I feel like I was the last person on earth to see this movie. Positive reviews were flowing all over twitter while it was in theaters and I could never seem to drag myself to the theaters, even though it seemed right up my alley. Crime drama, slow burn story, awesome actors, intense violence, fast cars, 80′s vibe. Whatever the case, I didn’t get to see this until it finally came out on blu ray, and it completely decimated me. The artistry of it is kind of hard to believe in this day and age, where the people with money can’t seem take a risk to save their family’s life. A lot of industry talk with the film has centered around its use of dissolves, and that is what really struck me as well. Personally, I am not a big fan of them. They have to be used sparingly, in my mind, and only at specific times. This comes from a lot of abuse early in my career due to a producer that required them on every transition. Well, this film just threw that ideology back in my face, and time and time again proved that the dissolve needs a More >
Be Wonderful and Wise – Lurpak® Lightest Spreadable
One of my coworkers shared this spot with me and I found it so inspiring. Not only will the narrating theme song catch you off guard but it will stick in your head for a long while. Just a warning. I think this is a perfect example of photography and editorial working in tandem to make something truly interesting. You have a wide mix of shots in different styles yet they all live in a close point of view, either of the food or of the cook. It feels much shorter than the 1 minute 10 second runtime and almost requires multiple viewings. Enjoy.
This is a slight deviation from the ongoing series of Feature Scene Breakdowns that I have neglected for the last six month or so. Being apart of the advertising industry now, I am finding myself much more attentive to the ad work that seems to assault me from every screen I own these days and I thought I should include it in this personal study. One huge upside of being within agency walls is a glorious room full of demo reels from over the years for Directors, Creative Editors, DP’s, FX Houses and even Catering companies (jokes). I have been trying to take advantage of that opportunity to study the work of the advertising realm masters. It was in one of those reels that I discovered this little gem of a spot from New Zealand for the Sky TV news network.
“West Bank” was released in December of 2009. The agency was DDB, Auckland. The Director was Cole Webley, the Cinematographer was Travis Cline, and the Editor was Kim Bica out of Arcade Edit. For me, the beauty of the spot is in how much editorial had to play in its success, and how invisible that hand is. Invisibility has long been a description More >
Last week my boss and Director of Integrated Production here at Crispin Porter + Bogusky, David Rolfe, shared a reflection with our team that was too good not to share. It deals with preparedness in producing, but has such cross-over goodness for editors as well. Usually the producer is our closest companion and strongest champion in the work we do, and I know that my projects would never have reached the point they do without the diligence and support of Gina Vorman, who I have to give a shout out to as we have collaborated on 8 projects here together. We share in the same periods of waiting that the producers do and we can be just as involved in the acts of preparation. As in chess, we should be looking 6 moves ahead and solving problems before they ever occur. Here is what Dave shared with us.
I’m not sure waiting should exist, in producing. There is no real room for it. We don’t have time to wait and producers are not waiters. If a situation is coming forth that smells of waiting, then counter it by planning. Why do we wait? We wait for feedback. We wait for “approval process.” More >
This is a downright hilarious new commercial from Hanes. It seems Cronenberg’s Brood wants us to use recycled goods.
I saw the 30 second cut of this the other morning in the gym and totally fell for it. Not only has the song haunted me since I heard it but the 1:30 cut has so much more detail. It is quirky as hell and has some great scene transitions. I want to be this guy.
I’m starting a new series of interviews with industry professionals to really focus on the relational aspects of the editorial process. Blog posts and bookshelves everywhere are flooded with technical information on the craft of editing, but there seems to be little out there on the human side of it all. Even though we hit all these keyboard shortcuts and plan out intricate workflows, what is at the heart of it all is spending 10-15 hours a day locked in a room, usually with other people, creating stuff. What makes those other people come back to your edit suite instead of walking down the hall to the next one? What keeps those other people from killing you, or what keeps you from killing them? Why do so many editors and directions reference a “psychic relationship” where they instinctively know how the other would proceed with an edit? Some of my questions don’t even pertain to editing alone, but all work that involves relationships and collaboration. I think, especially in school, so much of the curriculum is geared toward the tech side instead of the human side. Unfortunately, I know too many great guys who are wicked machine operators but fall More >