Podcasts about blue collar post collective

Janis Vogel is a creative coach and film editor who helps creatives craft sustainable and successful lives via ease and authenticity. Janis is a queer, feminist, unrelenting powerB of the first degree—an editor of award-winning documentaries, narrative films, music videos and oh so very much more. Born in Germany, but reared in the bucolic wonder that is Martha's Vineyard, she draws on a rich background of realities and identities. She fulfilled her childhood dream of residing in New York City and lived there for 13 years while working in the film industry and steeping in the art scene. In 2018 she made another human being, and has since worked on P-Valley, Master, Past Lives and other confidential super secret projects, personal and professional, that she can't reveal just yet. She's also the co-founder of The Blue Collar Post Collective, a grassroots initiative supporting emerging talent in film. She now lives in Encinitas, California with her daughter, devoting her time to serving clients wishing to put themselves out there, expand their visions, and take leaps with the power of a coach by their side. Janis is - most importantly to me, an amazing friend. Find her on instagram @janisvogel and on the world wide web at janisvogel.com 

Monica Salazar (Honey Boy, As They Made Us) talks about her experience co-editing Bardo: False Chronicle of a Handful of Truths with Academy Award-winning director Alejandro González Iñárritu. We also discuss ways to deal with burnout and how to overcome imposter syndrome - and what makes a good taco

As a multimedia artist, post-production professional and harpist Amanda Peckler is a dynamic creative who brings her phenomenal abilities to multiple arenas. This Skidmore College graduate has been involved in several documentaries, transmedia projects, narratives and podcasts. She is an accomplished member of The Post New York Alliance, The Blue Collar Post Collective, The Future NOW Media Foundation and AIR Media. In addition she is a mentee for the Alliance of Documentary Editors. Her vast experience has brought her to hands-on involvement in production and post-production roles on award-winning documentary film sets, edu-tainment teams, mutlimedia installation work and narrative television shows with HBO Max, Amazon, Apple TV+, and AMC. As the co-founder and the producer of the Pass the Mic series, she helped propel this cutting-edge multimedia platform and community forward into a bright destiny of empowering individuals with marginalized identities by giving them a voice on air. Once a fellow for the John B. Moore Documentary Studies Collaborative Institute, she embraced the opportunity to direct and develop an interactive website and living archive called Neshama: The Jewess Soul, which explored Jewish womanhood in the United States. Currently Amanda Peckler serves as a producer, editor and co-host of House of Neshama, a digital platform and podcast off-shoot of her documentary project. As harpist and poet, she performs at many events, bringing her beautiful skills to a diverse array of ambiances. Her talents shine in many various settings. I am delighted, honored and absolutely thrilled to have this spirited talent grace the airwaves of State of the Arts this week!

Its finally here! Welcome to episode one of our monthly round table podcast where hosts Scott Simmons, Katie Hinsen & Michael Kammes talk about the latest news in production, post production, entertainment tech and beyond. In our inaugural episode the gang talks about the Blue Collar Post Collective rate survey, updates to the Metaverse and how it will effect the world of production, AI technology and a fun segment called One Cool Thing where each host talks about one cool thing they learned or found over the past month. Enjoy the episode and if you have a better name for this round table tweet us @ProVideo! BCPC rate survey: http://bit.ly/2022ratesurvey A bit about the hosts: Scott Simmons @editblog Scott was born in rural West Tennessee and didn't really realize that movies and tv had to be made by actual people until he went to college. After getting degrees in both Television Production and Graphic Design he was in one of the early graduating classes at the Watkins Film School in Nashville, Tennessee. During that time at Watkins he discovered editing. In 1999, Scott took the leap into freelancing and in 2007 accepted a position as an editor at Filmworkers - Nashville. In 2005 Scott created The Editblog a website dedicated to all things editing and post-production which is now housed here at PVC. Someday he hopes to edit on a beach with a touch screen device, a wireless hard drive and a Red Stripe. Katie Hinsen @katiehinsen Katie is an international award-winning film & television executive with credits on over 100 major productions. Her background as a Finishing Artist has allowed her to make waves through Editorial, Color, Engineering, VFX and Leadership. She has spent much of her career focused on the forecasting and implementation of emerging technologies, and is a passionate mentor and advocate for emerging talent. Michael Kammes @michaelkammes Michael is the Senior Director of Innovation at Shift Media. He consults on the latest in technology and best practices in the digital media creation and communications space. Specialties: Workflows and Technology in Production and Post Production: Cloud/SaaS, Acquisition, VR/360, HDR, Storage, Asset Management, Automation, Archival, Editorial, Post Audio, Finishing, Encoding/Transcoding, and Distribution. Michael incorporates this deep knowledge into his technical infotainment series "5 THINGS", plus various podcasts, panels, and user groups. Plus, he just really, really, digs Post. http://5thingsseries.com http://michaelkammes.com --- Support this podcast: https://anchor.fm/artofthecut/support

