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Re: Getting Started
- To: telecine internet group <telecine at alegria.com>
- Subject: Re: Getting Started
- From: rob at alegria.com (Rob Lingelbach)
- Date: Fri, 18 Dec 1998 20:37:04 -0600
- In-Reply-To: "Christopher Bacon" <KA2IQB at worldnet.att.net> "Re: [TIG] Getting Started" (Dec 16, 14:55)
- Organization: Altruistic Intentions
- Phone-number: +1 214 887 8544
- Reply-To: Rob Lingelbach <rob at alegria.com>
- Resent-Date: Fri, 18 Dec 1998 20:37:57 -0600
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On Dec 16, 14:55, "Christopher Bacon" wrote:
} Subject: Re: [TIG] Getting Started
> You may be interested to know that while most people holding responsible
> positions in post production are college educated, it's frequently the case
> that their degrees have little to do with what they are doing now. Most
> good careers in post are not directly obtainable on the strength of a
> degree. While it will get you in the door somewhere, you'd better expect
> lots of long hours at low pay as some prima donna's assistant before they
> let you touch anything yourself.
The prima donna's case could be made prima facie that primarily, the
succession of an assistant is a result of a shift in the state of
I agree with Chris that very little attention is paid to the formal
education of applicants for most post-production positions. Though
one may wish this weren't the case, as our relationships, exchanges,
and derring-do would benefit from certain cultural/historical lessons
studied in school, the varied backgrounds and avocations of telecine
people present a certain enriched cross-section... just attend one of
the tradeshow telecine parties (Fun Night comes to mind). My
nomination of the TIGer most likely to have learned many of the
lessons of history is Mike Orton.
Often I'm asked by prospective post-production pupils "where can I
learn to do what you do?" I wish I could refer them to an Academy of
Autocratic Arts where they could learn the self-worship essential to
the position, but anyway, the schools don't usually have the money to
buy the gear. Some schools can buy the gear but must settle for being
a few years behind the current technology, as it's just too expensive.
> Once you put some time in actually doing the job, you must work your
> way up to bigger and better projects with modern equipment. This is
> a tightrope act: video is a small world, and pushy, agressive types
> are long remembered--particularly if they only have mediocre talent.
A fine line, that between agression and ambition, and the more
talented prospects are sometimes the quieter.
One of the most fascinating aspects of telecine is that of the
'session', where several people come together, for a few hours, to
work on a project in a room not much bigger than a bedroom. The
art is as much in the exchange of views and respect accorded each
other as in the recorded result.
As that most important commodity, bandwidth, increases, we may see a
tendency toward server/client-oriented work, where the server
--in this case the colorist and equipment-- are in a location separate
from the client. While this can be temporally convenient, a certain
amount of social fun may be lost.
> You need to be able to speak as effectively and tactfully as a
> master statesman, otherwise you won't get very far in this business
> no matter how good your other skills are!
Senior Colorist, FWC Dallas
Rob Lingelbach | "I would give nothing for that man's religion
rob at alegria.com | whose very dog and cat are not the better for it."
www.alegria.com --Rowland Hill, "Village Dialogues", via A. Lincoln
Thanks to Bruce Goren for support in 1998.
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