at least it's not just us?
2 weeks after I submitted it, the MGoBlog app has finally been approved and in the app store.
Please download and enjoy.
The app is free, but supported by iAd. Please occasionally click an ad (it won't take you out of the app). Especially click if it's not for some other app (the non App ads pay better). Brian and I will split the proceeds (Beveled Guilt, without actually having to pay).
I've described most of the app's features in the following thread:
I wanted to get the app in the store for the season, so not all the suggestions have made it in. I'll try to get in as many requests as I can over the course of the season (and with some help from Brian).
Let me know if you have any major issues or requests (that haven't been mentioned in the other thread). Also, please rate the app and say nice things in the app store about it (you can email me any criticisms directly).
IMPORTANT! Please make sure you put in something in the subject field when you post something.
Author's note: This started out as a response to Boyz n da Pahokee's 'Monster Saturday' Hype Video, but it quickly expanded into something that might have a bit more value. Given the democratization of video production thanks to cheap HD handi-cams, somewhat usable OS-baked-in edit software and free distribution channels like YouTube and Vimeo, web video has exploded lately. This season has seen an up-tick of user-generated media, so I hope this will be useful for the rest of the season.
Hello all, I am professor MGauxBleu. You may remember me from such ironic-kitsch, sadly-relevant and oft front-paged photoshop collages such as Never Forget:
If my computer hadn't exploded, I would have added Van Slyke and Vlad the Transferor to this by now...
Or sadly-derivative DB Hope poster featuring a pseudo-defensive Kelvin Grady:
I am here to transmit some of my film school learnings to the MGoMasses. I am going to make some suggestion for all you future hype video editors. Believe it or not, the moving picture has its own language. This primarily affects editing, which really is the most important aspect of putting a video/movie/film together. If you were shooting your own footage, then the same rules would apply as you plan your shot composition as well as editing. If you are just grabbing other footage, apply these rules to your initial selection of said footage. Follow these rules and people will be psychologically sucked into your video, regardless of what else is going on [though your content will still determine the final impact]. Breaking these rules is what makes "lo-budget" seem crappy.Trust me, your audience will have no idea why they feel the way the do, but the effect is real. We say cinematic language for two reasons: 1) we like to think about "reading a film" just to sound pretentious and 2) because these rules and their use really mimic grammar usage.
Note about the videos: I did not make this video, just citing mgvideo's latest offering. I have tried to queue each video to the right time, but keyframes are a bitch. Just watch the shot I am referencing then pause when the shot changes. No need to watch that whole video a bunch of times.
Screen direction: If you are cutting for a left-to-right reading audience, put things you like—Michigan—on the left side of the screen facing the right. Put things you don't like—opponents, priests, Freakbass—on the right facing left. Hollywood always does this, so that is one of the reasons why you always know who the bad guy is in a movie even from his first shot.
My suggestion: Pick shots of Michigan players moving from left to right, or framed screen left. For drives, Michigan moving left-to-right. Opposite for the opposition. This is a quick rule because then the networks will do your job for you—they will instictually compose shots that look good and follow the rules.
It is composition, not his strange outlook on contraception, that make Jesus so foreboding in this shot.
DRob is heroic, even in warm-ups.
Screen direction, part 2: Things that move from top-to-bottom or left-to-right feel natural and good. Things that move from bottom-to-top or right-to-left feel unnatural and introduce tension. Michigan driving left-to-right, or TRob streaking from top-left to bottom-right = inevitable huge play. Michigan driving right-to-left, or player cutting upwards through the frame is tense; you are not sure if how this is going to turn out but it seems bad.
My suggestion: This is pretty much the same rule as above, but I wanted to emphasize motion through the frame differently. Bonus: A sack will seem extra crushing coming from the left, especially the top.
Aside: if your audience is based in right-to-left reading—Yiddish, for example—or top-to-bottom—Japanese—adjust the above two rules accordingly. Again, things that mimic reading eye motion feel easy and natural; the opposite direction feels difficult and creates tension. Gravity, being universal, means that downward motion = good/easy, upward = bad/hard/tense.
Aside 2: I don't recommend it, but if you super careful, you can "flop" a shot, flip it so that something that is on the right side is switched to the left. Short shots are probably fine, and this isn't up for an academy award, so take my caution with a grain of salt. However, since I am anal and aesthetically sensitive, I would never ever everflop an iconic shot. If people have seen it a million times they will know when it doesn't look right. It will create unease, which likely was the opposite of what you wanted.
Obvious TRob HUGE PLAY
Literally running down hill.
Think Tay scores here?
Nope. A very "tough" play where he guts out every yard.
Graphical matches: If you can effectively cut adjacent shots so that a line can be drawn naturally from your main subject in shot A to main subject in shot B, your audience will jump into the second shot more quickly. Quick is important because we are talking about montages full of short clips; any time trying to "decode" the shot is time not spent getting the point of why you included it.
Add this rule to 2 above to get cut-on-action. Edits tend to be less visible if the audience has something in motion to follow from shot A into shot B. In narrative, this often means that you transition from outside a space inside by cutting at the mid-point of the entrance, showing a little motion in each shot. But this action needs to match graphically to be fully effective.
