[Gary Alan]

Hello TimK,

I am not sure how my post was moved over to here when it was originally submitted to the War of the Worlds, Old Fogies vs. Young Idiots thread we had going.

The point I was making was not about me getting the job, but the way people post an ad and then change what they really said to find people to work for low pay/no pay. The first two sentences in the ad are completely contradicting.

“Looking for editor that is familiar with Sony Vegas. Don’t wanna hear from you unless you know Sony Vegas and know it well.”

“Familiar with” goes to “know it well”. An requesting an “Editor” gets a reply saying they want an “intern”.

In the original post the other day, a person says young and then he later changes it to young at heart becuase of possible legal matters. Would the employer like it if some youngster accepted the job and then did not show up becuase he changed his words to mean something else? I appreciate the fact that the poster apologized, but what about all the other fifty to one hundred people who posted in all the pro job forums in this manner the same day?

It appears that the current day editor is being pushed back down to the basement like hollywood did to the women who were the first editors in the early film days. I do understand that the industry needs interns and entry level people, but not almost all of the jobs.

Best regards,
Gary

COW, please put this post back in the original thread to maintain continuity of the subject

[Gary Alan]

If you don’t have a script, at least have an idea in your head with a plan. An old trick I learned at ABC from the old pros was to ask your questions with the answer you want inside the question. Such as “so, you don’t know the exact number of people unemployed in your area?” Nine times out of ten they will answer, “Yes, I don’t know the exact number of unemployed people in our area”.

And stop the interview after you have what you wanted to get. If you get into a situation where you are not getting the answers you need, go off on another area and come back to that question later when the the person seems to talk more freely and is comfortable with you.

Gary

[Gary Alan]

Roman,

if I had to do a flat rate for a motion grfx spot, I would bid it with the thought of it taking maybe two full builds. In case the client goes way of course and requests major changes. You tell them you will do version 1 and apply any changes “if needed’ for a version 2. If more changes come after that, the client needs to know up front the flat rate will end and additional costs will now be required. You have to cap them off from experimenting to hell.

Gary

[Gary Alan]

I used to get jobs where I had to interview the president and ceo of Ford. I got in his office and out with quality work in twp hours that made him look good. He told me he liked it when I cam to his office to work becuase I was fast, sincere (not butt kissing) and he hated the other crews who came there and wasted two days playing hollywood with a big crew to do the same type of interview. I told him, Red Polling, that I knew his time was important and that I tried to just do what is needed to get it done right without trying to impress others in the room. It probably was that hourly director taking two days. I know it was. 🙂

Gary

[Gary Alan]

When I started out and wet on shoots as a cameraman who owned gear, the director was an hourly worker and he always made sure we had 10 hour days with so much indecision on his part so he can submit his invoice and justify his costs. I quickly moved into producer/director that shoots and edits, bid the job a little lower and stopped watching the clock. I did the same ten hours work in two hours and went home to relax in my pool while I edited at night. Hourly causes people to milk a job.

Gary

[Gary Alan]

I learned the hard way a long time ago that the only way to accept a flat rate is when you are the producer/director, even if you shoot and edit. You have to be the one making all the decisions or else the client will take your typical two day job and drag it out a week with them wanting to experiment all the time with different variations. I used to make $225 an hour to edit and ended up making $25 and hour when we finished. I stopped offering hourly services from that point on and only did projects that I produced. I made the bid for a flat rate and I always came in ahead of schedule with profit for the next 15 years because I controlled what happened. My work was hjigh quality and affecient. I was fortunate that my clients always accepted my final versions and exercised mutual respect.

Gary

[Gary Alan]

George,

I think you need a new thread. This thread is not about whether unions are good or bad. We are talking about the law and age discrimination. FTR, I have seen some 50 years olds with more stamina than some 20 years olds. The original ad was for an editor, not a person to unload trucks or hang lights. If a movie needs a young female to play a part, then place an ad for a young female. If a movie needs an editor, then place an ad for an editor (any age) and how much pay is offered. Then people can decide on whether to apply. If you or anyone does not like discrimination laws, then make an effort to change the laws instead of braking them willy nilly. If someones thinks they can go about breaking laws, then they should not be surprised when they get spotted, tagged and have to pay the penalty.

Gary

[Gary Alan]

Walter, that’s nice to hear. Low heat and low noise with huge storage area.

Gary

[Gary Alan]

Maybe JES Deinterlacer would work. Google it. I have used it to automatically reverse telecine footage from Canon HV20 24p clips that are recorded to 60i tape. The problem is the cadence is never the same in every clip and there are no flags to help. It checks the clip quickly and then removes the pulldown to a new file.

Gary

[Gary Alan]

David
two 500gb are $260 and take up more space and ports. So for $30 or 40 more dollars you save space and ports. Are these drives running hotter temps?

gary