TRASH Video App and its people: he taste of medicine, but not dessert; the feel of sandpaper and silk, but not of cream; the sound of static, but not that of a waterfall; the smell of sulfur, but not of roses; the color brown, but not red; the feeling of anxiety, but not of peacefulness.

the taste of medicine, but not dessert; the feel of sandpaper and silk, but not of cream; the sound of static, but not that of a waterfall; the smell of sulfur, but not of roses; the color brown, but not red; the feeling of anxiety, but not of peacefulness.

Reactions

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Ultimate Trashapp Instagram ten-clipettes
or malen'kly in russian,
and in french, dechets,
ordure, waste video.
    video waste, video garbage, 
video waste trash waste offal.

   

John Waters could never make such video junk, its video dirty trash,  video scum litter and vice-muddy like a fucking sick cauldron of degraded celluloid in supernatural filmstock liquor of blackfawn amber, smoking and noisome, a stench of methamphetamine and wet baby dolls require  crews with yellow warning HVAC suits inside their offices.  TRASH:  Now loaded with TFA agents, HHS,  Police, FBI, disgustedly chewing bile down gullet taken by scene of digitally degraded cast-aside videoclips, scuttling close to corners, like rats, as if no one had ever taken care of them, their well-being lying in metaphorical abandoned heaps of putative, wasted stories, sent ransacked by soiled ragtag TRASH Team interns of assorted scabrous Pony towns whose first time it is to understand 'Amazing Grace,' whose first time it is (and last) to ever walk to work in the most Godawful squalid city which Man made Man and did not offer apology:  Tent City Skid Row, Los Angeles, CA -- don't worry, Mom and Dad, they don't have Covid-19, these motherfuckers have the last first cases of AIDs and Ebola from the original fucking signifying monkey, trading hot crack pipes for vienna sausages and walking and talking around the tents like Bedouin Housewives Show mutely extolling the depth to which Man can be lowered until it's time.  Is it time yet?  No No. No No.

 

The piratical scary as fuck wretches who zonbify, little Narcisses in our Haitian midst, but  Downtown, not a Sean Penn to be found, these doyennes d'inverse monde skid in from tent stores with put-up dens, whole fantastic lives full of video editing bays, LA Philharmonic donated oboes and bass clarinets, next to working crack cooks whose recipe is ca. 1987, nick; sell sandwiches, support their TRASHabit. 

 

Sordid neglected crews unhealthy ill conceived ideas less funny than invisibly dark in the ten-degrees cooler castoff black gallowed shadowed of the wasted business named after something abundant, abused, and indisputably redundant, indisposed, imposed, too loathsome to sell, too slavishly slaved on to not be made of HELL. 

Noxious smelt fish landfill favelas and Seagulls sad like Ol' Yella.

 24/7 unlimited trash,  unwanted trashed tats baby rubbish, hot refuse garbage is garbage wasted  junk food smutty, your porn slutty trashy.  England call it rubbish, and in Meudon they say, la saloperie, a good French word, I'm sure you'll agree.

    A person's white garbage is another one's rash. 
He jokes, likes to read, but it's trash is his cash.

    Video jokes, video covers, video tricks, foutriquet

vandals, pip squeaks, hooligans, them punks took the handles; populace trash mob, mob rubble trash rules, ragtag bobtails don't go to school.

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THE SCIENCE MODULE OF PERCEPNET PROVIDES PAPERS ON PERCEPTION AND SENSORY SCIENCE BY RESEARCHERS WORKING ON THESE DISCIPLINES

Multi-Sensory Marketing in Cross-Cultural Perspective (part I): From Synergy to Synaesthesia

[Marketing multisensorial desde una perspectiva transcultural (1ª parte): De la sinergia a la sinestesia] [>>>]

