#TBT on a Saturday – Intro to Pro HD Class Intros – June 24th, 2008

September 13th, 2014

Intro to Pro HD Class Intros – June 24th, 2008

Eric:
My name is Eric Harnden. I, like my namesake [another person in the class named “Eric”], found out about the class through the LA final Cut Pro users group. My main passion is editing. I only recently got involved in it. I’ve always thought that I wanted to make movies, write, that kind of thing. In fact, when I was 38 I got kind of serious about writing and started going to creative screenwriting magazine’s screenings and then this last year volunteered at their expo and went to a few seminars there and learned a little bit about the craft. Just the whole process. I’ve had some intro to it because my ex-wife was a makeup artist. So, I’ve been on some sets and have seen how that whole thing works and you’re absolutely right about the craft services. (class laugh) Making the crew happy. I’ve seen that happen. I’m a network engineer, that’s my day job and I do alright and my wife’s a registered nurse, so I’m not doing this for money, it’s just a passion I have for editing, actually.

Jim Lindsay:
You know I think I’m going to have a red light that goes off every time the word, “passion” comes up….

Eric:
I think my end goal, I guess, is I can imagine myself getting an Oscar for editing, that would be the pinnacle of my career or whatever. Obviously I don’t see myself jumping right to that (class laugh) but I’m a realist as well. A kind of thing happened to me when I was 38 and I decided to write. I always had these stories in my head and I always thought that, you know, one day I’ll just run into like Stephen Spielberg or George Lucas and I’ll just tell them my ideas and that’ll be it. and then I realized well, (class laugh) that isn’t going to happen so you better start writing and putting stuff out there and do… make yourself known, before anything like that will really happen.

So anyway, I was kind of following the writing track for a couple years and then it’s a funny thing but I guess I was putting together, I got married a little over a year ago but I was putting together the wedding video and that whole, just kind of sparked in me, that I really liked putting this together and so I just started doing a lot of research as far as what would be the best programs and a guy I work with [Synthian Sharp] is a kind of advocate types of films [maker] and he was telling me about Final Cut Pro and he gave the whole how it’s like how Pro Tools. Like how Pro Tools isn’t actually taught much and how this other program [Logic] was coming up that these young guys where learning more and the final cut vs. Avid argument and so I researched that a lot and figured that Final Cut was the way I was going to go.

And I couldn’t afford to get my own system and so I went to my community college and took the class there. I just recently finished that and then during that whole process, got my own system and then started going to LA Final Cut Pro User Groups and then saw your announcement there.

And one thing I guess I want to get out of the class is I want to understand the whole cycle and how would I fit into that.

I also know, I want to be an independent editor so probably will do like music videos or something after this class and get some chops and maybe get a story written or produced or whatever.

Perseverance, Taking a Break and Rejuvination

August 9th, 2014

At about the time of my last post, Dec 2013, I bought an aquarium. I dove full on into that hobby and kind of put filmmaking on hold. I now have six running aquariums, a large shed full of empty tanks and stands and etc. and my office is overrun with aquarium supplies.

During that time, I also have been developing a movie idea, slowly. I have been doing it really to just keep my toe in the water, so to speak, but it’s a great idea. At least anyone I’ve told about it says so and I think so. So, that’s what matters, right?

My problem has always been stick-to-it-iveness, or lack thereof. I want to be good at and know a lot of things and I start of with a bang but then after awhile my enthusiasm for things wanes.

I’m at an age in this life where it doesn’t make much sense to start new things. I mean I’m a few years from 50, I should be accomplished in everything I was going to tackle this time ’round, shouldn’t I be? “If I had stuck to ___ when I first got interested in it, I’d be something, I tell ya!” Well, my friend, that didn’t happen. I turned around and poof got old. I don’t feel that old and actually hope by the time I am fifty that I’m in better shape than I’m in right now. That’s my goal anyway.

Now about longevity and completing things. I started this round of filmmaking interest or more acurately, wanting to be an editor, in 2008. Spring 2008, I took my first editing class (FCP6) at RCC. Over the years, I have taken more classes there and at other schools. I recently looked at the number of FTV classes I’ve taken at RCC and realized I’m only two classes away from getting my Film, Television & Video Production Specialist certificate. My schedule being what it is, it’s hard to get more than one class or external activity in at a time. Looking at the catalog, I figured I could squeeze one more class in this coming semester. So, at the end of this month, with my son starting Kindergarten and my daughter starting preschool and all of the other commitments I have, I am taking a writing class, Writing for Broadcast TV and Radio.

