The songs were menacing but surprisingly fleet, a crucial balance that satisfies both ground-level fans and those peering in from outside. In short order, he strung together a wild run of breakout singles (“Welcome to the Party,” “Dior,” “Gatti,” “Christopher Walking”) that accelerated him toward hip-hop’s upper tier.

In Pop Smoke, it found its most intuitive voice, someone who reveled in bad-guy bluster while using it merely as a first step toward something much more ambitious. For the last couple of years, Brooklyn has been fertile turf, growing a scene - drill - with a sound that’s rowdy, muscular and sinister. So it was with Pop Smoke, the Canarsie growler who was the most impressive rap newcomer of 2019. I mean, come on, the information is handed to you on daily posts, all that we need to do is just do our homework read, communicate, watch and learn from excellent film editors, and then develop your own style of art.Every so often, though far less frequently than it used to, New York hip-hop mints an ambassador, someone who’s faithful to the grit of the city’s musical legacy while possessing the charisma to transcend it. Now, its even simpler to learn, since you have these great websites (like the one we are on now). But its like all things in life, if there is a passion and the desire is to learn to be better, then that goal will be achieved. See, if we have that set given talent, it can be develop further and polished and yes some people are naturals at set talent. Though his statement is true to an extent. I guess he just wanted a bit of commotion, but Its all good, i like the diversity, I mean after all, we all have our opinions. If you have that talent, you can train it, but you can't teach it to someone who doesn't have it.' On another note, was reading some of the comments in this post, and one that came up to my attention was the one that Ty Gotham mentioned, If you're creative and technical, you're unstoppable.' I think it was Robert Rodriguez that said the best: 'If you're just creative, you'll always have to rely on technical people. Which I do agree with them, since, as Film Makers we are essentially story tellers and there needs to be a harmony between the story and editing, without it, the story will not flow. These editors made some very instructive insights on editing. They hire very talented and experienced photographers and writers, but gives the editing to just about anyone who knows how an editing program works (pretty much).

Just like some of these comments on how editing can just be taught, I see that problem in a lot of indiefilms and smaller project. It is tough finding an editing who can do it, most people don't have the right timing and rhythm to make a cut funny, unfortunately. I have had tv-editors who's been cutting for many many years who does a great job at building a story but will never be hired for a scripted editing job. I have hired young editors with far better feeling when it comes to rhythm and pace than seniors with 10-15 years more experience. More than often I see students who are great with the structure as well as knowing the principle of editing but don't have the rhythm and that ruins it all. I own a post house in Germany and also teach editing at universities. Editing is no cut and paste job it's a complicated and intricate art form, but knowing the difference between good and bad editing, especially three Oscar-winners' definition of 'good' and 'bad', is a great place to start.

There is so much to learn in terms of visual storytelling - pacing, film language, montage theory - techniques that have been invented, used, and transformed for over a century. This insight, though powerful, isn't going to turn you into an overnight editing success. You're being taken on a journey where you don't feel like, 'Why am I seeing this? What is this about? What does this scene mean?' If you have questions like that, probably the editing isn't good. The key here is that the best, most powerful editing is hidden, or as Cox says, a great edit is an 'edit you don't see.' Of course, there are times when editing draws attention to itself to accentuate a moment, an atmosphere, a tone, or emotion, but in general, editing is supposed to go unnoticed in service to the story.

Its all good wild 9 sound