David Howes Concordia University howesd@alcor.concordia.ca

The management of sensation has become somewhat of an obsession in contemporary consumer capitalism. This is apparent from the growing sense appeal of commodities. It is increasingly essential for products to have the right scent, the right sound and the right touch —as well as the right look— to elicit the desired response from the consumer. Automobile manufacturers thus compete with each other not simply to perfect the performance of their vehicles (i.e. functionality) or their contours, but also to devise sprays that will give their product that distinctive «new car smell», to design doors that will give a satisfying thud (and not a thunk) when closed, and to position seats and controls in such a way that the driver will experience the car as fitted to his or her own body. Some cars even come with a sixth sense, blurring the distinction as to who is doing the driving. Just as product design (functionality) has been subsumed within sensory design (aesthetics), so the idea of brand image has been superseded by that of brand sense. Whereas brands used to be distinguished by their name and visual logo, now the idea is that they should ideally register in as many senses as possible. According to Martin Lindstrom (2005: 11), «Events, moods, feelings, and even products in our lives are continuously imprinted on our five-track sensory recorder from the second we wake to the moment we sleep», and the most effective brand-building strategies recognize this fact, «leveraging» each of the senses to establish «a true sensory brand experience». He points to the example of Singapore Airlines, personified by the Singapore Girl, who not only looks and acts the brand but is also adorned with the (patented) aroma of Stefan Floridian Waters, selected for its potential to «kick-start a kaleidoscope of smooth-comfortable memories —all reflecting the Singapore Airlines brand» (Lindstrom 2005: 15). The multisensory revolution in contemporary marketing is sweeping not only product design, and branding, but also the «atmosphere» of retail establishments. Whereas retailers used to rely on ads placed in diverse media, billboards, window displays and in-store lighting to highlight their goods, now they seek to enlist as many senses as possible for purposes of moving merchandise. The «Unique Selling Proposition» (USP) has given way to the «Multisensory Stimulation Proposition» (MSP). The Pier 1 Imports chain of emporia, with its checklist approach to the senses, is a case in point. A recent catalogue with the slogan «Get in touch with your sensesTM» and a list of of the five senses (each bordered in a different colour) gives the shopper a foretaste of what’s in store (see fig. 1). Pier 1 Imports is filled with wood and wicker furniture, black metal candlesticks, plush pillows, corduroy and velvet draperies, faux tribal art, a grand miscellany of decorative items, and a profusion of scented candles. The spicy sweet scent of the candles immediately envelopes one upon entry, while the colour scheme is as soothing to the eye as the easy listening music that plays on the store sound system is pleasing to the ear. Pier 1 Imports offers a total sensory experience. Figure 1 The rationale behind the sensory design of retail establishments like Pier 1 Imports, and many other venues in to day's «experience economy», has been theorized in a landmark article by Joseph Pine II and James Gilmore in the Harvard Business Review. Pine and Gilmore assert that forward-thinking companies no longer produce goods or supply services, but instead use services as the stage and goods as props for creating «experiences» that are as stimulating for the consumer as they are memorable. The authors identify a series of «experience-design principles» which include: Theme the experience (e.g. «entertainment» restaurants such as Planet Hollywood or the Rainforest Café); Mix in memorabilia (e.g. an official T-shirt for a rock concert); and, above all, Engage all five senses: The more senses an experience engages, the more effective and memorable it can be. Smart shoeshine operators augment the smell of polish with crisp snaps of the cloth, scents and sounds that don't make the shoes any shinier but do make the experience more engaging. (...) The mist at the Rainforest Cafe appeals serially to all five senses. It is first apparent as a sound: Sss-sss-zzz. Then you see the mist arising from the rocks and feel it soft and cool against your skin. Finally, you smell its tropical essence, and you taste (or imagine that you do) its freshness. What you can't be is unaffected by the mist (Pine and Gilmore 1998: 104). Pine and Gilmore, like Martin Lindstrom, and other theorists of the new multisensory approach to marketing, such as Virginia Postrel in The Substance of Style, and Schmitt and Simonson in Marketing Aesthetics, all take the five-sense checklist as their point of departure. The underlying notion is that the greater the number of senses engaged, the greater the memorability and the greater the synergy of the experience so produced. There are, however, at least four problems with this «checklist» approach to sensory marketing. The first is that the greater the accent on memorability the less space there is for product innovation or consumer agency because the emphasis is on the past (i.e. triggering memories) rather than the present or future. The second is that many of the most stimulating colours, and scents, and sounds, etc., have already been privatized —that is, trademarked or patented by first comers or major players— and so the total range of sensations marketers have to work with has been, and will be progressively, depleted (Howes 2004). The third is that the overwhelming emphasis of these approaches is on hedonics (i.e. pleasurability or stimulus intensity) at the expense of any serious consideration being paid to the semantics and syntactics of sense perception. The perils of ignoring the semantic or associative dimensions of sensory compounding are nicely illustrated by the results of an experiment involving pine-scented facial tissues. In this test, a pine fragrance evaluated as «fresh» and «clean» was added to facial tissues. When the tissues were then tested, however, they were considered harsh and rough. This was because the pine fragrance also carried associations of «rough» and «hard» (like pine bark or needles), which are not desirable qualities for facial tissues (Classen, Howes and Synnott 1994: 194). The elementary truth, which this experiment brings out, should already have been apparent to the investigators, since it is given in the double meaning of the word «sense». «Sense» refers to sensation and signification, feeling and meaning, at once. Failing to anticipate and control for such cross-sensory transfers of meaning can spell disaster. Furthermore, perception in one modality is always modulated by what is going on in the other modalities (Howes 2006). The senses are reactive and interactive, unlike the tracks of a simple recording device. The fourth problem with the checklist strategy is that it cannot of itself overcome «advertising wear-out» when, as is increasingly the case, all of a given brand’s competitors are seeking to dress up their products with something for each of the senses too. This has led to the emergence of an alternative technique, which involves tapping the sensorial subconscious, instead of simply blanketing all of the consumer’s external receptors. This alternative stratagem is best exemplified by ZMET (Zaltman Metaphor Elicitation Technique) invented by Gerald Zaltman of Harvard University, author of How Customers Think. ZMET is predicated on the notion of synaesthesia rather than synergy. Synaesthesia involves short-circuiting the conventional five senses model and experience of perception. It establishes cross-linkages between the modalities at a subconscious level, and so opens up a whole new terrain —the terrain of the inter-sensory— for marketers and designers to work their magic. The interest of ZMET consists in the way it maps —or better, excavates— these cross-linkages, and models them in «actionable ways» (e.g. to guide the development of ad copy or to divine the best product design and packaging). This ten-step research tool involves image-collecting, sorting, storytelling, digital imaging, and creating videos on the part of the research subjects, who are then invited to participate in a focus-group discussion. (The videos are used because: «People think differently when they think "in motion" than when they think in still images or pictures», argue Zaltman and Coulter (1995: 42)). ZMET also involves subjects being asked to say «what is and is not the taste, touch, smell, color, sound and emotional feeling» related to the particular research topic (e.g. a brand name or a product design) being investigated. For example, one subject’s «nonvisual sensory images» of a certain brand of intimate apparel included: the taste of medicine, but not dessert; the feel of sandpaper and silk, but not of cream; the sound of static, but not that of a waterfall; the smell of sulfur, but not of roses; the color brown, but not red; the feeling of anxiety, but not of peacefulness. Through tapping the sensorial subconscious in this way, a wide range of synaesthetic equations is uncovered. These equations are then worked (along with the visual and verbal material elicited by other means) into «consensus maps» by ZMET researchers. Marketers and designers in turn use these «consensus maps» to identify those sensory transfers that best «focus our attention, capture our imagination, please us, and enhance persuasion» (Nelson and Hitchon 1999: 355). The inter-sensory logic behind this latest revolution in marketing can be discerned behind such advertising headlines as «Taste the Rainbow» for Skittles candy, or «Hear the Big Picture» for CBC Radio. An ad which nicely exemplifies this new emphasis on crossing the senses (instead of simply compounding them) is presented in figure 2. A splash of rum on a shot of snow-covered mountains uncovers a vision of a tropical island paradise. The accompanying slogan reads: «Taste the feeling». The unexpected juxtaposition of images, coupled with the crossing of the senses of taste and touch, arrests the viewer's attention and sets off a cascade of associations. Instead of blanketing the viewer’s senses this ad mobilizes them and forges new cross-linkages which lead in multiple directions. Figure 2 As for product design, synaesthesia is the idea behind all the new computer programs which enable users to transform music into color graphics. But this is obvious. Other design applications of synaesthesia (using other sensory combinations besides sight and sound) are being developed all the time. For example, the cleaner Vim Oxy-Gel (with «active oxygen») offers «Pure cleanliness you can see and feel!» The accompanying TV ad shows a female jogger slipping out of her runners upon stepping into her kitchen and gliding her bare feet over the floor. This review of recent developments in the fields of sensory design, branding and multisensory marketing has revealed how the concept of synaesthesia is outflanking that of synergy, and the accent is now on crossing the senses instead of simply compounding them. But even as intersensory marketing strategies have begun to supplant the classic multisensory ones, there remains a deeper problem which has yet to be addressed by market researchers. This deeper problem has to do with the fact that we live in a world that is multicutural as well as multisensory. Culture inflects perception in all sorts of profound ways, as recent research in the anthropology of the senses has revealed (Classen 1993; Howes 2004). The next part of this essay, to be published in a future issue of Percepnet, will explore the many new lines of investigation which are opened up when cultural variations in the meaning and use of the senses are factored into the study of consumer behaviour. Acknowledgments Part of the research on which this report is based was made possible by a grant from the Social Sciences and Humanities Research Council of Canada. References Classen, Constance: Worlds of Sense: Exploring the Senses in History and Across Cultures, London, Routledge, 1993. Classen, Constance; Howes, David and Synnott, Anthony: Aroma: The Cultural History of Smell. London and New York, Routledge, 1994. Howes, David: «Hyperesthesia, or, The Sensual Logic of Late Capitalism» in D. Howes, ed., Empire of the Senses: The Sensual Culture Reader, Oxford, Berg, 2004. Howes, David: «Cross-Talk between the Senses», The Senses & Society 2006, 1(3): 381-390. Lindstrom, Martin: Brand Sense: How to Build Powerful Brands through Touch, Taste, Smell, Sight and Sound. New York, Free Press, 2005. Pine, Joseph and Gilmore, James: «The Experience Economy», Harvard Business Review 1998, 76(4): 97-106. Postrel, Virginia: The Substance of Style: How the Rise of Aesthetic Value is Remaking Commerce, Culture, and Consciousness, New York, Harper Collins, 2003. Schmitt, Bernd H. and Simonson, Alex: Marketing Aesthetics: The Strategic Mangement of Brands, Identity, and Image, New York, Free Press, 1997. Nelson, M.R. and Hitchon, J.C.: «Loud Tastes, Colored Fragrances, and Scented Sounds: How and When to Mix the Senses in Persuasive Communication», Journal of Mass Communication Quarterly 1999, 76(2): 354-72. Zaltman, Gerald: How Customers Think. Cambridge, Harvard Business Review, 2003. Zaltman, G. and Coulter, R.: «Seeing the Voice of the Customer: Metaphor-based Advertising Research»; Journal of Advertising Research 1995, July/August: 35-51.

