Chris Bové
Forum Replies Created
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“Art is not a thing. It is a way” – Elbert Hubbard
According to both Hank and Jerry, it’s the same blonde that walks into the same bar, sits next to the same drunk and orders the same glass of prune juice. Why is the joke funnier when Jerry tells it? Hank had all his facts straight. He even made the same face that Jerry made when he said “prune juice”.
Damn that Jerry – he sure can tell a great joke. Must be his pacing.
…I’m starting to wonder if pacing is an accident of emotion, and is therefore something that can’t be taught… only emulated. The whole art-imitating-life thing.
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Worst thing I saw for the whole Superbowl experience was Harrison Ford’s Dr Seuss thing. Whatta hunk’a cheese that was!
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\`(=)`/…Pixel Monkey
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As long as you definitely negotiate coming on as an hourly staffer. Guesstimate that OT will then boost you to about $90-92k. It’ll also act as a buffer against those less-budgeted (less fun) projects. Perhaps agree to their $37/hr with a written agreement to boost you to $42 within 15 months?
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\`(=)`/…Pixel Monkey
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All hail the Magic Fridge!!!
“Magic Fridge”
“Magic Fridge”
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\`(=)`/…Pixel Monkey
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[tony salgado] “Better yet did the film student have the balls to turn the guy in or just keep editing?
Nope – deadline was too tight. He kept editing.
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\`(=)`/…Pixel Monkey
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Google “Murch Transitions”.
For “feel”, I read literature by authors that wrote in the “voice” that I believe will apply best to the style I want to cut. Right now I’m cutting a doc that is written similar to the gruff, hard-hitting, unveiled critical tone that Mark Twain’s essays on literature are. I read a page or two just before bed and at breakfast.
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(Sorry – It’s being used as the primary client monitor)
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… a tougher and tougher question to answer as the years go on… because most places are now passing up editors for the newly popular “Producer/Editors”. So how do you train them? Easy – you don’t have to. They’re producers, and thus know-it-all anyway. Give ’em a screwdriver and a Total Training DVD for Xmas and send ’em on their way.
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\`(=)`/…Pixel Monkey
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Having a spot of editor’s block? Don’t worry, just stay simple, simple, simple.
For the past couple of years, I’ve been back to the “art imitating life” concept. HGTV promo-meets-Jonathan Ive kinda stuff. Clean lines, real images suggesting other ideas. I used to be very, VERY into the Digital Juice Jump Backs, but that fad died quick. Most producers I work with have come to regard that type of imagery as too “newsie” or “cheesy industrial marketing video crap”.
Here’s what works for me – if I were sitting in a bar/lounge that had the program/promo/whatever playing on the TV with no sound on, would the design of the visuals help the story, hinder it, or be confusing the point because it’s “over-designed” (like when folks who make graphics for print-media venture into the TV world)?
So, I guess my answer is to look to your own forsight for design ideas. For actual inspiration of imagery, brainstorm three words that you think describe the emotional image of your project and do a Google Image search. Or… do what Spielberg did for the spaceship design of Close Encounters: do some ludes, lay on the hood of your car staring (upside-down) at the city of L.A. and draw what you see.
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\`(=)`/…Pixel Monkey
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[Richard] “Solaris .. The movie with George Clooney”
Eeew… yeah, I’d rather count how many times per hour the Windows hourglass spins itself than watch that one again!
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\`(=)`/…Pixel Monkey
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