The Flash movie will reset things regardless, and the subsequent releses aren't truly being considered part of the fresh start either, so it won't matter too much if they're not well received.įurthermore, if the films are great, while it could be argued that a reboot isn't needed when the DCEU finally gets back on track, it could also help improve the reception of DC as a whole moving into the new era. If the DC Universe's upcoming movies and shows relied on 2023's slate being successful, then things would be different, but because each one of the four films was completed before Gunn took over, it's basically a free hit. If someone would format reports so that they use smaller print and could fit as many takes as I can, then I would gladly switch.Even though it would be great for Gunn and DC if The Flash is a five-star film, they don't need 2023 to be a success. A paper report has so much flexibility and ease. My paper report also lets me draw lines from one setup to another to let a dialog editor know where to find words or lines we may have recorded as off camera "wild tracks", or even on camera stuff that is better than what we got on the shot or take they may use. When it gets printed, it's one piece of paper, not three or five or more. My report is scanned and emailed by either production or the dailies facilities and emailed out to anyone on the list. Here's my paper report for one roll Counterpart Report.pdf - I can count on one hand the number of times I have generate two pages with one sound roll, even if we go a whole day. Sound editorial, whether they look at them or not, also make a copy. Send that to editorial who put them in a folder, usually after making a copy so they have two. ![]() Why? Because every show I am on, when asked, tells me they print electronic reports. Or have a look at this one from "Justified" generated by movie slate. My issue with electronic reports is perfectly illustrated here with the PDF of the X3 report. Even if I didn't enter any data into movie slate from the beginning of the day to the lunch time break, I could easily catch up the days work in just a few minutes before emailing the reports. ![]() I eventually got to the point that I wouldn't bother to try to advance each take every time I rolled. The reports looked the same to those who received them, and the smaller size actually let me enter the data more quickly. So, for the next 8 months of the production, I used only my iPhone with Movie Slate for sound reports. At the end of the day I decided that the phone was all I needed, and the only advantage to using the iPad was for the cool appearance. After freaking out, I remembered that I had Movie Slate installed on my phone, and felt I had no choice but to learn how to get by with Movie Slate and just my phone. Before the show started I set up a nice rig to hold my iPad, which looked very impressive and high-tech on my cart. ![]() On my recent show I used Movie Slate exclusively, and didn't use the recorder-generated report on the Deva 5.8. I would love to know if most people are relying on the recorder's ability to generate the report and therefore do not even need to involve MovieSlate, integrated or not. The goal, of course, for many of us is to be able to consolidate metadata entered once and in one place and to be able to generate useful reports. Does anyone know what the current state of integration, if any, exists with MovieSlate? Can you enter metadata in MovieSlate and have it update metadata on a Sound Devices 688, Cantar, Deva for example? Most all of the recorders have implemented their own sound report routine but the quality and ease of these routines seems to be highly variable even amongst the machines that do it. There have been lots of discussions over the years about integration between MovieSlate and the most common recorders in use in production. I know many sound mixers have been using MovieSlate to generate beautiful electronic (digital) Sound Reports that can be easily and quickly deployed to all those in production and post that need a detailed sound report (as well as often residing along with the sound files on the daily deliverable media).
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