Podcast appearances and mentions of norman hollyn

Thanksgiving, here in the US, reminds us to take time and be thankful for what we have. This includes family, friends and health, of course. But, here at The Buzz, we are also grateful for our guests and our audience. So, in celebration of the season, here are some of our favorite interviews from the recent past. Join host Larry Jordan as he talks with Norman Hollyn, Mark Harrison, Barbara Griffiths, Jim Malcolm and James DeRuvo. The Art of Telling a Story How Production Handles Change A Better Way to Finance Gear A 360/VR Leap Into Space The Weekly doddleNEWS Update The post Digital Production Buzz – November 22, 2018 appeared first on Digital Production Buzz.

(Author's Note: If you'd like to submit a question for an upcoming article, don't hesitate to reach out and send me a message. I read every single email I receive.) On a weekly basis I receive emails, Facebook messages, and tweets from people all over the world who work in creative fields. Some people send me pages worth of their life stories, others are looking for quick tips to optimize something very specific in their lives, but most often the messages I receive are from people frustrated with where they are in their career who don’t know where to go next. The question below from Matt is a common concern many people have who are passionate about breaking into feature film editing but not sure if they're willing to pay the price necessary to achieve success. If you're not interested in feature film editing specifically, the advice below applies to just about any other creative field in the entertainment industry. Dear Zack, I'm Matt, 27, a video editor from England. I've been lucky enough to work as an editor for Manchester United and for brands like Adidas, but the dream inside me is big feature film editing. I've edited a couple of lower budget projects and love the creative challenge. I've been a film nerd since however long I can remember and when I see a great film I always think how awesome it would be to have had a creative part in that. I know you address this in the podcast but...I'm wondering if pursuing this goal is worth it in terms of the sacrifice knowing the long hours involved and what it can do to your social and family life...and health. I enjoy editing and feel I have a talent in crafting edits and storytelling but I also like my social life and traveling and having adventures with friends. Is it realistic to be able to work 6 months on 6 months off given the financial gain of working at that level and the intensity of a project like...the Avengers? It's probably only a question I can answer but any thoughts you could offer would truly be most appreciated. Thanks, Matt Hi Matt, The hard truth is that there's no right answer to this question. You already hit the nail on the head when you said, "It's probably only a question I can answer." But that having been said, I have provided three questions below that you can ask yourself that will hopefully help you clarify your true purpose and whether the cost of you pursuing your goal is worth the sacrifice. 1. Do you have a deep understand of WHY editing feature films is the right creative profession for you? Before determining what the true sacrifices are if you want to become an A-list feature film editor of huge films like The Avengers, the first step you must take is identifying and understanding your deeper "Why's." The answer to this question might come simply to you at first, but the deeper you get, the more complex your answer becomes very quickly. Think of this process like peeling the layers of an onion. Start simply by asking yourself: "Why do I love editing?" And your answer can be as simple as: "It's fun cutting shots together with music." Now ask yourself, why is it fun cutting shots together with music? "Because I get an adrenaline rush when the perfect shot comes together at the right moment with a moment in the music." Okay...so why is that so important? "Well I guess when I think about it, I know if I feel a rush at that moment, the audience will too. So I guess that means I love making other people feel something." Okay...so why is that so important? "Making people feel something is important to me because I want the work I do every day to have a positive impact on others and thus on the world." NOW we're getting somewhere. You no longer want to edit big budget feature films because "It's fun cutting shots together with music," your deeper WHY is that you really want to make people feel something so you have a positive impact on the world. Only after you've spent the time to define your deeper WHY will you then be able to more closely align your career path and your job choices with what truly matters to you (more on aligning your needs with your employer's needs below). Action Step: Set aside a minimum of 1 hour to clearly define your most important 'Why's.' Before spiraling down the rabbit hole and questioning whether or not you should pursue your true passion (or ditch it altogether) despite the tremendous personal sacrifices, spend some time thinking deeper about why working on big films like The Avengers is your ultimate goal. Here are some additional resources to help you define your 'Why's': Ep48: Feeling Lost? It’s Time to ‘Find Your Why’ | with David Mead Simon Sinek's TED Talk about 'The Golden Circle' Start With Why: How Great Leaders Inspire Action Enroll in my 'Design Yourself' program (which contains an entire module dedicated to the process of 'Defining Your Why') 2. Are you excited about the process, not just the outcome? In your message above Matt you mention, "When I see a great film I always think how awesome it would be to have had a creative part in that." Having a "creative part in that" comes at a price. One of the biggest mistakes I see people make in the entertainment industry is focusing so much of their effort on the outcome while completely losing sight of the process. Hopefully after taking the necessary time as I suggested above to 'Define Your Why' this question becomes moot, but it's important to ask yourself if you're intimately familiar with the process of editing huge tentpole films like The Avengers? Or are you chasing the outcome of success? Sure it would be amazing to go out with friends, tell them you edit huge Marvel films, and see amazed and impressed looks on their faces. How cool are you! Of course it would be awesome to give speeches, win awards, and be at the top of your profession (and command a HUGE weekly rate). And how fantastic would it be going to bed every night knowing that literally tens of millions of people across the globe watched and loved your work? Everyone living the life I just described has had to pay their dues for decades to reach that outcome: They have spent tens of thousands of hours behind a computer in a dark room (probably with no windows) They have sacrificed countless nights & weekends away from their families They have missed dance recitals, holiday shows, and birthday parties They have put their health on the back burner many times to meet deadlines They have endured a creative career with no certainty from job to job, often spending months (or even years) earlier in their careers where it was extremely tough to find steady work at all If you're chasing film editing because you're interested in the glamour, consider 99% of your life will be spent behind a computer, and 1% will be schmoozing at fancy parties. Is it worth it? If the 99% excites you more than the 1%, you're on the right path. If the 99% sounds absolutely miserable, you'll never get the opportunity to experience the 1%. Action Step: Prioritize time to weigh the true cost of becoming an A-list feature film editor against what you would receive in return. If the cost of spending the next 2-3 decades climbing the ladder to the top of the feature world is worth it and then some, pursue your dream! But if giving up your social life and sacrificing time and adventures with your friends is non-negotiable, this career path might not be the best fit for you. Proceed below to go even deeper down the rabbit hole of defining your own needs versus the job requirements. Here are some additional resources to help you understand what it really takes to edit feature films at the highest level (and calculate the true costs): Ep105: Jeffrey Ford's Secret Weapon to Editing (and Surviving) Marvel Films Ep50: EditFest 2018 Panel 'The Extended Cut: How to Survive and Thrive In Editorial' Ep18: Surviving the Insanity of the Edit Suite | with Billy Goldenberg, ACE Ep60: Legendary Film Editor Walter Murch on Surviving 50+ Years In Post Ep40: Editing Hollywood Blockbusters | with Alan Bell, ACE Dear Hollywood: We Create Entertainment For a Living...We're Not Curing Cancer 3. Taking into account the career ladder you want to climb, have you considered whether or not your future employers' needs align with your own personal needs? One of the most common mistakes many people make in the entertainment industry is taking any work that comes their way because, "You never know when the next job will come around." But if the work you're taking builds a resume and a contact list that doesn't align with your own personal needs over the long term, in a decade you'll end up hating your profession and want to transition to something else (e.g. everyone who is desperately trying to get out of reality and transition to scripted television right now). I have very clearly defined my own personal needs. By doing so, I have created a "filter" so to speak that allows me to either consider or politely decline offers and opportunities that either align or do not align with my needs. Here is a small list of my own personal needs: Commuting drives me bonkers, so I will no longer accept work with a commute longer than 60 minutes With two kids (8 and 6) I prioritize weekends just for them. So I won't accept jobs that expect me to routinely work 6 or 7 day weeks I'm focused on building my website, my private coaching program, and training for American Ninja Warrior, so I won't accept jobs that expect me to work more than 10+ hours a day (with an allowance for crunch time here and there) Having clearly defined my own 'Why,' I won't accept projects or work with toxic people that don't align with my deeper motivation for editing I've very efficient with my time, so I won't work with a team that micromanages my process or forces me to work without internet (not having access to Trello would be a deal breaker!) Because all of the needs listed above are paramount to my own well-being and long-term health, I'm very firm when approached with jobs that don't align with these needs. Action Step: Listen to my podcast interview with Norman Hollyn where we discuss the process of aligning your needs with your employers' needs using the Venn Diagram below. Make a minimum of two columns. In column #1 list your employer's needs and expectations (refer to the resources in question #2 if you aren't familiar with those expectations). In column #2 list your own personal needs over the long term. Where do they intersect? To Summarize... Unfortunately there is no clear cut answer to your question Matt. Only you can determine if the sacrifices will be worth attaining your ultimate goal of editing huge feature films. But to make the process a little easier on you: Define your deeper 'Why's' so you understand what drives you and motivates you every single day Determine whether you are more excited waking up every single morning to embrace the process or simply enjoy the outcome Clarify whether your own personal needs align with your employers' needs And to answer your final question, "Is it realistic to be able to work 6 months on 6 months off given the financial gain of working at that level?" there's no question editing huge Marvel movies like The Avengers will pay a generous weekly rate...but is that rate enough to compensate you for the sacrifices necessary to reach that level in your career? If the answer is yes...then go for it!