Chris & Alexei talk puppet animation, Blue Collar Post Collective survey results (shout-out to Katie Hinsen for putting it together), and first steps with 3D animation in Blender! Leave us a voice mail: 332-333-4361 or send us a voice note: https://anchor.fm/sizzlereelgang/message EXCLUSIVE CONTENT ON PATREON: http://patreon.com/shishkinproductions send yr questions to @sizzlereelgang on ig and twitter (or sizzlereelgang@gmail.com) and follow @shishkinproductions on tiktok Call us and ask a question! 332-333-4361 --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

In case you missed it, my recent article Dear Hollywood: We Don’t Want to ‘Go Back to Normal.’ Normal Wasn’t Working ignited a firestorm of conversation, social media messages, and a barrage of emails (I promise I’m reading all of them!!!) that ultimately became the impetus for this candid conversation with MPEG National Executive Director Cathy Repola. Since 2016, Cathy has been one of Hollywood’s leading voices on labor, working to negotiate and enforce contracts that protect the wages, benefits, and livelihoods of more than 8,000 workers in the post-production industry – including my own. Like so many other organizations, Cathy has been working tirelessly with studio executives and union members alike to come up with a plan to get Hollywood back to work – SAFELY. But how can we do that without putting ourselves at risk? If you haven’t yet read my article (stop this recording right now and go read it!) here are the Cliffs Notes: We’re tired of long hours and unrealistic deadlines that keep us from seeing our families, raising our kids and enjoying our lives. We want to seize this opportunity while Hollywood is shut down to shift the paradigm and restructure our work-life balance. Instead of “going back to normal,” we need to define a new version of normal that works for all of us. Namely, we need to abolish the “standard” 60-hr week Nobody should EVER have to sign liability waivers to return to work We require compensation for our equipment if we’re asked/required to work from home. BONUS: Don’t you dare ask me to provide child care if I have to work from home. Cathy and I discuss each of these topics in-depth in this interview as well as also fielding live questions from the Facebook community that attended this live Q&A. Want to Hear More Episodes Like This One? » Click here to subscribe and never miss another episode Here’s What You’ll Learn: American Cinema Editors, Blue Collar Post Collective, Motion Picture Editor’s Guild and other groups have been fighting for these rights for years and now are finally starting to come together to continue this conversation. Waivers 101: What do they mean? Do you have to sign them to report to work? (Bottom line: Don’t sign anything without giving it to the Guild to read first) How absurd it is that we are fighting for a 10 hour work day!!! KEY TAKE AWAY: More hours do not equal better hours. There is no mandate for the 60-hour workweek for an on-call Union editor. The hours came from the number of hours that the studios were contributing to the pension and