Before this editing journey started, I was convinced I was going to be a Hollywood writer and spent a few years starting to feel the waters of that whole side of things. I never really ever even started to write things or even learn proper formatting. I guess now I’ll finally get my chance to learn. I’m actually pretty excited to do so.

Also, at the end of this month, I am attending the Cutting Edge Tour with Adam Epstein, the SNL digital shorts editor. It’s a whole-day experience where he will show you the workflow that they use to create the short films used on SNL. He will also focus on the creative side of things. I’m excited for that too. I feel I really need this kick in the butt to get re-motivated to actually producing more and more content. I’m even more excited because I was planning on buying this and ended up winning a ticket through a Twitter contest. Go Internet!

It is my hope that the two classes will culminate in helping me put together a bunch of unfinished projects. In addition, I hope to use my new skills to put together the IFIE film project, which members of the Independent Filmmakers of the Inland Empire are really chomping at the bit for.

My wife doesn’t ever seem happy about anything I do but she’s begrudgingly helping me. I wish she could feign enthusiasm for me but I guess that’s just asking too much. Life should be a burden, I guess. Well at least one of us can see the light at the end of the tunnel. Or maybe it’s just the walk in the tunnel that it is all about. ;) I’d rather drag a bunch of suitcases along in the sand trying to get to the goal than just sit and make camp. That’s just me. I’ll make it regardless. Or at least die trying!

Why The Future of “The Independent” Film is Lost

December 3rd, 2013

I really meant to say “fucked” but opted for a milder word in the title.

I’m not going to say it’s all lost because it’s not. But the following two things have solidified that the traditional route for independent film and a certain independent magazine are not long for this world.

1) Here is an email exchange. Read as if I’m forwarding an email to you. Names have been changed blah blah blah….

++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++

from: An Independent Film Magazine
to: Eric Harnden
date: Tue, Dec 3, 2013 at 12:10 PM

Hi Eric,

Thanks for reaching out. We have a pending grant request to get enough money to overhaul our site. We are very aware that it needs to be done. Until we raise the money, we don’t have resources to hire anyone. So unless you want to volunteer…

I don’t think returning to print is a viable solution for us. We are working on a book right now, and may publish more books in the future. But not the magazine.

All best,
Miss So and So
Editor, An Independent Film Magazine

from: Eric Harnden
to: An Independent Film Magazine
date: Thu, Nov 21, 2013 at 11:04 AM

Dear Sirs,

I’ve been involved in independent film for five years and this is the first I’ve heard of your magazine.

I think that’s a problem that I want to help solve.

One of the reasons this is concerning to me is that there is still a big “missing ingredient” to indie film and your publication can fill it.

I have recently been looking into becoming an independent film “aggregator”, if you will, and came to the conclusion that I wouldn’t be able to do the job. I sure would like you guys to perhaps fill that need, then.

With your fine history, I think it’s quite doable. With just enough social media push it could be overwhelmingly so.

What are your plans for future print publications? Would this be covered in your “Phase Four” agenda? I think a continued print version is vital.

To get more of an idea of where I’m coming from about the missing ingredient/the aggregator/the cool DJ concept for indie filmmaking, please see my post here: http://www.meetup.com/Independent-Filmmakers-of-the-Inland-Empire-Meetup-Group/messages/boards/thread/38512032 and listen to that referenced podcast.

Let me know what you think. I am very interested in what your future plans are and how I can help.

Thanks,
Eric

++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++

I mean WTF! They have completely missed the boat. Did they read my email. Am I completely off the island? I don’t think I asked for a job?! Holy Toledo! I don’t think they understand finance, marketing or business 101. “We need a grant to continue”? I just don’t get it. I wrote my email as a reply to a mass email asking for advertisers. Someone help me understand. Should I have worded things differently? Of course I want to “volunteer”. All I do is volunteer to help indie filmmakers. That should have been apparent in my signature text (which I have not included in this post). But how about a mission statement at least? I think they’re all over the map. This is an online film magazine that used to be in print.

