If you made it to Reel Exchange this past week you know all this already, but if not, here are a few notes gathered from our guests in the Directors screening areas. Similar reports for animators, editors, motion artists and DPs will be forthcoming.
The guests screeners for our emerging directors were Ted Lega, a commercial and music video Producer, Director with Eightball Films; Qadree Holmes, a commercial producer with Line 9 Films, Casey Lundin, an independent Director, Writer, Producer; Donna D'Aguanno, a director's rep and Andrew Ryann, a director, producer and editor with Pixel Brothers. The moderator was Film & Video Faculty member, Chris Peppey.
Only four reels were screened, but all told, a lengthy discussion ensued from each. Directors, it should be noted, generally have a harder road to hoe than other types of film and tv students (editors, DPs, animators, etc.) A director's reel doesn't have a standard format and must split the difference between getting the point across quickly, but fully. That type of creative freedom allows for invention and creativity in putting together a reel, but it also requires discipline and focus. Below were some of key discussion points of the day.
1. To montage or not to montage? Not. Didn't seem like our panelists were too into montage sequences, especially for directors looking to highlight their narrative abilities. Montage use, if used, should be short, possibly used for a brief introduction. Possibly for transitional sequences in between clips, although not everyone on the panel agreed about this last point.
2. DVDs and menus. DVD menus make the compilation of directors reels a whole lot easier than the days of tape. Most on the panel favored a sort of menu selection option that highlit a main reel up top and longer, possibly complete projects below. The main reel gets attention and promotes. If it works well enough, it will draw the viewer into the longer pieces below. Also, don't create a complex of visually chaotic menu design if its not your fortay. Keep it simple, or find someone who can do it for you.
3. You're a director, now edit. The panel saw a lot of good work with actors, great shots and compelling action - but also that needed tighter editing. Editing your reel is definitely an area you may very well want to collaborate with someone on. Someone you know to be a good editor.
4. Avoid flash. One common theme that emerged was that a series of edgy shots, rumbled together over an ear-shattering soundtrack doesn't impress anyone. Your first reel may impress you and your friends and family, but keep in mind your audience. The people who might hire you or give you a chance. And they've seen it all before. Don't let flash and style get in the way of storytelling. Directors are storytellers and their reel should tell a story or series of stories. If, after watching your reel, viewers don't know anything about the characters or care about them, you're missing something crucial.