health plan. How to create a better balance of work hours with more flexibility to the employee to get the work done on their schedule. Employers and producers are abusing their power if they ask you to trade a weekday off work for an unpaid Saturday or Sunday. KEY TAKEAWAY:  We need to summon the feeling of dread we have about going back to the way it used to be and use it as a catalyst to change. Don’t let employers tell you that they’re doing you a favor by allowing you to work from home. The reverse is true. Burnout comes from a lack of setting proper expectations. What the timetable is for going back to work based on regulations and new COVID guidelines. The way to set boundaries for yourself without being perceived as “the difficult one.” Guidelines for kit rentals and reimbursements for working from home and the timeline for when these will come out. KEY TAKEAWAY: Cathy says, “If we want this business to thrive, we need to start taking care of each other”. The value of the work is more important than micromanaging our time and we need to destroy the culture of the “theatre of work”. The idea that today’s miracle equals tomorrow’s expectation needs to be revised with post-pandemic expectations. Can the editor’s guild have a protected cut the same way the director’s guild does? How we can access the box rental guidelines when the Union releases them. Advice to leave with: We can solve these problems as a larger community. Be involved. Don’t fight this fight alone! Useful Resources Mentioned: Dear Hollywood: We Don’t Want to “Go Back to Normal.” Normal Wasn’t Working. Dear Hollywood: We Create Entertainment For a Living. We’re Not Curing Cancer. Dear Hollywood: We’re Not “Lucky to Be Here”…You’re Lucky to Have Us Our Generous Sponsors: This episode is made possible for you by Ergodriven, the makers of the Topo Mat, my #1 recommendation for anyone who stands at their workstation. The Topo is super comfortable, an awesome conversation starter, and it’s also scientifically proven to help you move more throughout the day which helps reduce discomfort and also increase your focus and productivity. Click here to learn more and get your Topo Mat. Guest Bio: Cathy Repola has served the Motion Picture Editors Guild in several top leadership roles since 1992. Since 2016, she has been the Guild’s National Executive Director, where she is one of Hollywood’s leading voices on labor. Repola helps negotiate contracts and ensure enforcement that protect the wages and benefits of more than 8,000 workers in the post-production industry, including picture and sound editors, re-recording mixers, Foley artists, technical directors and story analysts. The Guild also leads the way in organizing labor within post-production. Motion Picture Editors Guild CineMontage: Journal of the MPEG Show Credits: This episode was edited by Curtis Fritsch, and the show notes were prepared by Debby Germino and published by Glen McNiel. The original music in the opening and closing of the show is courtesy of Joe Trapanese (who is quite possibly one of the most talented composers on the face of the planet).

