I’m just so mad!!!

[Richard Herd]

You can get loan deferments.

[Richard Herd]

Here’s the truth, man: the reel I watched ain’t that good. Not trying to be mean, so please don’t take it as such. You might try the demo reel forum and see what critique they can offer. For me, though, I can’t tell if you edited the bumpers or if you edited the shows. I would expect to see a sense of story, something a bit longer. As a consumer of motion picture, I want to feel something as much as being informed. I would expect some current techniques, like layering in After Effects and animating a camera. Cool use of mattes and masks.

Regarding me being lucky (the Tahoe guy), my reel has three categories:
— ads and promotions
— fictional narrative
— music videos

Personally speaking, I am most proud of the fictional narratives. They range from 90 seconds to 25 minutes. It is not currently on the internet, but I should get something together.

Another growth industry is Digital Signage Displays. Hopefully you can google that and see what’s going on: WalMart, Athletes Foot for example have both started DSD networks where they are selling ad space for about $3.00/CPM (cost per thousand). Someone has to make ALL that content.

I got my current job because, when I was a broadcast editor at a production company, I felt like the “boutique” editing shop was a dying business model, as measured by Return on Capital Employed. So when the digital signage network came my way, I jumped at it.

I’ll say it again: Digital Signage Networks.

[Shawn Gaiero]

Greg,

Hang in there man. These are tough times we’re currently in across the globe, it’s not just an L.A. thing. New York is really rough right now too – it’s what happens when Ad Sales/Marketing revenue dries up due to a global recession.

And then of course, as others have mentioned, the proliferation of FCP on macs has turned every rich kid into an “editor” thereby lowering the pay scale for seasoned, professional, editors. Long gone are the days of a hierarchy system where you begin as an Assistant for years until you prove your skill at cutting sequences and then you move up the ladder.

Unfortunately, and feel free to disagree I’m just shooting from the hip here, we seem to have reached a saturation point in our culture where every other person wants to be in the film business, wants to be an editor… but there aren’t enough jobs to support the tens of thousands of film students that graduate each year. If we could all be filmmakers and musicians there would be nobody left to collect the garbage, do our taxes, or clean the outside windows of high-rises – it’s natural selection. Persevere and you will climb out of the ditch. As I digress, corporate gigs tend to be more steady but less glamorous so definitely try to widen your net. Getting into Hollywood to cut Features is nearly impossible unless you’re born into it, know some key players, or have wealthy parents who don’t mind supporting you while you work for copy & credit on some Indie Films or Docs to strengthen your resume. For the rest of us, we keep at it, stay positive, get better at our craft for the love of it and hope that luck swings our way one day.

[Greg Burke]

Thanks for the advice Maybe Ill put some more indy work in there. I do know after effects maybe I make some graphics and throw those in as well. What I meant by you being “lucky” was the fact that you were in the right place at the right time and knew the right people. The fact is someone decided to give you an opportunity to prove yourself (in a paying environment) And I’m really glad that your doing great. Your school is more expensive than mine but worth it . The success rate is though the roof! at AI. I have 2 reels I’ve done allot of student indy work but its looks really low budget and crappy not good enough to be put on a reel, I only did it to try and network. Like I’ve said before and have been told It’s about making the right connections (which you did) and being in the right place. I’ve never said my reel was awesome or perfect or the best ever. It’s professional work I’ve done thats actually appeared on Cable television and not at a art house or indy fest, thats basically my pitch to advertise myself as a editor who’s worked in a professional broadcast environment, who understands this software, I’m not looking to edit features, My dream was to actually edit trailers at Trailer Park Inc. in hollywood.

[Rick Turners]

I agree,
It is a good idea to look at less competitive markets like Tahoe, Chicago (not as bad as LA), Louisiana (believe it or not) and Canada, all still growing.. now that post is done all over the world there are new slowly growing markets. LA has hit a tipping point for post production and very few jobs are being created here.

And yes, get out and network.. one of my favorite recent stories is.. “Bob” goes to clubs a lot. He meets producer “John”..Bob sleeps on Johns couch for a few weeks, they party. Bob gets editing job after a week of learning Final Cut Pro with John. Bob has a house on the beach now.

[Richard Herd]

Just to clarify: Academy of Art University, San Francisco is not AI, although it has a fine success rate, and it was spendy.

I also am a shameless go-meet-people kind of guy.

[Greg Burke] “allot of student indy work but its looks really low budget and crappy not good enough to be put on a reel,”

That’s a golden opportunity, man! You can make that footage look amazing with Apple Color, After Effects, and some sweet sound design and turn it into a 2 minute trailer. Give yourself a professional deadline, too.

