![]() They were a household staple for us, and since my family was first-generation Mexican-American on my dad’s side, it was very relatable to see other minority blue-collar families and their struggles told through comedy. The most exciting thing for me about working on The Upshaws was that I grew up watching multi-camera sitcoms. We spent many months as a team carefully structuring episodes, trying to position historical subjects, diversity, and types of sketches with longer or shorter sketches. This created a unique challenge to build episodes that felt well-balanced. Also, being that History of the World is sketch comedy, there is a large variety of sketches in each episode about moments in history ranging from The Russian Revolution to Jesus, Sigmund Freud, and Kublai Khan. Oftentimes, we were re-writing jokes in the edit bay which did a lot to elevate the comedy. This mindset also really paved the way for a lot of creative freedom. 'History of the Wold, Part II' Credit: Hulu However, on History of the World, the actors in the sketches often would deliver a plethora of improv gold, and finding ways to work these moments into the sketches to layer jokes, was not only valued but encouraged. On The Upshaws, we almost always stuck to the script and the pace was much slower. Additionally, I had to recalibrate my thinking to the editorial style of single-camera sketch comedy. We would screen cuts together as an editorial team and debate how to land a joke better, or which scenes would play best in an episode together. The culture of History of the World was extremely collaborative. Of course, I jumped at the chance!Ĭoming from The Upshaws, where it was generally just me in the edit bay combined with the multi-camera editorial style, was an adjustment as History was quite the opposite. ![]() Just as we were wrapping up our season, Wanda asked if I’d be interested in cutting the Mel Brooks sketch comedy series. My experience editing The Upshaws led me to my next show, History of the World, Part II. History of the World Part 2 | Trailer | Hulu youtu.be I enjoyed the challenge of landing the jokes with the proper takes and reactions while artfully weaving in the laughter. The editorial style of The Upshaws is a hybrid of the two: we have the element of the studio audience, however, our showrunners prefer that the edits are on the tighter side, which is a different take on this format. Single Camera comedy, however, is usually edited in a much tighter manner, with jokes layered on top of each other. Multi-camera sitcoms are shot on a soundstage with a studio audience and because they have a laugh track, the editorial style is much like stand-up comedy in the sense that the show is cut fat with room for the laughter to play out and time for the characters to take the laughter in. The Upshaws: Part 3 | Official Trailer | Netflix youtu.beĬoming from a background of editing stand-up comedy made my transition to cutting The Upshaws a fluid one. This came with a lot of pressure and growth but also led to my first three Primetime Emmy nominations in 2023: two for The Upshaws and one for History of the World Part II. It was my first multi-camera sitcom and I was the only editor on the second season of a hit show (except Episode 5, where I share a credit with the talented Russell Griffin). ![]() This was a pivotal moment in my career for multiple reasons. The trick is lining up the flash to the right point, over the right duration of frames and with the right blend. All you have to do is find a muzzle flash online (plenty of free options and packs available) and layer it on in After Effects (you can do the same in Premiere Pro, too-more on that below). The tutorial below might be a little bit old, but it shows how simple the process can be. Your first step is usually to add a muzzle flash to give your gun that explosive look. Once you have your guns in your scene, you can add everything else in post. In the video, the guys also show you how they were able to spray paint the orange caps black and add some gray tinting to make them look more realistic. You can find some affordable options at your local Walmart, or you can always find some online on Amazon or eBay. In this tutorial by Film Riot, the guys show how they were able to turn some cheap toy guns into realistic looking props. To start, you're going to need your stock your armory with plenty of weapons. Now, let’s lock and load and dive into everything you’ll need to create realistic (and SAFE) gun effects in your films and videos. There is no reason to take risks for something that can be done quite simply and without ever introducing real firearms to your production. As such, when working with firearms in films, safety is always your first concern. In the real world, they can be terrifying and dangerous.
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