The value of a proper editing reel

[Mark Raudonis]

Boyd,

I understand the intent of your comments, but since I’m one of those “hiring supervisors”, I wholeheartedly disagree with you.

First of all, no HR or legal department worth their salary would ever allow that kind of specific reply to an applicant. In this litigious world in which we live, that kind of detailed response is only inviting a lawsuit.

Secondly, I am inundated on a daily basis by many more applicants than we can possibly hire. The people who get my attention are the ones that have taken the time to know who we are, what we do, and what we’re looking for in an assistant or junior editor. It’s not my job to hold their hand to craft an appropriate application. The Darwinian theory is in play here. If someone is smart enough to craft a reel, application or website to get my attention, then chances are they will survive and thrive in our organization.

Finally, I work in a very collaborative, team based environment. The skillset required to make it with this work flow doesn’t show up on a reel. An applicant’s personality, communication skills, and attitude isn’t apparent from watching a reel. Those traits come across in an interview, which is why many people DON’T put so much importance on a reel.

mark

[Nicole Haddock]

“It also doesn’t seem particularly hard to do that, just a simple “thank you for applying, your one piece reel bored us after 20 seconds …

For the same reasons Mark outlined, I can’t really do the same thing. Aside from the time constraints, the idea of giving everyone critical feedback in a small video community doesn’t exactly sound like something I would want to get involved in, professionally speaking. That being said, I started this topic with the idea in mind that I might write up a summary of all the things I personally want to tell prospective AEs, as well as what the rest of y’all think, post it to the web and then the next time I put a shout out for AEs, include the link for “application guidelines”.

FWIW, in past postings for editors and assistants, I’ve been very specific about what the work they’ll be doing is and what I’m looking for in their e-mailed “application” of sorts, and I still get the same type of responses. More often than not, when I’m in a crunch, I go with the people who have worked with people I know, or whom I know personally. When I’ve got the time to do interviews, I’ll cull down the resumes that don’t match what we’re looking for, which most of the time is Producers looking to make extra money doing some editing, or Camera Operators/PAs/Grips/Fill in the Blank looking for the same thing. The interview process is always interesting and obviously the best way to guess if they’ll fit in with the team.

I’ve strayed a little off topic, but while I would love to do as you say, and give that feedback, it’s generally not possible on a 1-on-1 basis. It’s the sort of thing that works well as a seminar/workshop with a local ITVA/Final Cut User Group type meeting, which my city has had in the past, but who’s listening is the question 😉

[Scott Davis]

[Skysplitter] “I consider a reel to be either a montage of clips set to music that you’ve cut, or short scenes cut together in 1 file, or a combination of the 2”

This is what I always struggle with when creating a reel. As someone hiring an editor what does seeing that they can take a bunch of disparate clips and cut them on the beat to some high energy music show you; unless that is what you are looking for? I always thought that would be good for an actors, DP, graphics, etc. reel. But not an editor. Most of my work is long form documentary work. To cut it into little chunks and put it to music would, in my opinion, be horrible editing.

[Nicole Haddock]

“This is what I always struggle with when creating a reel. As someone hiring an editor what does seeing that they can take a bunch of disparate clips and cut them on the beat to some high energy music show you; unless that is what you are looking for? I always thought that would be good for an actors, DP, graphics, etc. reel. But not an editor.”

FYI- My response is in regards to editor’s reels, not assistant editor’s.

I’m not advocating that the montage needs to be cut to the beat, or that the music needs to be high energy, etc. My reel is cut to a low key piece of music, albeit one that does have a good percussion track. What I look for in the music montage is 1- can they cut on the beat if they want to (you’d be surprised the amount of people cannot) and when do they choose to not cut on the beat, 2- the pacing, and 3- are they doing anything interesting with the montage (is there visual progression or patterns, some sort of color cohesion, etc). If there are effects in there, how well are they being used, are they cheesetastic, etc etc. I think the good reels I’ve seen sew together a few sequences, keep the flow, and make it work. I’ve also seen great reels where it is just disparate clips, it all depends on the person behind the keyboard.

“To cut it into little chunks and put it to music would, in my opinion, be horrible editing.”
I work mostly in short form doc and comedy. And I cut big pieces into little chunks and put it to music all the time- for trailers, promos and sizzle reels. I also use montage in just about every project I work on, no matter what the content. Being able to cut a story is king of course, but montage is right up there. It’s a valuable skill to have, it isn’t easy as it looks, and you can easily spot when it’s done wrong.

[Stephen Fenn]

Personally, I have worked among many experienced tv editors and very few of them have or have needed showreels to get work. They get it based on their experience alone.

[Steve Kownacki]

I didn’t see anything mentioned about editor’s cuts or versions versus what the director wanted. I’m self employed for 16+ years now, but in the early 90s, all my personal reels had the typical montage thing to start, but also the full spots or clips as the director wanted them and then MY version of the same if I felt strongly about something and they just wouldn’t go for it. Wanted to show I could think on my own.

I get reels now from people and a majority take advantage of DVD and have chapters for montages and then full clips. With kids out of school its usually all their own work, but I’ve never gotten an editor’s/aspiring editor’s reel that didn’t represent what somebody else wanted or made the judgment on.
Peace,
Steve

Daily affirmation: computers are our friends.

Steve

[Mex Sara]

hi

i am an editor ..since 1980 i have worked non stop on docos and in vars tv roles…. i have no reel … i could make one up but it would have no reference to deadlines ect i could also make up an after affects reel or a flash one … neither of which i am particularly adept at .. however given time could fake it

broadcast is ephemeral i have never thought to collect my work

currently i am taking ‘a break’ give the current state of broadcast tv … unemployable by being
uncontactable

eventually though i will want to work and i would want to
broaden my experience who wants to go where they went before

the question is should i fake a reel [ given that i would see it as fake therefore expect others to see it as such and of course could never defend it]
i could of course work freelance in the places i have worked in the past and break copyright and steal bits i have done
but that seems dodgy?

or rely on a resume and hope the employers are cognizant ?

mx