2) I said there were two things that brought me to this conclusion. The second? Three views on my original blog post and I think those were all me.

Please comment below.

On The Set – of “a Real Movie!”

November 16th, 2013

Over the last month, I was fortunate enough to be able to spend nine days on the set of a feature film that was being shot in Los Angeles. The film is called Submerged and is written by Scott Milam (Mother’s Day) and directed by Steven C. Miller (Silent Night).

“The story follows a group of college kids on limo ride home from a party, they are soon forced off the road by a ring of vengeful kidnappers and must do what they can to survive.” – Dark Horizons

I met Steven, as I’ve met most of my film and TV contacts, through Twitter. In January of 2011, he spoke at my Independent Filmmakers of the Inland Empire group meeting and we’ve stayed connected, ever since. He is one dedicated filmmaker and his story is amazing. I’m not a big horror film fan, but I’m a fan of passionate drive and Steven is very driven.

Always willing to help people on their own filmmaking journeys, Steven invited a few individuals to be on set to witness movie-making magic. Additionally, someone involved with the film, posted that they were looking for extras for day 1. It was that post, because it happened to be on a day I was off of work, that set in motion my being involved.

Day 1
I arrived early to the base camp. As I exited the freeway, it was cool to see the yellow production signs guiding me to the right location. Upon parking, I saw Steven and he invited me on the transport van with him to drive to the filming spot. He gave me a little rundown of the film and when we got there, he flew into director mode and I hardly saw him the rest of the day. I say I hardly “saw” him. This was because, mostly, I was gathered with the extras (called “background”) and he was usually just out of my sight range but I could hear him all day. :) “…and ACTION!”, “CUT!”, etc.

We covered a few scenes that first day, at a “school” and at a restaurant. There were quite a few extras there and it was fun to get to meet them and hear their stories. Everyone has a story, from the top to the extras. Over my time on this production, I heard many. It’s almost as entertaining as the movie itself, all these different paths that brought people to and what they’ve done in Hollywood.

Most of the extras were young, playing high school students. I, being a little older, played what I’ll call “The Teacher”. So, that is the uncredited role I will always imagine myself as having played. So when you see the movie and you see some kids talking in the quad of the high school. Imagine me in the background as “The Teacher”.

You may also see my blurred out elbow passing behind a car’s back window as people are talking inside. If not that, then maybe you’ll see me walking past the window of the restaurant before the bullies enter, or maybe the top of my head inside the restaurant or maybe even one of the two guys grabbing a beer at the bar of the restaurant. As you can see, I’m a multi-faceted actor!

Getting the Education of a Lifetime
I was on set days 1, 2, 3, 6, 7, 8, 10, 11, 12 out of the 15 that were shot.

Day 2, I almost got bumped up to PA, driving a big 20’ plus box-truck but they ended up having someone to drive it. One of the following days, though, I was called to action and spent a few days bopping around L.A. dropping off and picking up equipment at various rental locations. This was also fun, as I got to learn what and where certain things were gotten from and the process of that part of the production. My advice here is, keep your ears open, pay attention to what’s going on. If you have a skill that’s needed, speak up… and step up.

From being an extra to being a PA to just being on set being able to observe all of the moving pieces of a movie production, was amazing and invaluable as far as education goes. I learned more in those nine days then I have in all of the years I have been studying filmmaking. For that, I am eternally grateful to Steven and to all of the cast and crew for allowing me to be a part of their process.

While I was on set, I mostly stayed out of the way and watched and listened and learned. I surely engaged in conversations with cast and crew alike, but I made sure to not get in the way and to not be annoying. There is such a thing as asking too many questions. People on set have jobs to do, let them do them. There are plenty of opportunities to ask questions, when they’re not busy. There is an ebb and flow to the work on a set. Be aware of the tide.

I learned that one of the positives of this set in particular, is that each of the crews (separate groups within the main “crew”, like camera crew, grip crew, electric crew, hair and makeup crew, art crew, etc.) all got along. Sometimes, and most of the time, from what I gather, this isn’t the case on other sets. I consider myself lucky to have had my first extended stay on a film set be this positive.

