[Rocco Rocco]

I’d ask to hear examples of critical mistakes made by directors and what they did to rectify these mistakes. I’d also be curious to know if they think they’d be a better film maker if they had access to tools such as iMovie and Youtube when they were young.

What do they think of people coming into the edit room, who are not the director, such as actors and writers? (What do you do with all the opinions?)

And – what the hell – what’s the most amount of money they made on a project?!! And who was the client?!! ;o)

Enjoy the meeting.

[Rocco Rocco]

I used to think that you needed one resume and one showreel and you sent them out each time. I’ve since realized that in fact you need a reel and a resume PER job you apply for. Each one tailored to the company or person you’re applying to.

I also prefer to go into meetings with a DVD of clips to chat about rather than a montage to show in silence.

And what are “E2s”?

[Rocco Rocco]

Anyone can go to school, but if you can team up with a well respected pro for a project or two, the world’s your oyster. Nothin’ beats an old-fashioned apprenticeship.

[Rocco Rocco]

Always hold it a little longer on the Director’s wife.

[Rocco Rocco]

Yeah, that’s what I’m talking about – thanks for the head start. Looks like I might be in for a long search ;o)

It’s for an art installation.

[Rocco Rocco]

I’d go with stills if you can’t shoot more. There are tons of stock photo sites out there. If you get nice hi-rez (10MP) you can have more fun with wipes and zooms and such. You can also split-screen the talking heads, and play with composition etc.

Perhaps graphics might work? You can lay out moving swirls or solid shapes moving around and use them to hide the “bad” edits.

If b-roll, graphics and still are still not an option, then I’d probably stick with the classic dip to black or dissolve.

Good luck.

[Rocco Rocco]

I am working on a project right now in almost the same situation. What we decided is to have two IDENTICAL drives (same name, structure, size and everything) and one identical project file each to begin with.

We’d then use “transportation” project files which would contain only a sequence or two, and nothing else. The only purpose of a transportation project file is to zip and send. The other person would then open this project and copy the sequence into their project and delete (or archive somewhere) the the transportation project.

If any media needs to be added to the project, such as photos, music etc., we consult with one another and put it in the same place on each drive.

[Rocco Rocco]

I can contribute a bit of inspiration, thanks to the Mill. Yeah, I know it’s not quite what you’re asking, but here you go:

https://www.tinyways.com/go.php?https://www.bif-pictures.com/Raymond_light.mov

[Rocco Rocco]

I bought this book on your recommendation and… Wow. I’ve nearly finnished and it pretty much addresses my question completely. I’ve done good work and bad work in the past, but I never knew why the bad was bad, but now I can see why…

Thanks for the suggestion, I too have winged it in the past but now I have a better understanding of visual structure etc…

[Rocco Rocco]

Thanks everyone – some great stuff there. I got a feature coming up that needs re-editing. It’s a horror/thriller and the producers are complaining it’s missing something. I’ve been playing with cuts and noticed there’s just too much information and too much going on in many of the scene which kinda detracts from the scaryness – the audience itsn’t engaged enough. Also inconsistent timing of the shock moment / build-up is important I’m noticing.

In a nushell, there seem to be two consistencies when it comes to editing: Experiment and use your instinct. So that’s what I’ll be doing with this.

Thanks again!