[John Cummings]

Perhaps this should be a new thread or maybe it’s been done to death before I came along…but I’m curious about the editorial process that takes place between the filmmaker and the network after a project has been accepted.

Earlier in his original thread in the P2 forum, Rob mentioned that his “Bridge” program had basically been re-cut to make it more into a “NatGeo Style” which I assume means a total re-edit for pacing, drama-injection, segment timing and technical quality. So what happens during that process? Do they assign you a segment producer to oversee the re-cut with your original editor or do they the do it elsewhere with a new editor? Are there endless tweaks and fixes and re-do’s done by committee over time? And who picks up the tab for all that? Can you pretty much plan on completely handing over any artistic control in a program that you sell?

David, I have to think what you showed at the Wildlife festival probably looked quite a bit different from what eventually aired…or not?

Anyone out there that has been through the process care to share their experiences? Just how painful can it actually get?

John Cummings
Cameralogic/Chicago

[John Cummings]

Hey Rob-

It looked great. For a rookie producer, I think you hit one out of the park.

I really liked the use of time-lapse for this show and it showed good planning. You really needed them to help tell the story in the time allowed. I was particularly impressed and somewhat puzzled by how you guys did zooms in time-lapse. Perhaps John Chater would consider sharing that secret with us.

As you said in an earlier post, the finished product may not have been exactly what you originally envisaged, and it was definitely in the current NatGeo “style.” I found it to be entirely watchable and entertaining. My wife said it’s a total guy show and went and read a book. There goes that demographic.

I can understand any reluctance to share specifics on the business aspects of your production, but would I be wrong in assuming that if you can “make your rate” during the course of a project like this, and cover your post-production costs, you’ve done ok? The reason I ask is that I’m involved as a DP/Director with a large ($3.5 million) self-financed HD series for a Catholic organization starting up early next year, and I’m struggling to understand how we might do in recovering some of our costs if we manage to sell the show for broadcast. Complicating matters somewhat is a desire by my client to maintain at least primary editorial control over the series. But it’s a good problem to have…I just want to be a little smarter than I am now when we get to that point.

Anyway, thanks for sharing your insights and nice job to all involved! I look forward to seeing your next project on the air! Let us know when it happens…

John Cummings
Cameralogic/Chicago

[John Cummings]

Hi Rob-

Congrats on the show! I

[John Cummings]

Chris-

Just curious…what are you replacing it with?

John

[John Cummings]

It’s just a nice little addition that Sony provides. I’m considering a new Panasonic and just wish they had one. Not a deal breaker by any means.

Perhaps a licensing issue?

Thanks
John

[John Cummings]

Hi Jan–

I’m talking about an Anton Bauer-style power tap on the camera body. Sony puts them towards the front of some cameras on the handles…for a monitor or light.
My 730 has one, anyway.

John

[John Cummings]

Frankly I have never seen such a gorgeous luscious picture delivered in 100 Mbs in my life! It looks like HDD5.

Not after my cable company gets ahold of it…

[John Cummings]

Amen, Bob.

I opted out of a formal eduction and elected to throw myself into the deep end of the business without any training at all…just intense desire.

Those early years were the most rewarding and fun…living by my wits and powered by junk food. Taking the crappy jobs and slowly making my mark on the industry.

Over the years, I’ve lost count of how many college graduates I had to teach how to edit, direct, produce and write. Many of those students came out of good schools like Columbia, Northwestern and Missouri.

Twenty five years later, I’m still in the trenches, enjoying my craft, and making a good living running my own business.

Many of the “idiots” I trained are now high level managers, correspondents and producers on national TV. I keep in touch with some of them, and some of them are in a position to throw work my way and often do.

So, what’s my point? There are many paths to a sucessful career in a creative industry. It’s not like we’re making bombs or anything

[John Cummings]

Dear Jacki,

Forget about equality, there’s no such thing. Somebody’s always going to be making more money than you for inferior work, or get unfairly promoted before you, or even be better looking or more popular than you. Nothing you can do about it. That’s life. Grow up and move on.
The clock of your life is ticking.

And this:

“This type of work chose me, I did not do necessarily chose it, so there is not really anything to do but perservere.”

Kinda sounds to me like being stuck in an unhappy relationship you can’t get out of. Been there, done that.

I suspect that your rants may not be so much about equality…but that you may not being doing what it is you really want to be doing…or even worse…you may not know what you’d rather be doing.

So Jacki, if that’s the case, my advice (for what it’s worth) is this:

Search your heart and find out what it is that you really love to do, make the switch, work hard and become good at it. It’s gonna be scary and tough and may take awhile. There will probably have to be some major sacrifices made. Unfortunately, most people are unwilling or unable to put up with going backwards for awhile. (You know people like them…they’re the ones that are always bitching at the office.)
But if you do it and hang tough, in the end, you will come out happy.
My experience is that people will pay well for the services of someone who’s competent, happy and clearly passionate about what they do.

Yes, it really is that simple. But I won’t tell you it’s easy.

Good Luck-
John

J Cummings
DP/Chicago
http://www.cameralogic.tv

[John Cummings]

The safest bet would be 4:3, no 24p. They usually don’t want it to look like handout video.

Another option is to give them both, one right after another with a slate at the head telling them that both are on the tape.

John

J Cummings
DP/Chicago
http://www.cameralogic.tv