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Thursday, October 4th, I received this email from Film Editing Pro about a month ago, and have received permission to share it with you. As you may or may not know, I spent the summer interning for one of the top trailer companies out there. I spent my time earning how to do assistant editor duties. Since that experience, I am hell-bent on becoming an assistant editor for a trailer company. I also want to edit trailers but know I have to work on my craft a little more.

Jonny Elwyn did a real great write up on their course here: You can visit their training page here: How much information can a person be exposed to in that amount of time and still be expected to retain any of it? If you make it too sparse, the audience might write your movie off as boring or slow.

Pack in too much though, and you risk them tuning out entirely. The key is finding that sweet spot. Common Mistakes Mistake 1: Using a lot of character names This might sound crazy. Of course we use character names, right? Why is this? The answer is simple. If the audience is thrown a ton of specifics they are likely to forget them anyway. And even if we do use a bunch of character names, how do we know if the audience has retained them?

Will they know who Sarah is as opposed to Julie or Stephanie? Keeping it simple, and avoiding names whenever possible, is the much safer course of action. Mistake 2: This is often a statement which speaks to the theme of the movie. The more words there are, the longer you have to leave the card on screen. This can easily wreck the rhythm of your trailer.

This can create a domino effect that leads to confusion as they miss important story beats that contextualize other parts of the narrative later on. Remember, we need to be cautious about giving the audience too much information, thus overstimulating them to the point that they tune out.

A slight variation on an existing idiom. The copy writer is attempting to capitalize on knowledge the viewer already has. Effectively piggybacking on mental real estate that already exists. One last little insider secret regarding graphics cards such as these: Mistake 3: Besides the fact that it looks sloppy, it also leads to a lot of audience confusion.

What happened to the sound for that moment? Or was I supposed to not hear it? Watching a trailer is kind of like being a hurdler. If they trip on even one thing, it can start a chain reaction where they never complete the race.

Keep those hurdles as simple and easy to clear as possible. Thanks for reading! Have a wonderful week, all. As always, please let me know your requests and suggestions for additional content. Any specific problems you could use help with? Let me know! It was a great panel where I learned more about the jobs in the post industry, in the sound department. The nine panelists, experts in their field, talked about their roles and showed videos related to their work.

One of the questions was quite apropos to my ThisPostLife subject matter. Alan Meyerson — I was in the record business for many years and the record industry had changed a lot. And, just one of those strange happenstances. I ran into someone who worked with Hans and they stopped by and they asked me to stop by and visit and I ended up covering a session for someone else and did a little session with Hans and he asked me what am I doing for the next couple of months and here I am 24 years later!

I think that stuff just happens. I think sometimes opportunities make themselves available. And I think in any profession but certainly this one.

I was actually a projectionist on a Foley stage. The Foley artists asked me to help them on a project. Because in those days, it was an automated projector. So there was nothing for me to do, other than hang around.

Peter Bogdanovich was in it and Dorothy Stratten was in it. And it all took place on skates, roller skates. And I used to be a roller skater at the time, strangely enough. So, I helped them for about two days and then they quit and disappeared. And so, opportunities, you know.

Teri Dorman — I think though anybody up here is going to say that they really love movies. And in sound, I feel part of the team. John Paul Fasal — Oh me?! You know, a lot of people here I think got in through music. I moved to LA to be a rock star. And so I am… But I had a girlfriend who had gone to high school with a guy who had a post-production house.

And one thing sort of led to another. I can do that. Mark P. Stoeckinger — Yeah, I mean I was always fascinated with film. So, I think I have that in common with all you folks and probably all you folks too talking to the audience. But ultimately, I really got impressed with how sound as I can be… [[Frankenstein? I just want to be a part of that. Take something from nothing and make it into something. Ai-Ling Lee — Yeah, pretty similar to Mark. Kind of. Lee Orloff — I did a film in film school that I got very involved in recording sound effects.

It was a movie without any dialogue. One of my instructors who saw me through the mix, offered me a job. I think it was my first offer.

He was an IA mixer in New York. So it was a fabulous opportunity I went off and I spent some time with him and I realized, this is not for me. And so I started doing documentaries. And documentaries led me to other opportunities. I was kind of a subtractive. Scott Millan — I thought, my parents, before I was born, and my sister was a little bit older, they were performers, they acted, and that was the last thing in the world I had wanted to do but I liked the creative spirit.

And I think what really motivated me to do was listening …sound was really something important, the production value. I though most of the time, you sit there and you had to do it all yourself. And it was great.

I just loved it. I was in town for ten years before I knew how films were mixed. Brian Slack — I was a projectionist, I ran a carbon arc changer when I was 15 years old. Although, oddly enough, when you mentioned Terminator 2, we were on completely opposite ends of that film. That was the first kind of real film that I ever worked on. I worked for a company called cinema digital sound and I watched every digital print of Terminator 2.

So, I sat down for like two weeks and watched that film like 52 times. So, as you can see there are many, many ways into the business, as we keep finding out! Each year the line to get in seems longer and longer.

I think has a lot to do with the fact that ACE is steadfast in their efforts to help our craft in being recognized in the world of film.

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