My suggestion: Perhaps ignore this initially. It is less obvious and harder to convey in text than the other points, but logically, it fits here in the order I am presenting. If you master everything else, watch your cut with this in mind and see if it "feels right" or not. If not, something might be strange about how your eye transitions between shots.
Color: Good guy is in white, bad guys in black. This rule has some very famous exceptions, but that too has a message. Dirty Harry, while technically the hero, is not a good person. He can be in black all he wants once it is established that he is the protagonist (in this case, just being played by Clint Eastwood is establishment enough.) Consistency is probably more important here than sticking with the light = good, dark = bad. More about that below.
My (very light) suggestion: Michigan in road whites when possible, opponents in home darks.
Time to molest the boys!
Consistency: Once you have established one of the above, or even other conventions, try to stick with it. If both teams have similar colors, then flip-flopping their home and roads will make it harder to follow along. As mentioned above, your shots will likely be so brief that your audience will spend too long trying to figure who they are watching without getting enough time to figure out what you are trying to convey. The obvious X factor in football hype vids are the helmets. Most of the time helmets will be unique by team, but also each team will always be wearing the same ones.
My suggestion: If you feel like you have some momentum early in your piece, stick with it. Your vid will build and your audience will stay engaged. If you happen to be an Oregon fan, good fucking luck. Twenty-five million uniform combinations are not your friends, though, you can take solace in the fact that your team will always be the worst looking one in the video. I guess that counts for consistency...
Break the rules: If you had all the resources in the world, you could follow this to a T. However, that isn't going to happen. So, do what you have to. That ridiculous one-handed Woodson pick in East Lansing is iconic and will work no matter how many rules it may seem to break. Additionally, if I were cutting a hype video for OSU week, I would probably keep UM in home darks and and have OSU in white. We want to be hard in that game and the dark will keep the edge on. Further, OSU's red unis say a lot—blood, violence, even some regal tones. These are not things I want establishing about OSU. Additionally, Brandon Graham, Woodley, guys like that are dangerous, murderous battering rams of death in my videos. They would always be in dark blue if I could help it.
There are some other basic things I could cover here, and some slightly more advanced stuff, but I think that this is enough for now. One "tip" that I have not included is: HAVE A DAMN POINT. This is not a tip, it is a must. Every video should have a story line. ESPN's actual game coverage is master of this, even if it is annoying. For ND and OSU the storyline is obvious: HATE. For MSU, I would focus on the fact that they are clown shoes. Other teams may have less historic stories, so you may focus on one element of the game. For instance, god forbid Denard go down at some point, you could cut a video of the likely starter to emphasize that the game rests on said player. If John Clay is averaging 225 YPG coming in, I would focus on him being a beast and us destroying ball carriers to setup that as the most important question of the day: Monster world crushing running back or our run defense, who will come out on top?
If you are thinking of trying your hand at a hype video, watch the 96 tiny vignettes that the networks put together before and during the game. The canned pre-game ones tend to focus on what ever ESPN has been hyping all week/season [Tebow]. In game ones tend to be game recaps. Even if they aren't showing every big play of the game, the will tend to represent the essence. If it is a whooping, expect the team coverage to be one-sided. It will be a little more even if it is a dog fight.
Makes me want to give up my law career and go work for Wendy's. Best scene: 50 seconds in with the smoke coming out of the cup - CLASSIC! ...Ok, back to MI v. ND...
9 years ago, I was a freshman in high school and it was most likely the scariest day of my life. My dad, thankfully, had went into work late that morning and was not in New York that Tuesday morning.
Yes, it is the Notre Dame game and I am counting down the hours, but 9/11 is a day that I will never forget.
Go Blue! Let's Roll!
This week's Chelsea Standard features an interview with Braylon Edwards at his brother's high school football game last Friday.
The former Michigan standout made a surprise visit to Chelsea High School during a short break from the New York Jets, who open the season on Monday Night Football Sept. 13 against the Baltimore Ravens. Braylon got there just in time to see his kid brother score on a nine-yard touchdown run in the first quarter.
“I saw him play when he was younger, but not since he’s been in high school,” Braylon said during halftime of the Bulldogs’ 31-20 victory over Monroe. “He didn’t know I was coming. I told my dad not to tell him. So this was all last-minute and hopefully when he saw me he lit up a bit.”
Nothing groundbreaking, but a nice read nonetheless.
According to that letter, Morris was fired for allowing a football quality control staff member to drive a courtesy car normally reserved for a coach or administrator for nearly a month without authorization. And when that vehicle was involved in a crash, Morris told multiple stories about what happened, the letter says. “You have been discharged from the University of Michigan for work misconduct which includes a failure to appropriately manage a significant aspect of your work responsibilities, the demonstration of extremely poor judgment, willful deception, an unethical effort to engage others in an attempt to cover-up the truth, and a deliberate misrepresentation of facts to your direct supervisor,” Brandon wrote just over a month after he took over as athletic director. The three-page letter says Morris will not be recommended for rehire.
Further letter details in the article.