No film production is all roses though and I did get to observe some issues that arise on set. This, too, though is invaluable as a learning experience. I’ve learned things to do and things not to do. Because of non-disclosure agreements, I can’t go into detail but for you, I will share this bit of advice, get on a set. Start with a small local set if you like, a student film, what have you, but get on a set and help out. Eventually, get yourself on a big production, on many big productions. Get on set and learn. There’s nothing else in the world like it.

Due to the nature of the actions and environments of this film, gun fights, fights, submerging vehicles, etc., safety was a top concern and we were given more-than-daily safety briefings about what was happening, what to be aware of and what to do. This was very helpful and kept me alert to potential dangers not only on this set but even thinking back to my own projects in the past and what to be thoughtful for future projects.

Back to Morale
I heard over and over again how this was either the best or one of the best movie experiences that people had been on. This was from all levels of the production. At the wrap party, I asked one of the guys from the art department, why he thought this project was so fun to work on. Note: this was a low budget movie (for Hollywood standards). People working on this project weren’t motivated by money to be on this project. They were here because they believed in something. Either they believed in the project itself or another person involved in the project. He said that there’s a lot to be said for the passion of the people involved and to see the amazing things that were being produced from their work. And, he added, that amazing Crafty that came on the second week. “People seem a lot happier when they have an amazing breakfast in their stomachs!” Amen Art Guy! Amen! That harkens me back to the “Number one rule” an early producer mentor of mine used to say, “Feed your crew!”

As far as the amazing things (pictures and acting) that were being produced, first off, the pictures (and by that I mean the footage that was being shot) were amazing! It was just damn beautiful to look at. I mean seriously, just beautiful. Then the awesome acting that was performed, I was awestruck. I was truly witnessing something amazing being created. This alone brought me back each day I could arrange to be there. I was hooked. It was awesome. Or as one Intern and I joked, “It looks like a real movie!”

Unfortunately or fortunately for me, it was so awesome that doing anything else, paled in comparison. Going back to my “day job” blew. I could think about nothing else but to get back on set. As I am now. I’m writing this at work!

High Caliber of Crew
One thing that impressed me was the ability of all the crew involved. Each was performing at the top of their game. Grips were able to set up flags and gels with blinding speed to attain the perfect lighting required of the amazing camera crew. The art department had to think on their feet and make last minute changes flawlessly. Makeup and hair, Costume Dept, on and on I saw each department working with or without instruction to create what was needed. It was like a ballet, each person and group performing their piece to the end of a perfectly executed show performance. The PA’s on the set were well grounded and each with complete filmmaking backgrounds themselves. It’s funny how many directors there were on set! People who have or are going to be directing their own films. There are a lot of these as PA’s. They were impeccable PA’s and rounded out the entire ensemble.

Everyone brought their “A” game to the table, from Executive Producers to Producers, to the Director and Director of Photography and his camera crew, from Writer to Actors to Stand Ins to Extras, from Scripty to Crafty from Stunt Coordinator to Stuntmen and Stuntwomen to the Behind the Scenes guy. Well, maybe not him… but he’s a hell of a nice guy! This was a magical slice of time that will stand for a long time as a litmus test to what can be. I know that I, for one, will be comparing my future endeavors to this production.

A “Final” Word
I will be writing more on this at a later date (when plot secrets can be revealed, etc.) but for now let me sum up. I have been a fan of Steven C. Miller’s work for some time now and it’s very satisfying to see him climb higher and higher and create bigger and better features. I have had the Independent Filmmakers of the Inland Empire for some time now (four year anniversary next month) and it’s very satisfying to see members of that group rise higher and higher. I have been studying filmmaking for some time now and it’s very satisfying to see my own understanding grow and grow. I am poised to make a leap to the next level and I hope you are too. Whatever that next step be, take it. Do the next thing. Don’t wait. A writer friend of mine recently told me of something that Rian Johnson said that just really clicked with him and that was something like, “There’s 500 of you in this room and my next piece of advice will be for the 5% of you who don’t need it. Most of you will go off and try to find the money to do your film and it will never be made. The other folks will gather all the money they can and back their project into that budget and make their film, regardless.” I am paraphrasing all over the place but it was that piece of advice that made him realize, he needed to make his film now, right now, with whatever he’s got. Whatever it is that you need to do next, please do it. You’re going to learn more by doing it than anything else.

Thank you.
Eric Francis Harnden

SCRATCH 8 is coming soon!