 

Understand connector types

 

From the course: iMovie 10.1.8 Essential Training Experience TRASH 1 year 8 months,

 

Content and Community Manager Apr 2019 – Present 1 year 1 month

 

Greater New York City Area Video Ontologist Sep 2018 – Mar 2019 7 months

 

creativity and conventions of film editing

 

It's often said a movie is written three times, once when you write it, again when you shoot it, and then when you edit it, and as the editor, you're responsible for the final cut.
--Karina Bernacki






 

I have had a lot of people reaching out for advice & tips on working remotely & remote teams, so… I have had a lot of  working remotely & decided to offer some open office hours

 

Greater New York City Area LeadingAgile Executive Vice President, Management Consultant LeadingAgile Dec 2017 – Mar 20191 year 4 months Aritzia Director, Retail Talent Development USA Aritzia Jan 2017 – Dec 20171 year New York, New York Twitter Coach Twitter Feb 2016 – Dec 201611 months San Francisco Bay Area LeadingAgile Chief Marketing Officer, Management Consultant LeadingAgile Nov 2015 – Apr 20166 months Tampa/St. (254)

Petersburg, Florida Area Education Troy University Troy University Troy University Master of Public Administration (M P A ) 2007 Excelsior College Excelsior College Bachelor’s Degree 2004 Licenses & Certifications Certified TotalSDI Facilitator Certified TotalSDI Facilitator TotalSDI Issued May 2016 See credentialExternal link Certified LeSS Practitioner Certified LeSS Practitioner The LeSS Company Issued Feb 2015 Certified Scrum Professional® Certified Scrum Professional® Scrum Alliance Issued Sep 2014 See credentialExternal link Certified ScrumMaster® Certified ScrumMaster® Scrum Alliance Issued Sep 2013 See credentialExternal link Project Management Professional (PMP)® Project Management Professional (PMP)® Project Management Institute Issued Apr 2013Expires Apr 2019 Credential ID 1590049 Generative Consulting with Success Factor Modeling Generative Consulting with Success Factor Modeling International Association for Generative Change See credentialExternal link Hogan's Assessment Certified Hogan's Assessment Certified Hogan Assessment Systems See credentialExternal link Recommendations A preview of what LinkedIn members have to say about Karina: “ Karina is one of the most effective professionals I ve ever worked with. (219)

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You can view some of my work at vimeo.com/elakomsul Understand connector types From the course: iMovie 10.1.8 Essential Training Experience TRASH TRASH 1 year 8 months Content and Community Manager Apr 2019 – Present1 year 1 month Greater New York City Area Video Ontologist Sep 2018 – Mar 20197 months The creativity and conventions of film editing “ - It's often said a movie is written three times, once when you write it, again when you shoot it, and then when you edit it, and as the editor, you're responsible for the final cut.

https... Liked by Karina Bernacki I have had a lot of people reaching out for advice & tips on working remotely & remote teams, so… I have had a lot of people reaching out for advice & tips on working remotely & remote teams, so, I ve decided to offer some open office hours at no... Posted by Karina Bernacki Join now to see all activity Experience TRASH Wizard of OPs TRASH Mar 2019 – Present1 year 2 months Unraveled, LLC Founder Unraveled, LLC Feb 2018 – Present2 years 3 months Greater New York City Area LeadingAgile Executive Vice President, Management Consultant LeadingAgile Dec 2017 – Mar 20191 year 4 months Aritzia Director, Retail Talent Development USA Aritzia Jan 2017 – Dec 20171 year New York, New York Twitter Coach Twitter Feb 2016 – Dec 201611 months San Francisco Bay Area LeadingAgile Chief Marketing Officer, Management Consultant LeadingAgile Nov 2015 – Apr 20166 months Tampa/St.

Petersburg, Florida Area Education Troy University Troy University Troy University Master of Public Administration (M P A ) 2007 Excelsior College Excelsior College Bachelor’s Degree 2004 Licenses & Certifications Certified TotalSDI Facilitator Certified TotalSDI Facilitator TotalSDI Issued May 2016 See credentialExternal link Certified LeSS Practitioner Certified LeSS Practitioner The LeSS Company Issued Feb 2015 Certified Scrum Professional® Certified Scrum Professional® Scrum Alliance Issued Sep 2014 See credentialExternal link Certified ScrumMaster® Certified ScrumMaster® Scrum Alliance Issued Sep 2013 See credentialExternal link Project Management Professional (PMP)® Project Management Professional (PMP)® Project Management Institute Issued Apr 2013Expires Apr 2019 Credential ID 1590049 Generative Consulting with Success Factor Modeling Generative Consulting with Success Factor Modeling International Association for Generative Change See credentialExternal link Hogan's Assessment Certified Hogan's Assessment Certified Hogan Assessment Systems See credentialExternal link Recommendations A preview of what LinkedIn members have to say about Karina: “ Karina is one of the most effective professionals I ve ever worked with.

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With her guidance, I have been able to successfully navigate my own development as a senior leader.

I am very fortunate to have Karina in my network! “ Karina was one of the best professionals with whom I had the pleasure to work with.

She knows how to turns her knowledge into technical skills and has the ability to motivate her peers.

Karina has a great sense of duty and knows how to deal with different hierarchy levels and situations.

During our working time together we had the chance to exchange experiences and enroll successfully in different projects.

16 people have recommended KarinaJoin now to view View Karina Bernacki’s full profile to Experience TRASH Advisor TRASH Nov 2018 – Present1 year 6 months fade to mind Founder fade to mind Jul 2011 – Jul 20187 years 1 month Greater Los Angeles Area “ “ - [Voiceover] Every good story has natural drama built into it, whether it's the inescapable fate of star-crossed lovers or your average guy jumping through hoops just trying to get a standing desk for his cubicle.

A compelling tale is made up of two or more forces acting in opposition to one another and the tension that results from that struggle.

If the writer has done her job, and you may be the writer or you may be tasked with writing a headline for another writer's story, it should be clear by reading the story or even just the beginning of the story, what that drama is.

But even if the writer left you hanging and the story lacks obvious tension or excitement, the headline writer needs to go hunting for it.

Draw it out and slap it up there in a big bold point size to engage readers, to capture their attention and pique their interest in reading further.

So what kind of headlines get attention? There are certain things that humans just love to read about, that we find psychologically irresistible.

If you can get elements of those things into your headlines, then you've got a great shot of catching eyeballs as they flip past.

One is conflict.

We're drawn to the inherent drama in a battle, whether it's a battle between neighbors, nations or brands of soda.

The Four Business Skills Recruiters Are Looking for and Not Finding.

This headline sets up conflict by showing that recruiters can't find what they need, and this is especially compelling to readers who may be looking for work.

What if I m the solution to that problem? Another tool you can use is prominence.

We like to read about famous people, popular brands, well-known places.

Familiarity draws us in, we can't help it.

We like what we know.

So look for the familiar names, faces and places in your story and bring them out front, up top, into your headline.

Like this, Five Amazing Visual Effects from Mad Max: Fury Road.

Timeliness is another great attention getter, going back to urgency of the four Us.

It's not enough to tell your readers why they need to know something.

You have to telL them why they need to know it now.

Consider adding words or phrases like right now, this week, or today.

Like in these examples.

Why is poke so hot right now? Here are nine restaurants you'll want to try.

Or, Ten things you need to know today.

Tell them why they need to know it now, and you'll be more likely to keep their gaze.

“ - [Voiceover] Hi, I m Ashley Kennedy, welcome to our third installment of our series Conversations in Video Editing.

And here I talk with freelance editor Monica Daniel about her hectic schedule of editing a totally new project every few weeks, as well as her down to earth philosophy of caring and collaboration in the editing room.

