check out a montage of prologue film’s vfx work for ironman 2.

compare it to mk12’s pioneering opening sequence infographics for Stranger than Fiction (2006)

Para naman masabing may hirit akong pang-current events, kahit di ako nanonood ng tv.

Hoy walang pikunan ha.

To the world:

These past few months you have been witness to how “astig” we are.

Humanda kayo sa mga Pilipino!

Pagkatapos naming kayong bugbugin sa mukha kahit palipat-lipat kami ng weight divisions, ililibing ka pa namin kasama ng mga sasakyan mo pati ng ibang friends mo kasi, wala lang… we can be so ‘random’ like that.

Tapos nyan, bibigyan mo pa ako ng award kasi tinuturuan kong magbasa ang mga street children. O ha!

Siguro ngayon litong-lito ka na kung ano ba talaga ako… and I’m sure medyo natatakot ka na. Hala!

Pero, mention ko din lang sayo na kami din ang sumasagot ng phone kapag me problema ka sa credit cards mo o kung gusto mo ba bumili ng windows 7. *giggles*

So yon, add mo na lang ako sa mafia or sa farm mo kasi, just like you… I care deeply about the environment -I even bought a shirt and a car sticker to prove it! A car sticker for my CO2 emitting car, boy!

That’s why I use Twitter, maliit lang kasi ang carbon footprint. Lolz

Anyways, humahaba na. I just wanna say welcome to the philipines to the koreans. Dito na ba din kayo titira? Um, wala lang… anlakas nyo kasi magyosi at magsuot ng pare-pareho.

Come to the Philippines
We love you long time

Rule 1: Never make a cut without a positive reason.

Rule 2: When undecided about the exact frame to cut on, cut long rather than short”

Rule 3: Whenever possible cut ‘in movement’

Rule 4: The ‘fresh’ is preferable to the ’stale’

Rule 5: All scenes should begin and end with continuing action

Rule 6: Cut for proper values rather than proper ‘matches’

Rule 7: Substance first—then form

• Emotion — Does the cut reflect what the editor believes the audience should be feeling at that moment?
• Story — Does the cut advance the story?Rhythm — Does the cut occur “at a moment that is rhythmically interesting and ‘right’” ?
• Eye-trace — Does the cut pay respect to “the location and movement of the audience’s focus of interest within the frame” ?
• Two-dimensional place of the screen — Does the cut respect the 180 degree rule?
• Three-dimensional space of action — Is the cut true to the physical/spatial relationships within the diegesis?

Murch assigned notional percentage values to each of the criteria. Emotion, with 51%, outweighed the combined value of all the other criteria.

running 10.5.6