“This moment is necessary as much as it is uncomfortable.” - Monty DeGraff (Comments on diversity in Hollywood June 2020) According to a 2019 survey of 1700+ post-production professionals (thanks to Blue Collar Post Collective), 1.5% of those surveyed identified as ‘African-American’ with over 80% identifying as ‘White.’ Let this sink in for a second...1% of people in post identify as African-American. How is this possible? Is there a systemic reason for this? Or on the contrary, should we just accept that “it is what it is?” Seasoned editor Monty DeGraff, ACE (Star Trek: The Next Generation, Law & Order, Daredevil, Man In the High Castle, Narcos: Mexico) worked in Hollywood post-production for 9 years before he met another black person like himself. Over the years, he’s seen very little increase in the number of black people working in post-production, largely because there has never been a real incentive to change it. In this interview, Monty and I address some of the following questions: Why aren’t black people getting the opportunities they deserve? In the midst of the COVID- 19 pandemic where many of us are forced out of work, can we finally take the time to examine our own responsibility in the racial epidemic that is happening in Hollywood? Can we honestly evaluate where our internal biases have informed the status quo? Can we recognize that white privilege doesn’t mean you had an easy life, it just means the color of your skin didn’t contribute to your hardships? This is an incredibly candid and uncomfortable conversation (as it needs to be) where Monty opens up about how he’s had to fight harder in this industry because he’s black, how internal biases inform the comfort level in the editing bay, and why white people need to start having these conversations with each other. If you have been feeling sad and helpless about racism and the mistreatment of black lives, please listen to this interview to gain insight into the black experience specifically in post from Monty’s perspective and hear his thoughts on what steps we can take collectively to make true and lasting change in the post-production industry. Want to Hear More Episodes Like This One? » Click here to subscribe and never miss another episode Here's What You'll Learn: The story of how Monty almost became a lawyer but realized it was Hollywood that was his true calling. How he never considered himself a mentor but naturally fell into it His advice on what assistants should be using to convince producers they can cut. Monty’s secret for how he fast-tracked himself from Assistant Editor to Editor. SPOILER: You have to ask. On diversity in Hollywood: How post-production in Hollywood is predominately white and how he’s had to navigate that to get the opportunities he’s had. What it’s like to go into a room and see the surprise on an interviewer’s face that you’re black and they weren’t expecting that. What football has to do with unconscious bias and how we can learn from it in our own lives. How we all have prejudices, regardless of race, and this is a moment to check ourselves. What Monty believes is the ONE thing that connects us to all people. How to see beyond color and find commonality beyond the superficial things that seem to separate us. How most black people believe they will encounter hostility working in white environments and how that affects them. Why Monty thinks white people need to have the race conversation amongst themselves and what specifically they can talk about to make forward progress. The importance of self-reflection and looking into our own hearts and minds to see how we are reacting to the world around us. White privilege doesn’t mean your life wasn’t hard, it just means the color of your skin wasn’t one of the reasons that your life was hard.   Useful Resources Mentioned: Monty DeGraff in CineMontage  Blue Collar Post Collective Surveys Want to Be Part of the Solution but Don’t Know How? Start with Listening. More Podcasts & Articles on Equality Guest Bio: Monty DeGraff was born and raised in New York City where he attended public schools. He graduated from the University of Rochester with a B.A. in History and then headed west to California. Through a classmate he landed a job as a page at ABC and from there quickly became an Apprentice Editor in their film department. This allowed Monty to join the MPEG just as non-linear editing was beginning to reshape television post production. Monty became an Assistant Editor on Star Trek: TNG and it was there that he received his first credit as Editor. In took 3 more years bouncing between being an Editor and an AE before Monty landed a job as Editor for Dick Wolf on Law&Order. He stayed there for 5 seasons , one of which won the Emmy award for best Dramatic series. Since then Monty has worked on shows big ( “Daredevil”, “Narcos: Mexico “, and “The Man in the High Castle” ) and small and everything in between. Monty’s love of craft continues to grow, as does the enjoyment he gets from working with talented, passionate storytellers. In addition to the pleasure of cutting, Monty has found great satisfaction from mentoring the next generation of editors. He currently working on a spinoff of the STARZ series “Power” called “Raising Kanan”. Monty DeGraff in CineMontage  Show Credits: This episode was edited by Curtis Fritsch, and the show notes were prepared by Debby Germino and published by Glen McNiel. The original music in the opening and closing of the show is courtesy of Joe Trapanese (who is quite possibly one of the most talented composers on the face of the planet). Note: I believe in 100% transparency, so please note that I receive a small commission if you purchase products from some of the links on this page (at no additional cost to you). Your support is what helps keep this program alive. If you have any questions, please don’t hesitate to contact me.