Monica has spent the last decade embracing every type of project she can, from documentary to narrative to promo to episodic to music video.

She also treats us to an in depth analysis of two of her most recent projects.

Alright, let's get on with the interview.

Monica, thank you so much for talking to me today, would start off by just introducing yourself and you are and what you edit and get us oriented with your world.

- Oh, the hard question.

(laughter) My name is Monica Daniel.

I work out of L A and I ve worked on all types of shows, I ve worked on game shows, multi-cam studio shows, one of those is working on the Nerdist, 'cause I m just like a huge dork, just a geek.

I go to Comic Con every year so I was like yay! (laughter) I ve worked on TV documentaries like some really gritty things.

I ve worked on clip shows.

I ve worked on the red carpet shows for E I do all the pre-produced packages and like the show opens for the Ryan Seacrest coverage.

I ve worked on independent documentaries.

I ve worked on some scripted stuff, not stuff I can really talk about.

I just kinda run the gamut.

- [Ashley] Yeah.

- I ve worked on a lot of different things.

So, I mean, a lot of editors sort of arrive at a particular genre and work mostly in that but you are all over the place.

And so my question is with all of that what's your favorite? - Well, it's funny 'cause a lot of times, I don't know if it's different elsewhere, L A we're like our own little weird bubble.

And so things are done a specific way in L A and I don't think that's how the rest of the world works.

But it's definitely they pigeon hole you into a certain genre and I think that has a lot to do with the fact that how much time you have to dedicate to it.

You know, producers want people with experience in like a certain type of thing, very specific.

So, when editors, like go for something, like scripted, for example, they want to see a scripted editor 'cause they don't think that editor, like a reality editor, can cut scripted unless they, you know, they have the resume to prove it.

So, it's really hard to cross genres and for me, I feel I ve been fortunate.

I can't pick a favorite, honestly, because when I work on the red carpet shows which is you know, it's just a lot of fun pop culture stuff.

It's very visually pretty.

To me, it's just like I m a kid with like a really expensive crayon box (laughter) and I just get to play.

'Cause I ve been lead editor on those shows for a long time and so they let me kinda go crazy.

And I love that, it's just a cool creative outlet.

I was hugely influenced, I love like Cirque Du Soleil and those visuals, I have like a dancing background, used to choreograph so it's like all about creating those visual structures.

And so that's where that love comes from.

So, I love working on that.

What's great about the multi-cam studio shows, it's working different muscles but it always comes back to the same thing as like, keep your audience engaged.

What's the story you're telling? What's the point you're trying to make? And so it's like I can't pick a favorite 'cause if I pick, if I did any one thing all the time, I would go crazy.

And like you know, everyone's ultimate goal is always, Oh, I wanna do scripted.

Don't get me wrong, I wanna work on a scripted show, that would be awesome.

Something I learned in documentary, well, it's like I m gonna take what I learned there and I m gonna put it in a reality.

Something I learned in scripted, I ll you know, I ll take somewhere else.

And I ve also been able to work in different types of environments under different deadlines.

So, it's like I can't pick a favorite, 'cause I like all the flexibility.

I just love storytelling.

Storytelling in all its forms.

And it's like editing is like a muscle and you have to work it.

And I always tell people, you know, everyone always makes an argument 'cause they get pigeonholed, that Oh, you know, why won't they hire me for this? Like, I m an editor, I could cut anything.

And the truth is well, the person who specializes in that genre well, if they're any good, they're gonna be better at it than you are 'cause they dedicate more time to the aesthetics of that genre, the particulars, the specifics, and the details.

So, if you haven't really done much work in that, maybe you could end up at the same point but maybe you're not gonna be there, get there as easily or as quickly, as someone who's very experienced in it.

But if that person who's very experienced is only in that genre, then they're gonna miss out on work in all the other genres.

So, it's like that's why I try, I push really hard to be as flexible as possible and I just think that's a really valuable skill as an editor, that the best editors are open to learning other things and not just like focused on I m only gonna do it this way.

It's like no, you gotta constantly refine that skill and craft 'cause it's so, it changes with the times, it changes with the aesthetics you know, cuts are a lot faster now.

- [Ashley] Right.

- It changes with your audience.

And you have to be able to adapt.

- How do you think you have evolved as an editor as you've been working? - Well, when I started you know, I was just trying to figure out and so I would just copy what the other people do.

And so, you know, 'cause their work was getting approved.

You know, they let me compliment it and I m like Oh, yeah, I need to cut it like that 'cause, you know, they're doing a good job and I want to do a good job too.

So, I ll cut it like them.

You know, I got more confidence to step out of the templates that the more experienced editors had created and to start creating my own.

And when I started doing that is when the producers really started noticing me as an editor, when I was stepping out of the templates 'cause I would take it to another level and they were just like Woah, that's really cool.

Like, I love what you did there.

And you know, that's something when I first started, I didn't know what I was doing and you know, I was afraid to try anything new.

And sometimes it's hard to try new things because you still have to go under whether it's that producer or that network, like they have a branding, you know, they want things cut a certain way.

So, sometimes you have to do it a little bit at a time and also with experience, understanding how far can you go away from their formula? So, you can just keep stretching it, expanding it.

And like from there, it can evolve.

And sometimes they're really rigid about it.

Sometimes you can sneak things in just like and then they'll notice that you've added something new to their show and they'll want to hire you again 'cause you'll bring something to the table.

You're not just a button pusher.

- And you've created a template that other editors will copy, in turn, I m sure.

(laughter) And, so because you're reaching into all of these different buckets, you are obviously interfacing with a lot of different personalities.

- [Monica] Yeah - Our previous two guests have one team that they're with all the time, and they're very grateful and they gave shout outs to specific members of their team that they've been working for with 6 and 22 years respectively.

But you're all over the place talk to us about that.

- My teams change every two week to two months.

Two months are my long gigs.

- [Ashley] Yeah.

- Just 'cause the shows I tend to work on have a really fast turn around.

- And break it down, you, the different, so you've got your, you know, assistant editors, your directors, your producers, what are your strategies for getting along in all of those arenas? - Well, what I always try to do is I mean, with the assistants, whether or not they're an assistant that's just collecting their paycheck which I ve worked with or assistant that's really is like taking that extra step.

I treat them all the same, and I treat them nicely 'cause no matter what they have everyone else barking at them, demanding things out of them, they have like so many masters, and it costs me nothing to be nice to them 'cause what I get in return is when I need something, I get put at the top of the list.

For example, there was on show I was working on, it was me sitting with the supervising producer and they had been trying to import this footage for literally three days.

It was like two assistants and the post sup were trying to get this footage in for us.

And I actually could not do anything until I got the footage I needed and they could not figure out how to do it.

And so, I just turned to the producer and I was like You know what, just let me see if I can help them out.

Just give me five minutes.

He was like Alright, fine.

And I go in there I m like Tell me in 140 characters or less, what the problem is? As concise as possible give me the exact details.

And I m gonna tweet it.

And so, they told me, I send it out.

Literally two minutes later, the like, I think it's like it was the project manager or like the director of the ISIS from Massachusetts in Avid headquarters, tweeted me the answer, 'cause I guess he follows me on Twitter.

(laughter) I m on Twitter a lot.

And I just showed it to my assistant, I was like Have you tried this? And their faces were priceless they were just like.

And it's not like, I didn't do it in a way that made the assistants feel bad or anything, except I told 'em like Get your butts on Twitter, guys.

