Jane often had very specific suggestions for the shot composition, and ended up changing subtle things in the environments like the angle that trees leaned in.

I’m super proud of how the trailer turned out, and was pleased to see a lot of comments talking about how the trailer instantly drew them in, and the ending throwing them for a loop. Thanks again to the Campo Santo team for bringing me on for this project, and best of luck on the game!

My final timeline! Includes the final mix, dialogue, music stems, sound effects, and foley etc.

You can go to derek-lieu.com to see more of my work and/or follow me on Twitter @Derek_Lieu!  Also if you haven’t already, read Jake’s post about how he set up the trailer to play in Sony’s crazy E3 theater.

You can’t beat the Tumblr Porn Ban 2020

vanukas-taide:

Commissions are OPEN!

Email me at [email protected] , and feel free to message me here on tumblr if you have any questions. I accept OCs,canon characters, and most actual human peoplecommissions!

IWILL NOT DRAW any NSFW, or Mechs. I will draw furries but I hardly ever try to so you’ll have to be patient with me.

Pleaseprovide references for characters, including but not limited to poses, hairstyles, clothing, faceclaims, and anything else you think would be relevant. Please be as specific as you can be as to what you want me to draw or I will take as many artistic liberties as I have to.

I accept payment through PayPalinUSD, tips and donations are appreciated! I will send an invoice through email halfway through the order for full payment.

I have the right to deny any commission I don’t feel comfortable working on. DO NOT REMOVE OR ALTER MY SIGNATURE IN ANY WAY.

If you can’t or don’t want to get a commission, consider a reblog so more people can see this!

I AM NOW ACCEPTING VIDEO EDITING WORK

what does that mean? Well that’s a great question. Here’s some examples of what I usually do

Do any of these appeal to you but you want them to be different content? Shoot me an email! The prices for these typically start at 30$ but depend entirelyon the content of the video and the effort that needs to go into it, and will be completelynegotiable. 

Hope Mikaelson | Father’s Daughter

Multifemales | Empty

Harley Quinn | Fire Away

Katherine Pierce | Mother Nature

Daenerys Targaryen | Empire

new video ️

dani & jamie | i miss, i’m sorry

new video ️ emily & gabriel | at my weakest 

https://youtu.be/VP9YPvEqkJg

connell & marianne | start again

https://youtu.be/D7o77M-YaEk