Meta Movie 2 4 3 X 2
Most of the common v2.3 and v2.4 frames have direct analogues in v2.2. Now this standard is considered obsolete. ID3v2.3 v2.3 expanded the frame identifier to four characters, and added a number of frames. This is the most widely used version of ID3v2 tags. ID3v2.4 v2.4 was published on November 1, 2000, and remains the latest version. MetaX is a small application that enables you to effortlessly tag video files, using data from reliable online sources like Amazon, The Movie Database and IMDB among others. With MetaX you can tag a specific video, a TV show, or just a season, in a quick and simple manner.
Apr 02,2019 • Filed to: Convert Uncommon Video • Proven solutions
Q: How can I add metadata to my movies?
Part 1. How to Search and Embed Movie Metadata Easily & Quickly
Aimersoft Video Converter Ultimate is one of the most able software that will allow users to fetch and add metadata to movie, TV shows, or video files. This is a new feature that makes the whole process of retrieving essential information from your videos a very easy task. More than adding metadata to video, it has many great features:
Aimersoft Video Converter Ultimate
Easily add metadata to videos
- Helps search metadata for your movie or video automatically.
- You can add metadata to video including name, episode name, actor, director, tagline, description, release data, definition and more.
- Convert videos in 500+ formats, including MP4, MOV, AVI, MKV, WMV, MPEG, etc.
- Download videos from YouTube, Vimeo, Dailymotion, Vevo, etc. losslessly.
- Transfer movies to iPhone, iPad, or Android phone/tablets.
- Burn videos to DVD/Blu-ray DVD with free templates.
Simple Steps to Add Movie Metadata with Aimersoft Video Converter Ultimate
01 Choose Fix Media Metadata
Install and launch Aimersoft Video Converter Ultimate on your Windows PC or Mac. Click Toolbox on the top menu. Then choose Fix Media Metadata to get a pop-up window.
02 Fix video metadata
Here click the '...' to load the metadata file to your movie on your local computer. If you don't have such files, you can click on the Search button to let Aimersoft Video Converter Ultimate search for your video. Or you can manually enter the information like video type, name, actor, tagline, description, comments and more.
03 Save and export video with metadata
At last, click Save to export the video with metadata.
Movie metadata works in almost the same manner as music metadata. It contains short text information on what the movie is about. If music metadata includes the album, artist, and genre of the song, then the movie metadata will contain the plot, synopsis, poster thumbnail, and film credits. And all of these are going to be very helpful when compiling videos on a mobile device or a media player. To add or retrieve movie metadata from your videos, you are going to need special software to help you with it.
Part 3. Recommend Another Tools to Add Movie Metadata
There are several other software that can perform metadata transformation, although they may not have the same features as the Aimersoft Video Converter Ultimate . Here are the three most recommended tools for the job:
#1. Media Center Master
Media Center Master allows users to keep or change the movie’s metadata information which includes trailers, backdrops, posters, story plots, and a few other vital data. As a freeware, it makes organizing and collecting videos a very easy task. To use it, simply download, install, and run the software as instructed. It will then try to scan for media titles stored in your computer. To manage the metadata file of the videos it discovered, simply set the desired title following a particular format so each movie file can be renamed in the same way. Note that this program only works under Windows OS, macOS are not compatible now.
#2. MetaX
Media Center Master is another example of a program that allows for editing movie metadata in batches. While this software works in almost the same way as the ones similar to it does, it assures the easiest way to supply metadata entries for every video you own. Simply populate or type in the information needed such as type of video, director’s name, producer, cast, screenwriter, and title. Then include all the necessary video tags and you’re all set. Users can also mark if video is of HD quality or not. Selecting movie or TV show opens up a different set of metadata entry field options. The problem is that it can just add movie metadata and no video conversion or editing function included.
#3. FilmTag
FilmTag is an app that works on Macintosh computers that allows for easy tagging of movies and videos. However, it can only process one video at a time. Also, it can only handle movies at this time, not yet TV shows. The app is currently in its beta version and can be downloaded from the Mac App Store.
In a word, video metadata is a helpful feature that users must take advantage of. When looking for a video converter and editing software, it’s important that metadata editing becomes one of its strongest features, as that allows users to easily file, search, group together, and organize movies in just a few taps or clicks. With Aimersoft Video Converter Ultimate, using movies with metadata information is so much easier with iTunes.
“Don Quixote” is considered the groundbreaking novel responsible for the beginning of modernism in literature. The thing that made Cervantes’ work special was the way he talked about the novel within the novel, creating a literary world self-aware of literature. In the evolution of any art form, there is a moment when art starts to ask questions about itself.
There are some prior examples, but since the 60s it has been one of the most explored and rich questions to raise. Format experiments (Greaves, Kiarostami), vengeance on Hollywood (Altman, Lynch), genre mocking (Craven, Goddard) or autobiographies (Truffaut, Fellini) are some of the forms of meta experimentation in the next 20 examples.
1. Man with a Movie Camera (Dziga Vertov, 1929)
The Soviet montage was the first moment in cinema when filmmakers started to make films to talk about cinema itself. Eisenstein proposed different categories for editing, and for applying them onscreen.