(laughter) Like seriously, why did this take you three days? Contents Getting to know Monica's multifaceted approach to editing 9m 49s Understanding Monica's working style and process in various genres 10m 5s 2015 Movie Mash-Up: Editing and workflow analysis 7m 18s Still Screaming documentary: Editing and workflow analysis 8m 42s - From blogs and news articles to emails and press releases there's no shortage of written information coming at us from every direction these days.

So if you're someone who needs to capture a reader's attention from time to time and who doesn't then knowing how to write a killer headline is the key to getting your message heard.

I m Starshine Roshell, a journalist and writing coach and in this course I m gonna show you how to craft a can't miss headline that gives your readers an exciting, accurate and irresistible sense of the story it promises to tell.

I ll take you through the content of a great headline, what goes into it and what to leave out.

Then the style, how to use words and trends to engage readers.

And finally the mechanics, the structural rules that keep a headline professional looking, grammatically sound and search engine friendly.

A headline is where and how we, as readers, decide whether to invest our time in something.

So if you're message is really worth sharing then you've got to work a little to earn your readers attention.

And while there's definitely an art to writing headlines you don't need to be an artist to master it.

I ll show you.

This course is an introduction to the history of film and video editing—including not only an in-depth look at more than a century of essential editing techniques, but also an interesting exploration of the tools and technology that have made editing possible.

Staff author Ashley Kennedy brings in real-world examples to explore each point in history—from the first unedited, rudimentary shots and the early days of shot combination to the birth of film language and the evolution of both mainstream and revolutionary film editing techniques through the 20th century and today.

She uses this journey to demonstrate how techniques of the past have shaped cinema today.

Course details To rise above the noise and capture your readers' attention, you need candid and catchy headlines.

There's an art to writing them, but you don't need to be an artist to master it.

Whether you write for blogs, websites, newsletters, press releases, or social media posts, you can learn how to craft attention-grabbing headlines with these essential tips and techniques from veteran journalist and writing coach Starshine Roshell.

How do you sum up an entire story in a few words? Starshine shows you how to preview a story, pull out the relevant benefits, and pack them into a pithy headline.

Find out how to use style to engage your readers—writing with vibrant, active language, being truthful, and telling readers what they need to know in a timely way.

She also stresses the importance of mechanics, showing you how to correctly and effectively use punctuation and capitalization in headlines.

Plus, get details on when to write subheads, how to employ keywords for SEO, and the background on headline trends, all with loads of examples along the way.

Instructor Click here to view Starshine Roshell’s instructor page Starshine Roshell Content Producer at LinkedIn Starshine Roshell is a passionate storyteller: an award-winning journalist, writing coach, and messaging pro.

She has written for eBay, the University of Southern California, and Lynda.com, as well as the Hollywood Welcome 1m 9s What you should know 27s Explore creative video editing techniques with a comprehensive study that includes both artistic analysis and technical instruction.

Senior staff instructor Ashley Kennedy begins by covering the rules and conventions of video editing, setting the stage for an explanation of the role of editing in cinematic storytelling.

She then gives a play-by-play of the most popular types of creative edits in basic editing, continuity editing, complexity editing, and more.

Ashley illustrates each type of edit with real-world examples and offers analysis of how each technique is used in the world of filmmaking.

Plus, she demonstrates how to perform each edit in track-based nonlinear editing software.

Click here to view Ashley Kennedy’s instructor page Ashley Kennedy Senior Staff Instructor: Video Post Production, LinkedIn Learning/Lynda.com Ashley Kennedy is a senior staff author at LinkedIn Learning, where she creates video post-production courses.

Ashley Kennedy is a former instructor at Avid and Columbia College Chicago.

She teaches video editing and storytelling.

In addition to creating online courses, she has hundreds of hours of experience leading face-to-face classes and facilitating online and hybrid courses.

She has also written two textbooks on video editing, which have been widely used by editors and film students worldwide.

Prior to joining the lynda.com team, she taught in the post-production track at Columbia College Chicago for five years.

Before that, she was the principle instructor and certifications program manager at Avid, where she taught and developed the Avid Certified curriculum and managed the Avid Certified Instructor worldwide program.

Ashley holds a BS in broadcast journalism from the University of Illinois, and an MFA in film from Boston University.

She lives in the Chicago area with her husband and two children.

Karina Bernacki Karina Bernacki Strategy and Operations Expert.

New York, New York 500+ connections Coach, Advisor @ Unraveled, & ♂️ Wizard of Ops @thetrashapp 📹 DON’T EDIT YOURSELF! trash.app/dl Elanur Komsul Content and Community Manager at TRASH Greater New York City Area93 connections About Video editor and content creator, specializing in post-production.

Experienced in visual design, motion graphics, photography, and most things digital media.

Excited by the crossover between art and technology, and passionate about the power of storytelling.

You can view some of my work at vimeo.com/elakomsul Understand connector types From the course: iMovie 10.1.8 Essential Training Experience TRASH TRASH 1 year 8 months Content and Community Manager Apr 2019 – Present1 year 1 month Greater New York City Area Video Ontologist Sep 2018 – Mar 20197 months The creativity and conventions of film editing “ - It's often said a movie is written three times, once when you write it, again when you shoot it, and then when you edit it, and as the editor, you're responsible for the final cut.

Film editing is a wonderful art, and while it's highly creative, there are many ground rules that we'll explore in this course.

My goal is to give you a lot of great ideas for your toolkit.

This means when editing dialogue, you'll know the shot, reverse shot method is the standard for showing a conversation between two characters.

To show a passage of time, you'll know that a match cut can be a creative way to link characters, locations and ideas.

To show multiple storylines, you'll be able to use parallel editing to intertwine scenes, move the plot forward, and increase interest and tension.

And to transition scenes, I ll show you how finding the perfect shots on either side of the edit can make all the difference in the world.

I m Ashley Kennedy, and I m exciting for you to join me in this LinkedIn learning course, where we'll learn all about creative video editing techniques.

Contents The creativity and conventions of film editing 1m 9s Greater New York City Area Feature Length Film Co-editor/Assistant Editor Feature Length Film Jul 2018 – Aug 20182 months Assembled rough cut of the feature-length film “In Utero”.

Logged, synced, and organized footage as well.

New York University Student New York University 2014 – May 20184 years Majored in Integrated Digital Media at Tandon School of Engineering.

Minored in Film Production at Tisch School of the Arts.

Studied abroad at New York University Abu Dhabi.

Learn how to use iMovie, the popular video editing software from Apple.

Instructor Garrick Chow shares what you need to know to create high-quality, compelling video projects for work or for home.

First, learn how to get your footage into iMovie-from a camera or your hard drive-and navigate around the interface.

Garrick then provides an overview of the entire editing process-fine-tuning clips, adjusting color, adding titles and music, transitioning from one clip to the next, adjusting the speed of clips, and more.

At the end of the course, he shows how to export your movies to share with the world.

This course is fully revised to reflect the latest iMovie interface.

Instructor Click here to view Garrick Chow’s instructor page Garrick Chow Garrick Chow has authored 75+ training courses, and is a presenter at Macworld and AIGA.

Garrick Chow is a senior staff author at Lynda.com, and has authored dozens of courses, covering a diverse “ - [Garrick] Hello and welcome, I m Garrick Chow.

In this course, we'll look at how to use iMovie to create great looking movie projects you can share with your friends and family.

I ll start by showing you how to import video footage and organize it into events from which you'll be able to assemble your projects into concise, effective stories.

We'll see how to make your videos look their best by performing color correction and adding video effects.

From there we'll look at more sophisticated types of edits like how to create cutaways or picture-in-picture effects.

