[Alan E. bell]

If you plan to work in features and narrative of pretty much any kind in Los Angeles then you will want to get an agent. I have one and it seems I one of the few people I know who really appreciates the value of having an agent. It really comes down to expectation. Most people I know particulary the folks who are breaking in and may not have many credits have overly high expectation of their agents. I prefer to look at my agent as a partner in my career. We talk about the films I am up for and if they will benifit my career etc. Do I give her a commission on the jobs I get my self? Yes I do but there are editors out there who make other agrengments. All an agent can really do for you is get you in the door and make your deal. A good agent will get you a good deal with perks and protect your credit etc. You have to get the job and keep it.

If you are a member of the editors guild then you can use the resource on there web site to get a list of the agents you will want to meet with. I recomend that you get a couple of credits under your belt before getting an agent. You may find that it’s difficult to get an agent interested in taking you on if your credits don’t reflect the genre that you are trying to break into. They need to be able to sell you and credits in hollywood mean everything.

good luck

Alan Bell

[Alan E. bell]

Debe,

Has some great points.

My rate has steadly gone up over the years. I also work for people I enjoy working with now, as opposed to whom ever will pay me something for my talent.

Alan

[Alan E. bell]

I do both, but gerally don’t don’t slip the audio into a different take unless I’ve tried every single take of the angle I’m looking to use, and nothing works to my satisfaction. Then I start to look for a different angle or a possible audio slip.

Regards
Alan BEll

[Alan E. bell]

I travel often. If the shoot is on location then I’m usually there as well.

Regards
Alan Bell

[Alan E. bell]

I don’t have a reel for my editing work. If they want to see my work I tell them to rent the film, or I’ll get them a copy. I know that doesn’t cut it for many people but at least in the feature world the snob aproach has worked for me.

Alan Bell

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

[Alan E. bell]

David,

I’m with Chaz on the music it just doesn’t have the right tone. Also I think you should let the images speak for themselves. We have a saying “If you can’t solve it dissolve it”. The constant dissolves and super impositions are tedious and in my opnion not achieving their objectives. I want to see those children playing clean. Hit me with it instead of feathering it through. Let the content tell the story,you have a very powerful message here, no need to clutter it up with artifice.

Regards

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

[Alan E. bell]

Interesting question.

I think you may be better served talking about the process of editing as opposed to trying to get scientific about specific edit types. At it’s most fundemental level there is only one type of edit and that is the cut. Everything else is an effect of some sort.
Some people like to call audio cuts which do not line up with the image edit points prelaps or overlaps, but it seems to me that’s just another way of looking at a straight cut.

Some of the many techniques I use when cutting narative are:

Straight Cuts
slipped lines (sliping a line from one take and using it in another)
Dissolves
Fade ins
Fade outs
Blow ups
Push ins
blurs
wipes
pans
Composites
snap zooms
super impositions.

The list goes on and on and on. It’s funny though because I cannot for the life of me tell you why I would use each one and when. It’s dependant on so many factors that it seems impossible to describe. Ultimate it’s all about taste.

Alan

[Alan E. bell]

I doubt very much you are going to be left with a better sounding audio track. The actual voice is this buzzing sound. You would be better off just looping the shot an using a different person.

Or in my opnion live with the fact that this is what it sounds like.

Alan

[Alan E. bell]

or is it the dienterlacer. Well you know what I mean.

LOL

[Alan E. bell]

or is it the dienterlacer. Well you know what I mean.

LOL