Straight to the point question-Anyone here worked with someone on stage 32 and their first exposure to them was their reels or links? And do you think people without them are doing themselves a disservice? Long drawn out question-So I'm working on a script for a project that I will be posting soon, and my goal is to assemble a crew using all stage 32 members. To recruit some possible candidates on the production side of things, I’ve been looking at a lot of cinematographer and special effects artist reels and links, so many talented people here sheesh! But I noticed a great deal of people with impressive sounding resumes but no reels or links to their work. I realized that after dedicating great time and effort to this research that the resumes wasn’t more important to me than the reels. So to save time and weed out dead-end I scroll down to see if the person had a reel or not. In short, no reel no consideration. How do you guys feel about this? Anyone here worked with someone on stage 32 and their first exposure to them was their reels or links? And do you think people without them are doing themselves a disservice?
Anything Goes : Reels and Links by Sy Shanti
Reels and Links
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Depends. Most of my commercial work, and none of my doc style work is on a reel(often the limitation in work for hire situations). Do they have films out that you can see or have heard of? Verifiable credits? How much of that reel was an editor's touch? I ended up with a lot of last minute work this past year, because someone initially hired another shooter with a flashy reel, only to find out that they don't understand how to tell a story visually, and couldn't light to save their lives - the gaffer really ran the show.
I will update those efforts as they unfold John, and on a side note to you, when I finish with a particular script I may call upon your services to give it that "Comforter" once over. (insert smile here)
Depends upon the project, Sy. Some have a post team hired before looking for a DP (you should always at least have your lead and assistant before starting shooting). Some things I'll cut myself. Others ask for a reference for a specialty - last week I was asked to find someone who worked in Cinema 4d with a lot of experience creating water effects. So I recommended two people. It just really depends upon the needs of the production.
Understood Rachael, this will be my first production and I'm always looking for insight and input, thanks for sharing.
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I'd check out their projects for each position. There's only so much you can tell from a reel, and (horrible as this sounds) reels can and have been faked. Find an editor with a style you like, if you don't plan on cutting it yourself. Then dig a little. Do you like their pacing and storytelling, or are you actually responding to a couple of easily available plug ins?
I haven't worked with anyone on here yet, I wouldn't rule out people that don't have reels because if you contact them they might be able to provide you with footage. I know for casting I've had to cast something really fast so I relied heavily on reels and footage. I think you need to just look at a combination of both if you have the time.
Your idead is great and I hope it sees the light of the day... I can also offer my services as usic composer for your movie, you can check my reel, it has everything; from epic music to slow ones. Neverthless, I hope your project will grab attention!
If there is anyone without a reel out there, contact me, and I will walk you through the process of how to put one together. How may I help you?
I can only speak from personal experience. I found it difficult to get a reel from the filmmakers I worked with. I would practically beg, to no avail. I found it incredibly frustrating, but I don't if this is just the way of things when working on 'low budget' and 'no budget' independent films. I guess I feel that if I am not getting paid, the least the filmmaker can do is provide me with a reel of my work and some other proof that I did work on the film.
Karen, absolutely. This is a basic courtesy that all actors and all crew are owed, so there's no excuse, short of 1) somebody died or 2) somebody else died. It's not brain surgery, it's not expensive, and to drop this ball is not smart. When you're famous, they'll figure it out.
Well said Heidi, and I agree Karen, that surely isn't the standard business practice of real professionals, low budget or not.
Thanks, Sy. Re: your original question, are people short changing themselves by not having an online reel available? Actors, definitely: they are their own instrument and, short of a live audition, this is how they can show what they have to offer in a credible way (and even without any on-camera credit, can still create a sample with a camera phone and a book of monologues). But when skills and expertise are behind the camera, the reel can be more seductive and its evaluation dicier. Most people mean well. I would never fault anyone for being ambitious and wanting to connect and contribute, but for some, the temptation to over promise and under deliver - or, God forbid, to claim another's work as one's own- is a means to an end that they can't resist. Did they actually shoot the footage? Did they edit, or were they working in a auxiliary role? A reel doesn't tell you that and offers no guarantee that what you are seeing is, well, real. Are some people missing out by not posting a reel? Sure. But focusing on those who do may very well lead a filmmaker (not you, Sy - you're golden) to overlook a real talent who is busy with his or her craft and not promotion. It's hard to do both.
Thanks! That was still one of my favorite projects to do.
artists are judged by their attitude and their work, it's important to have a portfolio and to interact.
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Sy: I have not worked with anyone here; but it seems like what you are doing makes sense. In finding/evaluating anyone's skill set takes an investment of time. If someone cannot show you a sample of their work it doesn't mean they cannot do the job; but it’s a crap shoot taking it on faith.
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You said it yourself. You are going by the reel. We as artists need to be able to properly represent ourselves, and we need to continuously work on our reels and portfolios. Actions speak louder than words. The resume is words, the reel is the action.
"If someone cannot show you a sample of their work it doesn't mean they cannot do the job" Exactly Phillip, that a very good point and I co-sign that with a rubber stamp. "Actions speak louder than words. The resume is words, the reel is the action." And Jennifer thats the quote of the day for me, love it! : )
Two guys come to your house to give you a quote on home improvement. The first guys seems like he could do thd job, and tells you, "Yup I've done alot of jobs in this town and other towns" The second guy says the same thing, except he has a book with pictures of his work, and testimonials from the people he's worked for. Who are you going to gravitate to? It's human nature. Always stive for quality, always hit em with everything you got.
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I personally don't care how many jobs you've worked or how high-profile they are. I care about what you can do. If you don't have a reel, I'll go off your experience, but if you have a reel that shows me you have what I'm looking for, I don't need to see anything else.
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as a side note... Reels are more of a NY thing.. at least in the sound department. I'd rather see a resume with proven jobs and references than a reel that could have come from anywhere and been edited by anyone.... and frankly, reels just don't cut it for me... they tend now-a-days to be just a couple minutes of too many edits and too much flash.