Welcome to the Art of the Cut Podcast! On todays episode Steve wraps up his 4 part series with the legendary editor Walter Murch, ACE. In this episode Walter answers questions from the Blue Collar Post Collective group on Facebook. Enjoy the episode! This weeks episode is brought to you by Studio Network Solutions. Studio Network Solutions combines state-of-the-art shared storage hardware with intuitive media management software, and powerful integrations for Adobe Premiere Pro, DaVinci Resolve, Avid, and Final Cut Pro Ten. Visit http://studionetworksolutions.com/AOTC/ and start creating amazing content, faster. Thank you for listening to the Art of the Cut Podcast. If you have a chance please leave a review on whatever platform you listen on! The Art of the Cut podcast is available on Apple Podcasts, Spotify, Google Podcasts, Anchor and many more platforms. If you like the podcast, make sure to subscribe so you don't miss future episodes and tell an editor friend!

Moni Salazar is a Mexican assistant editor (and now editor) for feature films who has been KILLING IT since she moved to Los Angeles. In fact her first feature film as an editor, Honey Boy, is about to screen at Sundance! As an assistant editor she has also worked on such films as Netflix’s All Day and a Night, The Beach Bum, and Zoe. In addition to the many hours she spends in dark rooms, she is also the Vice President of Blue Collar Post Collective. Moni approached me last year because she found it nearly impossible to focus on creative tasks. She was constantly distracted by little things that kept her from doing the creative work that she loved, so much so at one point she didn't get her Visa application done in time...and she was forced to move back to Mexico! We worked together one-on-one for the next 12 weeks to help her clarify her goals and find the most important ‘One Thing’ in her life that she had to accomplish every day in order to get focused, avoid constantly procrastinating, and get her life organized! My purpose for sharing this case study is to help explain the process that Moni and I worked through and the steps she took to get her life more organized and establish daily habits to help her increase her focus and productivity while actually creating more time in her day to relax. That way you can use some of these same ideas and techniques to move yourself forwards this year, whether or not you’re interested in working with me one-on-one in my coaching program. If after listening to this interview you do want to learn more and apply to work with me for the next several months and beyond, enrollment is currently open but time slots are extremely limited. To apply just visit optimizeyourself.me/elite-apply. » Click here to work with me one-on-one Want to Hear More Episodes Like This One? » Click here to subscribe and never miss another episode Here's What You'll Learn: Practicing focus and awareness during work hours Learning when it's okay to say 'no' Recognizing when you are creating your own obstacles Moving forward with your necessary tasks even when they seem overwhelming How time blocking enhances your creativity even if it feels like having a schedule will restrain it What's the 'one thing' you need to focus on to complete your goals? The domino method of task management Defining the qualities you want to see in yourself before anything else Useful Resources Mentioned: www.monisalazar.com Ep36: Finding Your "One Thing" with Jay Papasan Our Generous Sponsors: This episode is made possible for you by Ergodriven, the makers of the Topo Mat, my #1 recommendation for anyone who stands at their workstation. The Topo is super comfortable, an awesome conversation starter, and it’s also scientifically proven to help you move more throughout the day which helps reduce discomfort and also increase your focus and productivity. Click here to learn more and get your Topo Mat. This episode is made possible by SitTight, my new #1 recommendation if you’re searching for a healthier, more ergonomically-friendly office chair that turns sitting into an activity that actually improves your health rather than damaging it. Yes, you can actually get fit while you sit. If you’ve never seen one, just imagine the most comfortable bar stool on the planet on top of a Bosu Ball. Trust me...it’s awesome. SitTight can provide fitness for your body, focus for your mind, and fun for your spirit. BONUS: Use the coupon code OPTIMIZE for 10% off your order! Guest Bio: Twitter| Instagram Mónica Salazar is a Mexican editor and assistant editor for feature films. She enjoys crafting stories on a daily basis, and is usually found hidden in the darkness of an editing room with a cup of coffee serving as her safety blanket. Her editing credits include Honey Boy set to premiere at Sundance in 2019, and the Los Angeles Emmy award winning documentary Montage: Great Film Composers and the Piano. Mónica has also worked as an assistant editor for various films, including Netflix’s All Day and a Night, The Beach Bum, and Zoe. Monica also serves as the Vice President of Los Angeles for Blue Collar Post Collective, an accessible and focused grassroots non-profit organization that supports emerging talent in post production. Mónica takes pride in her taco-expertise and has found the best pastor tacos in LA. Show Credits: This episode was edited by Curtis Fritsch, and the show notes were prepared and published by Elyse Rintelman. The original music in the opening and closing of the show is courtesy of Joe Trapanese (who is quite possibly one of the most talented composers on the face of the planet). Note: I believe in 100% transparency, so please note that I receive a small commission if you purchase products from some of the links on this page (at no additional cost to you). Your support is what helps keep this program alive. If you have any questions, please don’t hesitate to contact me.