November 10th, 2013

I received this information from Assimilate today.  It looked good enough to share. So here it is.

header-newsletter
SCRATCH 8 is coming soon!

Enjoy this preview of the powerful collaboration tools for cloud-enabled work that comprise SCRATCH V8. See the unrivaled new remote capabilities that allow any number of artists to collaborate on grading, compositing, and editing – even simultaneously!

Now you really  can  be in two places at once.

 

 

October Event roundup

“In October, we held SCRATCH User Group meetings in Amsterdam, Paris, London, New York and Los Angeles where we showed version 8 publicly for the first time. Here’s what the people had to say about SCRATCH V8!

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Sony Professional Solutions Middle East and Africa Offers Free License of ASSIMILATE SCRATCH Lab with Purchase of Sony PMW-F5, PMW-F55 and F65 Digital Cinema Cameras! Read more

 

Parke Gregg at Stuck-on-On uses SCRATCH to  enhance and refine looks for award-winning features

Parke Gregg, founder and chief colorist at post house Stuck-on-On is a pro user of ASSIMILATE’s SCRATCH post-production tools and real-time data workflow. ASSIMILATE first talked with Parke about the post and DI in SCRATCH for the critically acclaimed and award-winning “Take Shelter” feature, directed by Jeff Nichols. At that time, Parke gave high praise to the creative benefits of SCRATCH, especially when working with the director and DP during client sessions.

Q:  When you get film from a director, what specifically are you looking for in terms of color correction?

A: It’s definitely a multi-faceted discipline because there’s a significant technical component where we’re dealing with frame rates and multiple codex and levels. You dive deep into the science of digital video. You have to couple that with a strong creative component, so as a colorist and as a digital intermediate (DI) post-production editor, you’re constantly wearing multiple hats. Nowadays, the creative component is significantly growing. The colorist is truly on the storytelling team and is much more of a collaborator with the director of photography (DP) and the director than possibly in the past, so every project is different . . . Read the rest of the interview
tutorial.png

Amsterdam IBC 2013 User Group Remote Demo

Check out this demonstration of how using SCRATCH Remote
increases team creativity and productivity.

This being a casual recording of a live event,  the image and sound quality is less than ideal. We decided it was worth sharing the presentation even with its imperfections.


View all ASSIMILATE tutorials

 

Pro Video Coalition reports on how to use  Surface Pro to successfully collaborate with anyone, anywhere.
Read more

FilmConvert releases
a plugin for Assimilate SCRATCH. Another Perfect Union.
Watch the video

Colorist and DI supervisor Alex MacLean discusses
his work.
Read more

 

Check out where in the world ASSIMILATE is showcasing…

November 27 & 28
SCRATCH Workshop

Mexico City

December 3-6
Ventana Sur

Buenos Aires

December 9-15
Between Stills and Motion

Havana Cuba

Follow ASSIMILATE on…

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Insights Newsletter


© Copyright ASSIMILATE, Inc. | 3375 Scott Blvd | Suite 300 | Santa Clara, CA 95054 | www.assimilateinc.com

 

Meet Director Mattson Tomlin – November 6, 2013 7:30 PM #IFIE Meetup

October 11th, 2013

http://www.meetup.com/Independent-Filmmakers-of-the-Inland-Empire-Meetup-Group/events/135149012/

 

November 6, 2013 7:30 PM, Meet AFI film director Mattson Tomlin at Pitzer College

 

 

Independent Filmmaker – Director Mattson Tomlin, who successfully funded his project Solomon Grundy on Kickstarter, will be here to discuss his own approach when taking a look at a project.

https://www.facebook.com/SolomonGrundyBornonaMonday

Mattson Tomlin is currently at AFI, taking the director’s track.

“I come from a town of less than 1,500 people in Massachusetts.  When I was about twelve I started recruiting the local townsfolk to be my actors and crew, and before I knew it I was 18, living in New York City, and attending the SUNY Purchase Film Conservatory.  During my time at Purchase I directed a feature film called SOLOMON GRUNDY that was released this year, and two short films called DREAM LOVER and BRUISER. The shorts are free online and I encourage you to check them out, because I made them for you.  I’m now studying at the American Film Institute and having my eyes opened wider each and every day.  I’m currently chasing a feature film that I will direct in 2014, but not before I direct my upcoming thesis film, PERSUASION.”

