[Bob Cole]

Great point about the apprenticeship vacuum. With the disappearance of so many studios, there are fewer opportunities to start with a broom and work your way into the editing room.

[Rick Turners] “find the kids who will die to work in this industry. There are bound to be a few.”

Absolutely true. I know two of them, one in NYC, the other in LA. If you need to hire a great young person, contact me. bob-rcole-com.

[Bob Cole]

[Ronald Lindeboom] “No generation was ever so shielded from reality”

In a way this reminds me of the old “shirtsleeves to shirtsleeves in three generations” adage.

The first generation makes the money; the second spends it; the third has to roll up its shirtsleeves and make their own way in the world.

Perhaps we in the U.S. (and perhaps Europe) are about to see the shift from the second to the third generation.

Painful. But verrrry interesting.

Bob C

[Bob Cole]

[Sara Benner] “FCP is only letting me put it in as 1 frame.”

Quite often, I will drag a dissolve into the first shot in a sequence, intending to create a fade-in. For some reason, FCP interprets my action as “Please make a one-frame fade-in.” It’s a matter of precisely where I drop the effect on the timeline. It always winds up working – it just takes a second effort, being careful to hover long enough to see the faint shadow of a properly timed 30-frame fade-in. Once I have a 30-frame fade-in I just drag it back to whatever length is appropriate.

So I have seen this, sort of – but on fades, not dissolves.

Glad it worked out for you.

Bob C

[Bob Cole]

Thanks very much Todd. Interesting stills and videos.

As for the spot, and the look and feel of a college dorm, you nailed it. (Just glad it wasn’t shot in Odorama.)

Well done.

Bob C

[Bob Cole]

[Rob Grauert] ”
Whaaat? No way, man.

Sure, anyone can pick up a pirated version of FCP, but I wouldn’t call that entry.”

Rob, you didn’t come close to getting the point. I wasn’t discussing obtaining a job; I know that it is difficult. I was making the point that the technology involved in making a video today is immeasurably easier than it was 20+ years ago.

[Bob Cole]

I think the problem is one of expectations. When we were 20-somethings, it took so much effort just to deal with the equipment and the expense. It was hard, but the difficulty had the effect of making us very focused – and it WEEDED OUT anybody who wasn’t really committed. With the ease of entry today, the field has attracted people who don’t have to work that hard to obtain results. They expect to obtain results without much effort.

No offense intended, but your bad experiences may also have something to do with the kind of work you do (corporate, right?). My niece, a recent Yale grad, is incredibly hard-working – living in NYC, taking a second job in a bakery shop so she can work full-time as an unpaid intern on a bid-deal documentary which will undoubtedly make a splash in the New York Times, etc. when it comes out. Now understand this: my niece LOVES me — but there is no way she would want to work on my current projects, even for money. I suspect that at least one of the young people you describe might be looking for more glamorous opportunities than corporate video.

On the other hand, maybe you were just unlucky. And guy #3? I want to contact you offline to find out who that is so I can put him on my do-not-call list.

Have you noticed, though? When it’s young clients refusing to hire anybody older than they are, it’s age discrimination. But when it’s mature folks refusing to hire young’uns, it’s just exercising good discretion.

Good luck Nick.

Bob C

[Bob Cole]

Interesting to see the differing approaches.

I tend to use Mark’s approach, treating the darker face as a reflector, lighting from behind and to the side, creating a “shelf” of light that reveals facial structure. I take it that the other ideas are basically to use more light, same set-up?

What costume do you recommend for light- and dark-skinned subjects?

Bob C

[Bob Cole]

Grinner’s been there; I haven’t.

Have you considered posting some content online, trying to build the brand while demonstrating interest (hits) to a potential broadcast partner? It may help you hone your story-telling skills as well — you’d get to see which narrative techniques or plotlines generated the most interest.

Good luck, and keep us informed.

Bob C

[Bob Cole]

sorry – dropped the ball due to travel.

I’m looking for the best <$1000 projector I can find, with ability to create great images from standard and high def sources (DVDs, computer-fed files, and future Blu-Ray sources).

As to lumens – I don’t know what is required, but I anticipate no higher than an 8′ screen.

Thanks.

Bob C

[Bob Cole]

I just realized I already asked this question and was referred to the Live/Stage forum…

red face…

BC