Here's the second podcast episode of THIS POST LIFE. In this episode, Chris and I go to a Blue Collar Post Collective meetup and talk to some members there, like Zora Arnold. Find out more about BCPC here: https://www.facebook.com/groups/BCPANY/

“How can I break into Hollywood or advance in my creative career if I don’t know anybody?” is a common question I receive via e-mail, when I speak at events, or when I teach at USC or online. Whenever someone sends me an email or Facebook message and asks, “Can I buy you coffee and pick your brain?” this is inevitably their reason for reaching out. Unlike doctors or lawyers, the path to being a successful film editor, writer, visual effects artist, animator, actor, or any other creative career is not a linear path, but here’s the secret nobody tells you: There are very specific steps you can follow to be successful, but you have to be willing to put in the time and take action consistently. The key is not discovering the path and following it, the key is learning the proper steps to forge your own unique path. In this episode I dive deep into the topic of networking and what it looks like to do it right. My guest today is my assistant editor Chris Visser whom I met at a networking event a little over two years ago, and since then he has said all the right things and taken all the right steps to slowly build a relationship with me over time. And when the time was right he got “lucky” and ended up becoming a part of my team. But if you know me at all, you know I don’t believe in luck and think it’s simply when hard work intersects with opportunity. If you’ve ever thought to yourself “It’s all about who you know, and I don’t know anybody, so I just give up!” then this episode is great place to start because Chris and I break down the key steps to networking the right way so you don’t waste your time and end up walking in circles wishing you just magically knew people. It’s time to get out there and build your network. When you’re done listening to this episode, if you haven’t already I highly recommend checking out episode eleven, my two hour marathon interview with Norman Hollyn, former head of the editing track at USC. Want to Hear More Episodes Like This One? » Click here to subscribe and never miss another episode Here's What You'll Learn: How Chris made it to Hollywood Eliminating excuses and finding your own path to success How to make an impression at your industry internship Processing and evaluating big career risks How a brat and cheese gift basket got Chris a job in Hollywood Building a post-studio from the ground up When Chris met Zack at EditFest LA Asking the right questions to the people that matter How to network without embracing the "sycophant rush" Knowing the mindset of the people you approach Breaking your career goals down into bite-sized action steps Chris' involvement with Blue Collar Post Collective (BCPC) Useful Resources Mentioned: EditFest Los Angeles Support the Podcast & Win! Blue Collar Post Collective Our Generous Sponsors: This episode is made possible by Ergodriven, the makers of the Topo Mat, my #1 recommendation for anyone interested in moving more at their height-adjustable workstation. Listen, standing desks are only great if you’re standing well, otherwise you’re constantly fighting fatigue and chronic pain. Not like any other anti-fatigue mat, the Topo is scientifically proven to help you move more throughout the day which helps reduce discomfort and also increase your focus and productivity. And they’re really fun and a great conversation starter. This episode is made possible by the HumanCharger,  a revolutionary new light therapy device made specifically for people who spend long days in the dark and don’t get enough sunlight…i.e. You and me. Simply put in the earbuds for 12 minutes a day to receive your daily recommended dosage of UV-free white light. Doing so can drastically increase your energy, improve your mood, and increase mental alertness and focus.This device has literally changed my life and I use it every morning without fail. Use the code ‘OPTIMIZE’ to get 20% off your order. Guest Bio: Facebook|Twitter Born and raised in the land of Beer and Brats (aka Wisconsin), Chris has loved the craft of filmmaking since taking a movie-making class his freshman year of high school. While attending Marquette University, Chris was lucky enough to earn the 2011 Post-Production Internship with the Emmys Foundation. He graduated in May 2012, and moved to Los Angeles just weeks after to pursue a career in the film industry. His first few years were spent as an assistant editor at several post houses before becoming an online editor/colorist in January of 2015. After a year and a half of online-ing shows like Nellyville (BET) and Greatest Party Story Ever (MTV), he got the opportunity to really try for a spot in the scripted narrative world. Since July of 2016 he’s been the assistant editor on several digital series and features, and has recently transitioned into network scripted series. Chris is also heavily involved with the Blue Collar Post Collective, which just celebrated it’s 1 year anniversary in LA in June. He’s been an LA executive committee member since BCPCWest’s launch and in July of 2017 became the Vice President of BCPCWest. When not working, Chris loves to spend time with his fiancee and his two dogs, consume local ice cream, talk about movies and tv, and practice film photography (preferably all at once). Show Credits: This episode was edited by Curtis Fritsch, and the show notes were prepared and published by Jakin Rintelman. Special thanks to Krystle Penhall and Sarah Furie for helping to spread the love! The original music in the opening and closing of the show is courtesy of Joe Trapanese (who is quite possibly one of the most talented composers on the face of the planet). Note: I believe in 100% transparency, so please note that I receive a small commission if you purchase products from some of the links on this page (at no additional cost to you). Your support is what helps keep this program alive. If you have any questions, please don’t hesitate to contact me.