We'll see how to change the mood and tone of your project with sound effects and music.

And once the project's done and you're ready to share it with the world, I ll walk you through all the options for exporting your project from iMovie.

We'll be covering all these features plus plenty of other tools and techniques for making your videos the best they can be in iMovie.

Let's get started.

Contents “ - [Voiceover] Hi, I m Ashley Kennedy.

Welcome to the history of film and video editing.

In this course, we're going to look at how far we've come in the world of film and video.

From the very first photographs ever captured, to the beginning days of motion pictures, to advancements in editing technology and techniques, to today's dynamic digital workflows.

As with many things, it's important to look back at where we've come to really understand and appreciate where we are today.

When you're finished with this course, you should have a good understanding of the history of the moving image, and all the ways in which people have manipulated it through the years.

Okay! Let's get started.

n this series, Ashley Kennedy chats with veteran video editors about their latest projects and their unique approaches to editing and storytelling with video.

Subjects include veteran documentary film editor Steve Audette, Sesame Street senior editor Jesse Averna, and LA-based freelance editor Monica Daniel.

Want to use social media for your video business? “ Course details Social media is having a dramatic impact on the professional video industry.

This course shows how to use social media to its full potential and leverage the unique benefits it offers filmmakers, vloggers, and video production pros.

Rich Harrington presents strategies for being more effective on sites like Facebook, Twitter, YouTube, Vimeo, and more.

Discover how to present your best, most authentic self online and monitor and measure your impact.

From scheduling to posting and connecting, this course teaches you the basic skills you need to improve your social media reach and reputation.

Rich Harrington is a digital video expert, educator, speaker, and author.

As a digital video expert and trained business professional, Rich Harrington understands both the creative and management sides of the visual communications industry.

He is the founder of the visual communications company RHED Pixel in Washington, DC.

He is a certified instructor for Adobe and Apple and a member of the National Association of Photoshop Professionals Instructor Dream Team.

Rich is a popular speaker on the digital video circuit and has served as program manager for conferences hosted by the National Association of Broadcasters (NAB).

He has also written several books for the video industry, including An Editor's Guide to Adobe Premiere Pro, From Still to Motion, and Photoshop for Video.

To explore more resources for media professionals and to watch Rich's many podcasts, visit RichardHarrington.com. By creating and curating a YouTube channel, you can build your online identity as you share your content with the world.

In this course, learn how to set up a visually compelling new YouTube channel, build up your subscriber base, and convert clicks into action or commerce.

Throughout the course, instructor Rich Harrington shares essential strategies for channel creation.

Rich explains how to design artwork for your channel and shares tips for using YouTube cards and captions.

He also dives into building a YouTube community, managing your channel in Creator Studio, live streaming, and more.

]]] “ - Hi, my name's Rich Harrington and welcome to this course where we'll explore creating and managing a YouTube channel.

There's an awful lot to cover and we've got many different areas we're going to look at.

Now, in order to succeed in this course, you'll need to be able to master many different skills.

There are parts that are super easy, and then there are parts that are a bit more difficult.

Adding to the complexity, is the fact also, that YouTube is frequently in transition.

For example, they've been in the middle of a beta process that's lasted almost two years as they're starting to completely change the user interface.

As such, during this course, I ll often show you two different ways to do the same thing.

Now the key thing to remember here is that change is inevitable and Google adds and subtracts features from YouTube all the time.

But the core skills we cover in this course are going to be useful to you even as the software and the website goes through many different… - We've mentioned it before, the scheduling of posts is critically important.

You want to be able to get the content out in a time-released manner, so take advantage of technology, whether that's built on the site, or something that you need to rely on a third party tool for.

When you schedule your video and posts, you can control when the information comes out.

You can easily upload and schedule videos to come out live on a Facebook page with a Facebook Premiere.

Or schedule their release on platforms like YouTube or Vimeo.

This works well so that all the content doesn't come out at once.

Even if you might upload 10 videos, set the release schedule so they come out over time.

Same thing with blog posts, schedule them.

Sit down and get five or 10 done, and then schedule them to come out over a few weeks.

Take your time, and sometimes it's easier to be in creation mode, and then schedule it so that when you get busy, it keeps running.

You can also do the same with social media posts, taking the RSS feed from your blog or YouTube channel, and having it auto-generate posts.

Or you can go in and schedule several things to come out at different times of day.

This use of scheduling and RSS tools is really quite useful, and it makes it easy to get the content out there.

One tool I like to use is dlvr.it. They offer both free and paid plans, and it makes it easy to take your RSS feed, and then republish to Facebook, Twitter, Pinterest, and more.

What happens is you can go to your blog and enter the URL.

It will then evaluate it and find the RSS feed underneath.

An RSS feed is just real simple syndication.

It's the Xml file that often drives the content.

Most blogs or platforms that allow for publishing of individual posts, even a YouTube channel, can generate an Xml feed.

This can then be automated to generate new social media posts.

So once you've done this, you can start to connect multiple networks.

So every time I publish a new story on my blog, it generates a new post on social media.

You'll see here, for example, that content is happening.

When I post to my personal blog, it's going to automatically reshare that content to Twitter, LinkedIn and Facebook.

Here I need to reconnect my LinkedIn network, because it occasionally disconnects.

That's because it wants you to reauthorize periodically.

So when you click on here, you'll see how that is, and if you need to, you'll occasionally need to just reconnect.

When you do, it'll ask you to log in to the platform and bless it.

This then means that it has permission to post on your behalf.

And every few weeks to every few months, you'll need to reconnect that.

You see that here are my social networks that I ve connected.

And under the content, I can add websites or different sources.

Notice, I can pick a YouTube channel, and every time I post a YouTube or Vimeo, it's going to drive a post to other social networks.

Or every time I share on Instagram, it can re-share that content to Facebook.

This makes it easy to get the content out to more places.

Dlvr.it is just one of many platforms.

It's one that I personally use and I like.

There is another tool that's quite popular, and that's HootSuite.

HootSuite offers a lot of plans aimed at larger businesses, including the ability to generate very rich reports on a lot of criteria.

It's a similar idea where you take the RSS feeds, and then you connect it to different social networks.

Once it drives the post, you'll see it appears like a regular post in the timeline.

But it's able to pull that information from your RSS feed.

While pricing may vary, you'll notice that they offer a variety of plans.

Small plans here, that allow you to connect 10 profiles for a single user; much larger plans with support and multiple users, so a team at a large company can get content out there.

So depending upon your needs and the size of your company and your projects, you'll find a solution that scales based on what your business needs are.

While we mentioned two tools here, you'll find a wealth of options available if you search for social media scheduling tools.

Explore some of these so you can automate the process.

This way, as you create new content, it's syndicated and republished.

You can easily connect your YouTube channel or Vimeo channel to automatically generate posts.

It could be not just when new things happen, but it can go through your archives and grab old content and re-share it at certain intervals.

This allows you to get those second, third, or fourth posts out there over an extended period of time, to bring people back.

I often find that those in-case-you-missed-it posts, or if you'd like to see this again, or a repeat, or a replay, often go over quite well, and it lets people feel like maybe they missed out and they should check that out.

Use these tools to broaden your reach, and take off some of the burden for posting.

Discover how to read and use YouTube Analytics, the online reporting system from YouTube for monitoring the performance of YouTube channels and videos.

Learn about what analytics are and how to use the analytics data to improve the performance of future videos.

Find out how to see the kind of audience that is responding positively to channel content, how to estimate revenue, which content is benefitting from subtitles or closed captioning, how much of the view count is from repeat viewers, and more.

