[Rocco Rocco]

There’s no definitive answer to this question. Some do really well without a degree, others couldn’t live with out their experience. What is of vital importance however – whether you decide to get a degree or not – is work experience. You must intern or get a no/low paying job in a post house, production company, broadcaster soon if this is what you want to do. It’s a priority. Best of luck.

[Rocco Rocco]

Man On Wire won the Best Edited Documentary Eddie this year so whatever he was doing was working ;o)

Dips to Black are used in trailers all the time of course and I’ve dropped them into an interview sometimes before an image. I prefer to use the old white flash – or distant relative of – in interviews or make it a really quick dip to black if I have to. If you’re gonna use the same transition over and over again though, make sure they’re quick. There’s nothing worse than having to sit through the fifth, sixth slooow transition in a row. Ugh.

[Rocco Rocco]

Yes, I learned it a while back when I was doing corporate and commercial work. I found it useful to use it in conjunction with After Effects because of the vector graphic abilities. So for example, I’d either create (or was given) a vector shape, such as text or a logo which then I’d import into AE for animation. The point of needing to use Illustrator was simply to be able to edit or create vector shapes.

Haven’t used it in ages though.

[Rocco Rocco]

I’m a sucker for sharp, stylish POW-WOW cuts, more so than the stuff you learn at film school about tension.

Some of the films I watch over and over again because of the editing:

U-Turn
City of God
Hot Fuzz
Domino
Dear Zachary (doc)
Dog Town n Z Boyz (doc)
and….
Top Gear (British TV show)

[Rocco Rocco]

Part being an editor, I think at least, is building and maintaining constructive and creative relationships with directors. Especially if you edit features or more “artistic” projects. Therefore it would be better to attain a more worldy education, travel and generally become a more interesting person. On the other hand, all of this becomes meaningless when you’re hammering out industrials or cutting 10 versions of a trailer to make a nice pay check. I would conclude that work experience is basically far more valuable to an employer than a degree. But an education is more valuable to you as a person; an remember you aren’t what you do.

[Rocco Rocco]

I use https://www.istockphoto.com for this kind of thing. They have a pretty big library of light leaks and film looks. You have to pay per clip though.

[Rocco Rocco]

For those flashes in the Stic interview I simply used a very basic piece of stock footage of light whizzing about. (search iStockphoto,com for examples). I then blew it up very large and added a blur so it doesn’t look too pixelated. And I probably used a composite mode like Multiply to give it transparency. (I used FCP)

I really need to brush up on Avid so if you don’t know how to do that you’re gonna have to figure it out yourself ;o)

[Rocco Rocco]

As noted, the best way to learn is to watch and do it. But then you have to know what you’re looking for, and it can’t hurt to read what seasoned pros have to say. Here are some books I’ve enjoyed:

In the Blink of an Eye by Walter Murch
The Conversations with Walter Murch
Fine Cuts by Roger Crittenden
101 Things I learned in Architecture School by Matthew Frederick

Good luck!

[Rocco Rocco]

There are no rules or limits to your imagination. You are as much as an artist as the guys in the band. I edited a 90 min. documentary that features many hip-hop artists. Here’s a 10 minute sample of that doc which features some of those interviews:

https://www.vimeo.com/1194767

(please ignore the minor audio glitches; we’ve since cleaned it up)

I hope this helps you find your own methods and style. Good luck.

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[Rocco Rocco]

Wow! That’s impressive; sort of reminded me of this:

https://www.youtube.com/watch?v=JzqumbhfxRo

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