We're thrilled to present this special panel discussion on the unique post-production for Ang Lee's newest film "Billy Lynn's Long Halftime Walk". The film was the first to be shot and projected at 120 frames per second, creating an experience some reviewers have called "hyperreal". This live panel was recorded at the HBO Theater in New York and features several members of the post-production team who offer unique insight into the challenges and future potential for this exciting new format. Our panelists are: Andrew Leven - 1st Assistant Editor Derek Schweickart - Dailies Technician (and so much more!) Marcy Robinson - Colorist Ben Gervais - Technical Supervisor Alex Lemke - VFX (East Side Effects) Michael Huber - VFX (East Side Effects) Leslie Hough - VFX Producer. This is a very technical discussion, but there's plenty of interesting info for the casual listener as well! The panel was presented in collaboration with the Blue Collar Post Collective (www.bluecollarpostcollective.com). If you enjoy it, let us know by emailing at onlymoviepodcast@gmail.com or hit us up on twitter @onlymoviepod. Please leave a review on iTunes as it really helps us spread the word! www.onlymoviepodcast.com

We all know that Shahir and Matt are not "Potter-People." So in order to do this film justice, we welcome back Producer extraordinaire Jessica Tucker (@mothatucka) to make sure our spell-power on point. Is this film another classic that JK can add to her already impressive cash-cow-count? Or has the magic fizzled out for this new chapter in the wizarding world? And why the hell did Shahir run into one of the stars of the film RIGHT BEFORE we recorded?!?! Give a listen and get mad ;) Drop us a review on iTunes and write in requests and feedback at onlymoviepodcast@gmail.com or @onlymoviepod. Also if you're in NYC, check out our panel with the Blue Collar Post Collective on the post production technology behind Ang Lee's Billy Lynn's Long Halftime Walk. https://www.eventbrite.com/e/an-evening-with-the-post-team-of-billy-lynns-long-halftime-walk-tickets-29486670425

For many filmmakers and artists, the elusive world of Television Production can seem intimidating and impossible to penetrate. In my chat with Janis Vogel, we demystify post production and editing, discussing secret tricks of the trade. Janis Vogel is an editor (and assistant editor) for feature films, music videos, documentaries, and her impressive TV work includes credits on MTV’s “Teen Mom”, “16 and Pregnant”, AMC’s “Feed the Beast” and most recently a TNT series pilot called “Civil”. When she first started in the industry, Janis thought, “This is too fun, this is a passion. I can’t do this for money!”-- She was wrong. We’ll uncover some of the industry’s best kept secrets, including a union which offers freelance editors perks like health insurance. Janis describes the process of editing for reality shows, and at major post houses. We also compare and contrast how editing varies between industries, formats and genres. Tips for editing like a pro, organizing your projects, and overcoming the physical pain of sitting down all day. NERD ALERT! We get super technical. Which application does Janis call the “Grand Piano of NLE’s”? Find out what is industry standard and how to transition into whatever genre or position you desire. As co-president of the Blue Collar Post Collective, she also gives us the lowdown about Post Production education, tech talks, editor conversations, troubleshooting help, networking opportunities and lots of great programs that can get you hired. Read a transcription of this podcast here: http://bit.ly/2rF4eU5 Links: FREE Photoshop tutorial: www.LauraMeoli.com/FREEBIE The Sound Live: www.TheSoundLive.com JanisVogel.com www.BlueCollarPostCollective.com BPCP Facebook Group: https://www.facebook.com/groups/BCPANY/ Editor’s union: www.editorsguild.com “In the Blink of an Eye” Editing book: http://amzn.to/2blfCvS Fitness in Post: www.fitnessinpost.com Find out more about me: www.LauraMeoli.com Follow me on the social media: @LoudaVision The LoudaVision podcast is also available on iTunes and YouTube for your convenience. Please subscribe, rate and review this episode. iTunes: apple.co/1OYA9E5 Youtube: bit.ly/1LC1yI5 This interview is featured in the book, "Clarity for your Creative Career". Available NOW at www.LauraMeoli.com/book