Questions to keep in mind for the trailer:
— Who’s the main character?
— What does he or she need?
— Who or what is trying to stop him/her?
— Is this a drama or a comedy?

[Richard Herd]

Two semesters at AAU, SF are called “Demo Reel.” Where all we did was put our stuff together and criticize it. I recall one guy, forgot his name, in the class who shot on miniDV in available light. He screened his footage one day, and it was junk. A couple of weeks later he screened it again. It looked amazing. He applied filters galore to the junk-footage, and it took a week to render! Sure looked good, though.

In addition to demo reel, we had a career development center, where folks worked their butts off getting us job interviews. Reels are important, so are resumes. Basically just a page of stuff you’ve completed and your role on that project.

[Mike Sobola]

Grinner–You know…
It sounds like you have a mighty big ax to grind for those who got some schoolin’.
School provides a structured way of learning that teaches fundamentals that many “grassroots” filmmakers lack these days. Things like levels, composition, pacing…Remember–you have to know the rules before you can break them. Just because you have a camera and editing system doesn’t mean you can put together a good piece. A good combination of book smarts and street smarts is the best way to make it in the business–and a little luck.
You know what they say–You need the break, but you’ve got to be ready when that break comes around.

However you make it in this business, it takes knowledge, ability, experience and fortitude. You’ve got to stick with it and just keep plugging along. I’ve been doing this for nearly 20 years and I’ve got to say that there is no ONE right way. Whatever works for you, works for you.

Digitally Wandering,

Mike

[Alan E. bell]

Why is everyone so down on LA? Sheesh! I’ve been working here in editing for over 20 years.

I think what the issue is here, is the all too common expectation that many young folks have, after going to school and spending a bunch of money, that somehow they are going land a great job. I can’t speak for the rest of the world (commercials, wedding videos, reality Tv, corporate etc) but in features there are two things that count. What you did before and what you are like as a person. The people who are going to hire you are thinking hmm can I stand being in a room with this person for the next 3-6 months? How good was there last film? When you don’t have a last film for them to think about you better plan on working for nothing or next too it. That’s called on the job training as far as I am concerned.

I don’t have a reel for features and nobody ever asks. If they want to see a 5 or 10 minute representation of what I do when I’m cutting a feature then I don’t want to work for them. They can watch one of my films.

It’s takes a long time to get good at the craft of editing narrative. Maybe you should try getting a job as an assistant. You think you are a good editor and should be paid accordingly, but why should anyone else think so? Are you sure it’s not your attitude? I’ve been working on feature films for a long time. I’ve only been an editor for about 10 of those years. I learn something new about the craft on every single film.

If your life isn’t going the way you planned I suggest taking a look at the responsibility you may have in that? Maybe I’m wrong here but I think that your expectations are not inline with the reality of the your situation. It also doesn’t help that at the moment in Los Angeles, I know many many A list editor’s that have been out of work for some time.
Life is a series of opportunities, recognizing them, capitalizing on them, and coming to erms with the reality that you bear responsibility for a large part of what happens to you is part of maturing as a professional. Take a deep breath and hard long look at why you are so mad. Maybe you expect too much out of yourself and everyone else.

Good luck to you.

Alan Bell

Alan Bell
—————
Discreet Combustion Co-Host
LA Combustion Users Group Co-Host

[Joe Kaczorowski]

Greg,

I also went to Columbia College Hollywood for my degree… i have looked back wondering if i couldn’t have spent more time networking there. I basically coasted through because i had a decent job (as a runner at ignition creative) I worked while i was in school, i did just enough to graduate and when i did graduate it didn’t change my life at all. While in school i worked my way up and when i graduated i was well on my way to editing for motion picture advertising. I will keep all of my opinions on that school to myself and just try and offer you some advice.

1. you’re reel, or anybody else’s no matter how good it is (unless you have trailers) will not do you any good getting a job at Trailer Park.

2. Trailer Park is one of the Big Guns… go to LA411.com … look at the other motion picture advertising companies… find a smaller company and go there first.

3. Be willing to start as a runner. I don’t know how much you need to be making but you can easily get an entry level job at one of those places making 25k a year. From there, work every weekend and night cutting spots… if they see you can finish spots they will promote you.

4. Don’t hold out for trailers… my editing is mostly in Home Ent. TV Spots. But doing those easily pays as much if not double the 60k for Columbia’s “education” every year.

5. The best trailer editors are the ones that have been doing it for decades… as new college graduates (i graduated in 2005) we are the new guns… we can’t expect to get those jobs yet. we have to be runners and tape ops and assistants and bottom feeder editors first… but we can do those things and still make enough to pay off school and buy an awesome loft on the westside of los angeles.

Best of luck man,
Joe