Instructor “ Marketing Specialist, University Professor, School Teacher, Database Developer, and Business Strategist Where they work US Army US Army Walmart Walmart Siemens Siemens Apple Apple Oracle Oracle - [Ash Blodgett] I don't have to tell you that being a YouTuber is hard work.

I m sure you've already done multiple late-night editing sessions, spent lots of money on the perfect vlogging camera, and agonized for hours over which still makes the best thumbnail.

But is any of your hard work working? How can you really know if that one cat thumbnail is really paying off? I mean, really paying off in the revenue sort of way.

Well, that's where YouTube analytics comes in.

YouTube analytics can show you all the data your hard work has been racking up.

But if you don't understand how to read it, it can be like trying to decipher that butt-dial text message your mom sent.

But don't worry, I ve got you.

Hi, I m Ash Blodgett, and I ve been a YouTuber for over seven years.

In this course I ll show you how to navigate the YouTube analytics dashboard.

See just where your views are coming from, read realtime analytic data,… Contents Ash Blodgett is a freelance writer, director, cinematographer, and editor specializing in narrative comedy.

Ash wrote and directed an award-winning short film entitled Hold Up; produced and directed multiple comedy shorts and shows for her YouTube channel Laugh Stash TV, totaling over 15 million views; worked as a cinematographer and director for LinkedIn Learning; and edited several season of the reality TV show, Full Custom Garage.

In 2016 she also traveled the world shooting a documentary series for the International Olympic Committee entitled Design Focus.

You can check out her work at So you have the equipment, the talent, and the channel.

But your videos aren't getting the views.

How do you grow your YouTube channel and start reaching the audience you deserve? Join viral video maker Ash Blodgett in this fun series, which provides YouTube tips and tricks to help any new YouTuber get a channel off the ground.

Ash helps you understand what makes good content, how long your videos should actually be, and how to write strong titles and descriptions that get your videos to the top of search results.

Plus, learn how to create thumbnails, add tags, reply to comments, and many more valuable insider tricks.

“ - Are you tired of always uploading your videos to YouTube and getting no views? Then this is the course for you.

(techno music) Being a YouTuber can be hard.

You have to keep up with all the new fads and features.

You have to make thumbnails, add tags, schedule releases, build an audience, keep up with the audience, reply to comments, block comments, the list goes on and on.

But don't worry because I ve got your back.

Hi, I m Ash Blodgett and I ve been a YouTuber for five years with a channel totally an over 15 million views.

In this series called YouTube Tips Weekly, I ll help you untangle the mystery of YouTube and give you tips on how to better boost our SEO, build an audience, get more views, and become a successful YouTuber.

So, whether you're vlogging, cooking, acting, teaching, reviewing, traveling, pranking, I ve got tips for you.




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dougmeet

Doug Meet

tolema__

Tommy Manning

haiyaim_paul

Paul

liviolanda

Livia Holanda

tonyrichardsphoto

Tony Richards

getpivo

Pivo

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joeyleemarie

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JP White

avgarcia311

Adrian Garcia

han

Hannah Donovan

our.grateful.life

The Nilssons

About us

Don’t edit yourself. Make videos with one tap powered by our cinema science. A creative platform to make, share, remix and be inspired by other creators and creative entrepreneurs.

Website

http://trash.app

the

ultimate

Trash app little ten-clipettes or malen'kly in russian, and in french, dechets, ordure,
les video déchets, video waste, video garbage, video refuse, video trash, video rubbish, video offal.

l'ordure video is video filth. 

John Waters could never make such video trash, video ordure, video scum, video litter,  vice muck like a sick fuck cauldron of celluloid degradee to suppurating liquor of tawny amber black, smoking fumidly, stench of burning meth lab causes HVAC suits to be donned, where inside Trash offices, TFA, HHS, Police, FBI, are sickened by the scene of digital video clips strewn about like no one has ever wanted them or taken care of their well-being.  Abandoned piles of wasted putative stories sent in to be trashed by the unkempt squalid crew whose sick idea of a joke it was to start a company taking their name from something as close and foully reviled from noxious odor, land defiling trash dumps, and Seagull's 24-7 All-you-don't-care-to-eat trash offerings.
   
la camelote, which in English is an hilarious word, if you really look at it.
   
junk trash. tat  rubbish, whose name my babysitter was.  And the stuff you write-off in case of
l'immondices.

you don't
   
refuse rubbish, your rubbish is refuse, or simply trashy
les cochonneries, smutty like your spectacles, not the porno you watch,  smut trash.  In England they love to call it rubbish, and in Meudon they say
la saloperie, which is also very close to another french word, I'm sure you'll guess.

One person's
   
rubbish is another person's  trash rash.
   
la blague id like to read but it's trashy.
   
Video jokes. video  kidding  pouches and video  tricks in  jest just a hoax.
   
le foutriquet
   
pip squeak, trash
   
levandalisme
   
vandalism, hooliganism, trash
   
lapopulace
   
populace, mob, rabble, trash, ragtag and bobtail

Industries

Internet

Company size

1-10 employees

Headquarters

Los Angeles, California

Type

Privately Held

Founded

2018

Locations

• Primary

  Los Angeles, California 90028, US

  Get directions

• 
  

Employees at TRASH

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• Drew Olbrich

  Drew Olbrich

  Lead Engineer at TRASH



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• Hannah Donovan

  Hannah Donovan

  Founder & CEO at TRASH

• Andrew seger

  Andrew seger

  Chief Creative Officer (CCO) at INDISTRY Media





• Karina Bernacki

  Karina Bernacki

  Strategy and Operations Expert.

Karina Bernacki
Karina Bernacki
Strategy and Operations Expert.
New York, New York500+ connections
Join to Connect
TRASHTRASH
Activity

    Life has been a little hectic lately, so I'm extremely late in posting about this here, but I was…

    I have had a lot of people reaching out for advice & tips on working remotely & remote teams, so…

Experience

    TRASH
    Wizard of OPs
    TRASH

    Mar 2019 – Present1 year 2 months
    Unraveled, LLC
    Founder
    Unraveled, LLC

    Feb 2018 – Present2 years 3 months

    Greater New York City Area
    LeadingAgile
    Executive Vice President, Management Consultant
    LeadingAgile

    Dec 2017 – Mar 20191 year 4 months
    Aritzia
    Director, Retail Talent Development USA
    Aritzia

    Jan 2017 – Dec 20171 year

    New York, New York
    Twitter
    Coach
    Twitter

    Feb 2016 – Dec 201611 months

    San Francisco Bay Area
    LeadingAgile
    Chief Marketing Officer, Management Consultant
    LeadingAgile

    Nov 2015 – Apr 20166 months

    Tampa/St. Petersburg, Florida Area
    McKinsey & Company
    Management Consultant
    McKinsey & Company

    Apr 2015 – Dec 20159 months
    J.P. Morgan
    Vice President
    J.P. Morgan

    Jan 2011 – Apr 20154 years 4 months

    tampa/st. petersburg, florida area
    GSL Solutions
    Program management, Operations
    GSL Solutions

    Jan 2008 – Jul 20102 years 7 months

    Tampa/St. Petersburg, Florida Area

Education

    Troy University
    Troy University
    Troy University
    Master of Public Administration (M.P.A.)