 

This is a great opportunity for local filmmakers.  Come learn, network and possibly win some prizes!

RSVP here: http://www.meetup.com/Independent-Filmmakers-of-the-Inland-Empire-Meetup-Group/events/135149012/

Blackmagic Design News IBC 2013

September 13th, 2013

- ATEM 1 M/E Production Studio 4K ($2,495). A new extremely advanced Ultra HD live production switcher with 6G-SDI technology for only US$2,495. It includes new features such as 10 independent 6G-SDI inputs each with frame sync, built in DVE with zoom, scale and rotate, 4 upstream chroma keyers, 3 independent aux outputs with front panel control and a larger media pool that holds both still frame graphics as well as motion video clips. (http://www.blackmagicdesign.com/dk/press/pressdetails?releaseID=46474)

 
- New SmartScope Duo 4K announced today is a dual 8 inch LCD rack monitoring with built in broadcast accurate wave form monitoring, now also includes 6G-SDI for Ultra HD support. (http://www.blackmagicdesign.com/dk/press/pressdetails?releaseID=46504)

 
- HyperDeck Studio 2 and HyperDeck Studio Pro 2: New models of our popular broadcast disk recorders, which are also now available for $995 for the HyperDeck Studio and $1995 for the HyperDeck Studio Pro 2. These new models include a new machined metal design for a robust and professional looking product and a built in AC power supply. (http://www.blackmagicdesign.com/dk/press/pressdetails?releaseID=46498)

 
- Public beta of Resolve 10: DaVinci Resolve 10 public beta is now available for customers to download. We announced Resolve 10 at NAB, which is a major update including newfeatures for integrating the workflows of multiple different software, upgraded on set tools and editing features, support for OpenFX plug ins as well as new tools for delivering final project masters to cinemas. Also we are including the addition of Ultra HD resolutions and additional GPU support on the free of charge DaVinci Resolve Lite edition. (http://www.blackmagicdesign.com/dk/press/pressdetails?releaseID=46480)

 
- New 4K Mini Converter Models (http://www.blackmagicdesign.com/dk/press/pressdetails?releaseID=46492) are designed to ease the transition into Ultra HD workflows and allow lower cost Ultra HD studios to be built. These new models are fully compatible with SD, HD and Ultra HD equipment and automatically switch between video formats and will retail for $495 each.

 
- HyperDeck Software Update 4.0: A new update for HyperDeck Studio Pro, which now supports Apple ProRes file formats, ProRes 422, ProRes 422 (LT) and ProRes (Proxy). (http://www.blackmagicdesign.com/dk/press/pressdetails?releaseID=46444)

 
- Desktop Video 10: This major new software update for our Desktop Video software for our UltraStudio 4K and DeckLink 4K Extreme capture and playback products replaces all processing with a wholly new design. The update allows for new features such as simultaneous capture and playback and new frame buffer formats, and will beavailable in October free of charge. http://www.blackmagicdesign.com/dk/press/pressdetails?releaseID=46486

Passion vs. Pay

August 9th, 2013

I was asked last night, in a conversation about pay vs. passion, what the selection process is like for me, since I’m not a full-time editor and I really base all of my projects on “passion”.

I unfortunately have to base my day job on pay, I do have a family to feed, after all.  That isn’t really different in my eyes than editing something I’m not passionate about, like a lot of working editors do.  What benefit are you getting then, other than a pay check?  That doesn’t sound like a lot of fun to me either.  But having a job just makes my “free” time even that more valuable to me.  That is the time I have to spend with my kids, my wife or my friends.  You almost can’t pay me enough to give up any of that time.  Fortunately, with my current job, I have a decent amount of that time.

As an artistic type, I am drawn to create.  I am passionate about what I do and I want to spend endless amounts of time doing that.  It’s just a part of me. I can’t stop it without there being a price of unhappiness.

The time I spend away from my son and daughter, kills me too, even more so.  It’s a balance between getting enough time into all of my passions in life so I don’t sink into a depressive pit of despair.  With the limited time and ALL of the things I want to do, it’s almost an unwinable battle. Time is my worst enemy.  As I’ve tweeted, “So, my main problem to solve is how to squeeze 268 hours into a 168 hour week.” You’d think as an editor, controlling time would be an easy feat.  I guess I gotta get better!