The ladies of Blue Collar Post Collective return to All Things Post with a huge announcement!  They are going bi-coastal launching the BCPC West on June 11, 2016 in Los Angeles.  We welcome founders Katie Hinsen and Janis Vogel along with Kylee Pena of BCPC West for a candid interview about what got them where they are today and their vision for the future.  

For many in the post-production industry, traveling to conventions & events is just part of the business. Whether it's NAB in Las Vegas, Editor's Retreat, or any of the multitude of educational conferences worldwide, those conventions can be treated like paid vacations which means leaving your healthy habits at home. And if this is your choice, fantastic! More power to you. Enjoy yourself and live life. But for some people, attending large conventions like NAB can be difficult because they prefer to maintain their healthy habits so they have plenty of energy and focus to get the most out of their experience and education. But between the meet-ups, the parties, and the drinking, it can be nearly impossible to even stand upright by the final day. For those of you looking for helpful tactics and strategies to make your next convention or event a healthier one, I have an in-depth discussion with Katie Hinsen who created the #HealthyNABChallenge, taking it upon herself to make her visit to NAB this year as healthy and productive as possible.  Download your FREE bonus document '10 Tips to Make Your Next Conference a Healthy One' which includes Katie's review of 37 meal replacement bars! Sponsors: GeekDesk Topics of Conversation: How Katie approached me with her idea to start the #HealthyNABChallenge What is NAB and why is it so unhealthy? Why Katie decided she needed to change her lifestyle and be more healthy Katie’s background with Celiac Disease and the seriousness of her condition How difficult it is to find healthy food in Vegas and at NAB NAB IS A PARTY! You can treat it as such if you want, but maybe you can be healthy while doing it…. Challenge #1: Food (She and Boon-Shin tried 37 bars to prepare for NAB) The two things you need to look for when finding a meal replacement bar Katie’s coffee tips Challenge #2: Activity (and we’re not just talking steps here) How 15 minutes of yoga can make you feel refreshed Katie was even able to fit in short workouts during the busy weekend! The benefits of morning activity 3 must haves for traveling to events like NAB: melatonin patch, exercise & water  Challenge #3: Alcohol (How to cut back without looking totally lame) Pacing your alcohol consumption How having a defined purpose helped Katie succeed How to get out of a slump when you lose your motivation It’s better to get started than to think about everything you’re not doing! So just start! Useful Links: Blue Collar Post Collective FiP Blog Post: Is It Possible To Stay Healthy At NAB? Let's Find Out... Yoga gloves & yoga socks Shakeology Guest Bio: Originally from New Zealand, Katie Hinsen is a New York­based, award­winning Finishing Artist with credits on over 80 major productions. Over her 18­year career she has worked as an engineer, editor, VFX artist, Stereoscopic 3D artist, colorist and finishing artist; on commercials, documentaries, television, music videos, short and feature films. Outside of the office she is a passionate advocate for emerging talent, providing mentorship and serving at the Executive level of a number of industry­based non­profit organizations including Gaia Community Initiatives and the One Voice project in New Zealand, and the Blue Collar Post Collective in New York Katie Hinsen on Twitter: @katiehinsen Show Credits: This episode was edited by Curtis Fritsch, the show notes were prepared by Natalie Boschan, and this show is executive produced by Kanen Flowers. We are a member of the THAT STUDIO podcast network. The music in the opening and closing of the show is courtesy of Dorian Cheah from his brilliant album ARA.  

The Blue Collar Post Collective is a unique group dedicated to supporting emerging talent in the post production world.  Based in New York the group holds meet ups monthly, master classes for training and has a Facebook group with almost 1000 dedicated users supporting one another.  We spoke to the two women in charge of making it all happen about the mission, vision and future of the BCPC.