    2007
    Excelsior College
    Excelsior College
    Bachelor’s Degree

    2004

Licenses & Certifications

    Certified TotalSDI Facilitator
    Certified TotalSDI Facilitator
    TotalSDI
    Issued May 2016
    See credentialExternal link
    Certified LeSS Practitioner
    Certified LeSS Practitioner
    The LeSS Company
    Issued Feb 2015
    Certified Scrum Professional®
    Certified Scrum Professional®
    Scrum Alliance
    Issued Sep 2014
    See credentialExternal link
    Certified ScrumMaster®
    Certified ScrumMaster®
    Scrum Alliance
    Issued Sep 2013
    See credentialExternal link
    Project Management Professional (PMP)®
    Project Management Professional (PMP)®
    Project Management Institute
    Issued Apr 2013Expires Apr 2019
    Credential ID 1590049
    Generative Consulting with Success Factor Modeling
    Generative Consulting with Success Factor Modeling
    International Association for Generative Change
    See credentialExternal link
    Hogan's Assessment Certified
    Hogan's Assessment Certified
    Hogan Assessment Systems
    See credentialExternal link

Recommendations

A preview of what LinkedIn members have to say about Karina:

    “

        Karina is one of the most effective professionals I've ever worked with. I had the pleasure of working with Karina for the first time at Twitter, and I have continued to stay connected with her even after we both left the company to pursue new opportunities. At Twitter, Karina could facilitate large group technical discussions with ease. Her technical background combined with her understanding of people and process allows her to successfully guide engineering teams through challenges, and have them emerge as stronger, happier, and healthier teams. As an individual coach, Karina is experienced and gifted in being able to read any situation and point out issues that were in my blind spots. With her guidance, I have been able to successfully navigate my own development as a senior leader. I am very fortunate to have Karina in my network!

    “

        Karina was one of the best professionals with whom I had the pleasure to work with. She knows how to turns her knowledge into technical skills and has the ability to motivate her peers. Karina has a great sense of duty and knows how to deal with different hierarchy levels and situations. During our working time together we had the chance to exchange experiences and enroll successfully in different projects.

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Experience

    TRASH
    Advisor
    TRASH

    Nov 2018 – Present1 year 6 months
    fade to mind
    Founder
    fade to mind

    Jul 2011 – Jul 20187 years 1 month

    Greater Los Angeles Area
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    What you should know


Explore creative video editing techniques with a comprehensive study that includes both artistic analysis and technical instruction. Senior staff instructor Ashley Kennedy begins by covering the rules and conventions of video editing, setting the stage for an explanation of the role of editing in cinematic storytelling. She then gives a play-by-play of the most popular types of creative edits in basic editing, continuity editing, complexity editing, and more. Ashley illustrates each type of edit with real-world examples and offers analysis of how each technique is used in the world of filmmaking. Plus, she demonstrates how to perform each edit in track-based nonlinear editing software.

 Click here to view Ashley Kennedy’s instructor page
Ashley Kennedy
Senior Staff Instructor: Video Post Production, LinkedIn Learning/Lynda.com
Ashley Kennedy is a senior staff author at LinkedIn Learning, where she creates video post-production courses.

Ashley Kennedy is a former instructor at Avid and Columbia College Chicago. She teaches video editing and storytelling. In addition to creating online courses, she has hundreds of hours of experience leading face-to-face classes and facilitating online and hybrid courses. She has also written two textbooks on video editing, which have been widely used by editors and film students worldwide.

Prior to joining the lynda.com team, she taught in the post-production track at Columbia College Chicago for five years. Before that, she was the principle instructor and certifications program manager at Avid, where she taught and developed the Avid Certified curriculum and managed the Avid Certified Instructor worldwide program.

Ashley holds a BS in broadcast journalism from the University of Illinois, and an MFA in film from Boston University. She lives in the Chicago area with her husband and two children.

Karina Bernacki🖤🦄Karina Bernacki
Strategy and Operations Expert.
New York, New York
500+ connections
Coach, Advisor @ Unraveled, & 🧙‍♂️ Wizard of Ops @thetrashapp 📹 📸 DON’T EDIT YOURSELF!
trash.app/dl


Elanur Komsul
Content and Community Manager at TRASH
Greater New York City Area93 connections

About

Video editor and content creator, specializing in post-production. Experienced in visual design, motion graphics, photography, and most things digital media. Excited by the crossover between art and technology, and passionate about the power of storytelling.

You can view some of my work at vimeo.com/elakomsul
 Understand connector types
From the course: iMovie 10.1.8 Essential Training
Experience

 
    TRASH

    1 year 8 months
        Content and Community Manager

        Apr 2019 – Present1 year 1 month

        Greater New York City Area
        Video Ontologist

        Sep 2018 – Mar 20197 months

White Girls Can't Rap
Han:  @JAZ You showing up on the website I work on has made my day! :)
Thanks so much for the links to your mixes, especially Slow & Synthy!
I came across it completely by chance (months ago) after asking the barman at Jaguar Shoes what music was playing when @flaneur @DoctorBeans @ndreasa and I were there for lunch one day.
Ever since then we've been playing your mixes regularly at The Jam Factory.

Bob Dylan Massacre

“So Dylan’s song – the 'Song to Woody' – was a testament to his mentor. And, essentially saying, ‘I can’t be Woody Guthrie.’ Which is for a while what Dylan wanted to be more than anything in the world. The '1913 Massacre' is the same kind of testament to a sort of lost chance. And a lost hope. Guthrie wrote it, as you say, during the Second World War. And it’s, you know, Guthrie was famous for saying, ‘I write songs that build you up, that give you hope.’ This isn’t one of them. This is about a massacre and a tragedy.”

Bob Dylan 1913 Calumet Massacre

Stateside's conversation with writer Daniel Wolff and Dave Marsh, a music critic and author.

A music lover can likely pinpoint the moment a song or a lyric crashes its way into your young consciousness. And then things are never the same.

For writer Daniel Wolff, that moment happened in 1965, when he first heard Bob Dylan.

Wolff was 13 at the time, and the experience led to his latest book: Grown-Up Anger: The Connected Mysteries of Bob Dylan, Woody Guthrie, and the Calumet Massacre of 1913.

Wolff explores the 20th century through the lives and songs of Dylan and Guthrie, which led him to the story of the tragedy on Christmas Eve 1913 in Calumet.

The so-called Italian Hall disaster happened during a Christmas party for the families of striking miners. Seventy-three people died, most of them children.

Woolf joined Stateside today with music critic and author Dave Marsh.

Listen to the full interview above, or get a taste of the conversation below.

On what hit Wolff so hard when he first heard Dylan singing “Like a Rolling Stone”

“Well, the same thing that just hit me when you played that little snippet which is, ‘This guy’s telling the truth – telling the truth, which included some anger.’ I was a very angry 13-year-old, which I think has me fit in with most 13-year-olds. And what adults kept saying to me was, you know, ‘You’ll get over this. You’ll grow up. You won’t be angry, you won’t be pissed off that the world isn’t quite fair.’ And when I heard Dylan on the radio, I thought, ‘You know what, I might not grow out of this. This guy is talking my language.’”

Wolff then went excavating Dylan’s earlier albums. In doing so, he uncovered “Song to Woody.”

He then started exploring Woody Guthrie’s music. That led him to the song “1913 Massacre,” released in 1941.

On what popped into Wolff’s brain when he realized Dylan had basically used the exact melody that Woody used in “1913 Massacre”

“So Dylan’s song – the 'Song to Woody' – was a testament to his mentor. And, essentially saying, ‘I can’t be Woody Guthrie.’ Which is for a while what Dylan wanted to be more than anything in the world. The '1913 Massacre' is the same kind of testament to a sort of lost chance. And a lost hope. Guthrie wrote it, as you say, during the Second World War. And it’s, you know, Guthrie was famous for saying, ‘I write songs that build you up, that give you hope.’ This isn’t one of them. This is about a massacre and a tragedy.”