So, my process of selection goes like this: I have the following criteria, 1) Do I want to do it? i.e. Do I care about the project or the people involved in it?  2) Is it worth missing out on time with my kids?  This is a big one.  If I want to do it, then maybe we can work something out, IF, 3) Is there enough time for me to spread it out over enough of a period of time that I don’t feel like I’m missing out of #2 above.

I feel that I don’t have to work inside the box or work my way up in the business the standard way.  I feel that I can find more than enough projects to build my skills that will take me where I want to go, through contacts, friends, etc.  I also feel, there is some power in creating your own projects to work on.  I have a few of those up my sleeve.

I am a firm believer in doing what you love.  I don’t think it’ll be that long until I can do that “full-time”, either.  The opportunities keep broadening for me.  I’m happy with the progress I’m making.

I was also asked if I considered myself a hobbyist, you know, just doing it as a hobby.  No, definitely not a hobby.  I spend so much time organizing events for others to be able to do and learn about filmmaking, putting together training for others to learn filmmaking and editing, doing projects and just proselytizing about the subject in general that it’s much more than a hobby.  And note, I do make money doing what I do.  Not a lot, yet, but I refuse to work for free and I refuse to pass on work to others unless there’s pay involved.  I’ve long passed the point of doing free work.  But I understand why some may do it.  There’s more to pay than “pay”!  There’s experience, being recognized, other forms of exchange and barter.  These are all valid reasons to take on projects.

As long as you’re happy doing the project, then it’s okay.  Do it, I say.

“Go confidently in the direction of your dreams. Live the life you have imagined.” ~ Henry David Thoreau

How the NSA Inspired Me to Organize My Film Book Library

July 27th, 2013

This week I was listening to a story on public radio about the history of technology and how this all lead to the ability of the NSA to do what it does now, scan our emails and phone calls.

Some interesting early technologies that lead up to this were: the telegraph (1874), by Thomas A. Edison and, of all things, the Dewey
decimal system.   Melvil Dewey developed this system, the first hexadecimal system, to code books for cataloging.  With this number you could almost know everything that was in the book.  This was in the mid 1870’s.  In 1889, the U.S. Census bureau adopted Herman Hollerith’s punch card system to tabulate the U.S. population within weeks.  Also, by the turn of the century, American cities were wired to an innovative telegraph system for police and fire alarms.  These key factors required a lot of human interaction to work but they laid the groundwork for the technology that exists today.

The one thing that stuck with me was how amazing it was that all that information on a book could be detailed within its call number.

Coincidently, I made a film book purchase this day.  The ad read something like, “10 feet of editing and film books for $40”.  There were 89 books in all.  This brought my personal collection to over 300 film books.  I was eager to let a couple of film friends I met for dinner know about all the books I now had.  Earlier in our conversation, I had also mentioned to them about my curiosity about the Dewey decimal system and how I was now going to study it more.  One of them said, “So are you going to organize your film library with the Dewey decimal system?” and that was it!  Of course I was!

I’m still learning about it but figured a good place to start would be to just look up the call numbers of the books I have and go from there.  I currently have been able to find about 150 books’ call numbers.  They fall mainly into two major divisions 778.5 and 791.  According to the Dewey Decimal Classification:  Class 700 is fine arts and recreation.  770 is photography and photographs.  778 is specific fields and special kinds of photography; cinematography and video production; related activities.  791 is public performances.

Further classification has 778.5 as cinematography, video production, related activities. 778.59 is video production.  791.4 is motion pictures, radio, television, although I seem to have books from 791, 791.01, 791.02, 791.03, 791.1, 791.37, 791.45, 791.76, 791.9 and 791.92.

While I realize my nerdiness is showing, I’m really quite enjoying this project.  I think it’ll help me to actually read more, a goal of mine.

Going POSTal Show

June 27th, 2013

So, after NAB, a few of us got together and decided to go forward with an idea of producing a podcast.  Adam Bedford, with a history of morning radio in Australia, heads the show and it is pretty much his baby.

The theme of the show is Post, Production and Pop Culture.

The current team is:

Adam Bedford

Ben Barden

Monica Daniels

Liam Johnson

and myself.

 

Check it out here: http://www.goingpostalshow.com/episodes.html or on iTunes!