Matt Sowder
Forum Replies Created
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I’m so jealous. My current set up is a logistical nightmare… Two Flourescent Lights RIGHT OVER MY HEAD. My two edit suites are back to back in an open floor plan (phones, loud office chatter, etc) two big windows to my back. The reflections fill one complete monitor… Be glad you’re master of your domain so to speak…
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Most of my dialog work, I’ve been lucky enough to be behind the camera coaxing what I want. After doing it that way and then going back to being handed the end results of another’s “vision” is much harder unless the direction was spot on. For me, I favor the visuals. If my on camera talent isn’t believable or natural appearing, then replacing better sounding takes is more like patchwork, IMHO. But let’s be real, a good cutaway, a retake, or even starting over can really help your scene. I used to laugh at the news guys practicing their stand ups by placing inflection in different parts of the sentence. I kid you not, I saw a Chicago Political reporter practice “The Governor…” a dozen or so DIFFERENT ways. But edit dialog & you appreciate any scraps given you. Pacing can be motivated (and influenced externally by a really crappy day) by a good actor, an emotional overtone or a well thought out shoot… You get all three and even the crappy day can’t ruin that edit!
After about 14 months of endless spot work, I got a little taste of cutting dialog and it was fun.
Matt Sowder
Fiddler’s Ridge Productions -
I use Graffiti all the time. It’s buggy but maybe now that both companies are owned by one organization intergration may be better. I import AE footage into my timeline for spots… I never import/export my timelines between the two since my versions don’t play nicely… Red (fx) is pretty nice. Each keyframes to the beat of their own drummer, however, experience in one will help with the other. Boris does things like borders, shadows and extrusions a little easier than Adobe, IMHO. Keying, masks, compositing is more elegant in AE…
Matt Sowder
Fiddler’s Ridge Productions -
Just to wrap it up. After flashing the PRAM, we reseated the connections after the move. That seems to have set things up and we have NOT had the repeat of the missing monitor.
Matt Sowder
Fiddler’s Ridge Productions -
Well, we have done that. We’ve reseated the video card. Everything came back fine. Until this morning when we rebooted. No luck. We turned off the external scsi drives and it booted with both monitors fine. When we hooked this back up is possible that the SCSI chain is causing this?
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Yep, Rita missed… A big lesson in being prepared to flee. A lot of the crap we surround ourselves with is just that. If you have a small set up like me. Anvil cases for my computers/gear & back up copies of software (serial numbers, pouches for dongle, etc) are two things that I really wished I had. I am glad that I label my ins&outs to my rack.
Matt Sowder
Fiddler’s Ridge Productions -
Ryan,
If you’re lucky enough to have gear at home to edit your reel with then maybe my approach will help. When I first got to Houston, I had this ‘all purpose’ reel. Some shooting, some directing, etc… My reel wasn’t bad. I’ve seen others and totally unobjectively feel that way =). I realized that I needed a change when I got asked, “sure, but how much of this did you shoot?” I realized that I didn’t tailor my reel to what they were looking for. Had I done just a little more research (the ad wanted it all, silly me) I could have given them totally start to finish work. Now, I keep my reel elements organized by pure editing, pure graphics, shooting, news, live-production etc… Now that I’m in a position to look for editing talent on occasion, I watch the reels specifically for good solid skills. The reel stops on mistake (you know, not INTENTIONAL) flash frames, jump cuts, etc…Stay on target to where you are applying. In a way, you are creating a program for a very small audience. What they want to see should guide you in your decisions. We just need to take our job one more step and apply to it OUR self promotion. A documentary production house will want to see how you handle the narrative. A large chunk of program maybe necessary. I do spot work. That’s what I need to see. In 3 Minutes, I had better have watched at least 6 spots.
Just some thoughts. I know that I looked back on your question thinking that I wish I had known then what I know now.
Matt Sowder
Fiddler’s Ridge Productions -
David,
All good rules are meant to be broken… Maybe they aren’t rules so much as guidelines (to steal a phrase).I’ve known a few “non-tradional” video people. I feel like I learn new reasons for doing something when approached from a differing viewpoint. Maybe NOT having a tradional viewpoint is okay… Not tying yourself to tradion isn’t bad.
You can break down what you’ve asked and get some “formula” answers. Me? I go by feel and intent of the script. I stay consistant to what I do so that if I need to break for dramatic emphasis I have it. Music, fades, timing all come from the bones of your work. Maybe others have more specific responses, and you ask for some, I believe that you have be able to keep whatever you do consistant AND that it serves the story/program. If it doesn’t then you need to adjust.
I offer this as food for thought this Friday evening. I think you picked a good place to pose your question…
Matt Sowder
Fiddler’s Ridge Productions -
Yeah,
good point don’t OD on this stuff! No EXCELLENT point! I like Photoshop. I do a lot of creative things for my family and my girls that would cost an arm & leg to have done in a studio PLUS I get to expand my horizons in my field and personal life… That’s the real pay off. However, if you do pursue extra schooling variety is the spice of life. Adding interests outside of video does pay off (me? comics, sports, music & movies). I have lots of outside stimulus that crosses over to what I do. But also pursue those activities, new classes, whatever that take you completely away from work.Matt Sowder
Fiddler’s Ridge Productions -
Andy,
I’ve been in that exact same funk myself (I apologize if it isn’t & it’s just plain funk!). I find myself after years of college being able to follow along in text book-like training guides. I’ve picked up some great tip books like Down & Dirty Tricks for Photoshop (Scott Kelby is absolutely incredible). A company puts out Visual Quickstart guides for various media programs that I’ve grown to like (Photoshop, Dreamweaver & FCP)…Online options? No I’ve not done that but I have toyed with going to our local art institute to pick up color theory and some more composition theories. I’ve also supplemented my learning by online tutorial websites. My Photoshop site, http://www.good-tutorials.com , is updated frequently with a lot of online stuff that is useful for what we do. The cow here has some cool tutorial offerings as well…
I guess what I am saying is that maybe enrolling isn’t necessarily your only option. A good book (used probably in a teaching course anyway) could save you the cost of “tuition” Also, ebay, half-priced book stores & half.com, amazon.com are good sources for used text books.
Matt Sowder
Fiddler’s Ridge Productions