Kuleshov experimented with editing to prove how much of the emotion and acting skills of a face come from what image is next to it. But the most radical of them was Dziga Vertov. He didn’t believe in telling a story and he saw straight narrative as a bourgeois pleasure, so he just went to film his city, Moscow, without an organized plan.
At the same time, he shows this idea and it resulted in editing with some scenes in the editing room, and using every montage technique to remind us that we are watching a film. Film as a way to forget about your day was against the Marxist conviction of Vertov, so he tried every way possible to make us know this is a film.
Meta cinema evolved later in other ways, with many of the ideas applied on a narrative structure, but Vertov first placed this mechanism that leads to question what we are watching, and why are we watching it.
2. Duck Amuck (Chuck Jones, 1953)
Animation can be seen as a meta-fictional exercise by itself. Even if the audience, especially the children in the audience, can get immersed into a story, you are aware of how real the situation is. Chuck Jones always took advantage of this feature, playing with meta-fiction all around.
Little jokes about drawing in Wile E. Coyote and the Roadrunner, or a huge number of inter-textual references, can be find in Jones’ works and show how much consciousness he had in his art. The greatest example of this is seen in one of his masterpieces “Duck Amuck”. The film shows Daffy Duck trying to have a new adventure, but being interrupted constantly by his creator.
A hand of an unseen animator takes off Daffy’s mouth, changes his background and clothes, and morphs the shape of his body. The audience is completely aware of how animation works, how any background is handmade and repeated and how there is somebody dubbing Daffy.
When we see Bugs Bunny as the animator some of the meta experiment is over, but this is just a way of making the film lighter and more friendly. But the philosophical issues are already there, and our relationship with Daffy Duck changes forever.
3. 8 ½ (Federico Fellini, 1963)
Meta Movie 2 4 3 X 2
This is the most important meta film, period. After the groundbreaking success of “La Dolce Vita”, Fellini was only able to find inspiration for another film through himself and that situation.
Meta Movie 2 4 3 X 2 5
After making a film that was recognized as one of the greatest pieces of filmmaking ever made, the most important thing that Fellini had to express was his inner feelings. Guido (Marcello Mastronianni) is a film director suffering a lack of inspiration after making a successful film. Pressured by everyone around him, his process of filmmaking is mixed directly with his personal life and history.
Obviously talking about himself, Fellini accomplished the most complex and beautiful film about filmmaking. Life and film are impossible to separate. A critic once said that Fellini made a film so incredibly personal that he ended up making a universal statement. “8½” was the number of films that Fellini had made at the time, and reflected this lack of creativity, hence the title.
4. La Ricotta (Pier Paolo Pasolini, 1963)
A tableau vivant consists on recreating a painting with live actors. Pasolini made more than one in his life, bringing a solemn and sacred aura to his proletarian characters. Mixing these high concepts with the low-depths was his way to express where he really saw the sacred elements of these paintings.
“La Ricotta” presents another way of taking a tableau vivant of its bourgeois conception, this time with humor. Orson Welles plays an intellectual director, making the main character a meta joke from the beginning. Welles is filming a tableau vivant with non-professional poor Italian actors.
The result is a comedy fest where mistakes and problems turn the living picture into a joke. The intellectual director gets mad while nobody seems to take the religious elements seriously.
Pasolini made this film showing his canon elements, including his view on sacredness and its relationship with the working classes. But he also made a big meta joke on his own intellectual cinema. If we were able to see what they were filming, the result would be a dead-serious and intellectual tableau vivant, but being on the other side the reflection is far deeper.
5. Symbiopsychotaxiplasm Take One (William Greaves, 1968)
“Symbiopsychotaxiplasm Take One” is not a film with meta elements but a complete meta experiment. William Greaves proposed a way of filming that didn’t had any guarantee; he had no way to be certain of what he was filming. We say Greaves had directed an amateur film, and at the same time there is a crew simultaneously following his crew.
With a split-screen we see the film he is working on, and the making-of the film. But after awhile we can start to question which film he is making, the fiction or the documentary about that fiction, or both. The same confusion is felt by the crew, and we can see them discussing it a number of times throughout the films.
1 X 2
While some of them claim it is Greaves’ idea, others think he is just a clueless and inexperienced director. We see Greaves frustrated when he is incapable of getting good acting from his stars, but in these discussions a cameraman starts to ask if that is his idea. “Symbiopsychotaxiplasm Take One” is about the process of filming, but more deeply it’s about the fiction and trickery of cinema.
At the end we don’t have a revelation from Greaves, but rather a failed fiction and documentary. But like the crew, we can start to ask how much of this was his idea, or furthermore, how much of this could have been staged.
6. F for Fake (Orson Welles, 1973)
Orson Welles made a documentary on art forger Elmyr de Hory, and he applies the same rules of the man he is portraying. Welles lies to the audience, and he is not afraid of telling us. In the presentation we know that half of the documentary will be a lie, and that he is going to trick us.
Meta Movie 2 4 3 X 27
The film moves from the main narrative and makes a trip through Welles’ own life, Howard Hughes, art history and the nature of documentary. Welles shows us how everything in a documentary is a narrative construction, and how editing is the important part where a filmmaker turns a film into his own narrative and view, and how we must not believe it so easily. The film is also a big step further in “mash-up” editing, previewing what was going to happen with MTV culture.