This week, we split our focus between new technology and the age-old craft of storytelling. We start with news from IBC and a report on a live multicam stream from boats in San Francisco Bay. Then, we talk with three leading filmmakers about their process of storytelling; from first idea to finished edit. Discover what it takes to make a story work. Join host Larry Jordan as he talks with Ron Vargas , Norman Hollyn, Tom Jennings, Josh Apter and James DeRuvo. Multicam Live Streaming The Art of Telling a Story Documentary Storytelling The Process of Creating a Story The Weekly DoddleNEWS Update The post Digital Production Buzz – September 13, 2018 appeared first on Digital Production Buzz.

“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.

“How can I break into Hollywood or advance in my creative career if there is no set path to follow?” is by far the most 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 the big question they seek the answer to. 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 what it really takes to break into or advance in the Hollywood post-production industry with none other than USC professor and former head of the editing track, Norman Hollyn. This is a two hour marathon episode so get comfortable. This was one of the most downloaded and shared 2-part episodes of my former podcast, but I thought it beneficial to combined it into a single episode and feature it as part of the Optimize Yourself program so new people just discovering this show wouldn’t have to dig for it because people have told me firsthand this interview was the difference between them landing a job or not landing it. The advice Norman gives is seriously that universal and that powerful, and it can be applied far beyond jobs in post-production. BONUS: If this episode inspires you to start taking some real action to get where you want to in Hollywood and land your dream job, I have great news because you ain’t seen nothin’ yet. I just released my brand new “Ultimate Guide to ‘Making It’ In Hollywood as a Creative” that is an absolute manifesto on the practical steps you can take to begin forging your own path to success. And if you’re not in Hollywood, trust me when I say that if these steps work here, they’ll work anywhere and apply to any creative field. This guide includes some of the exercises discussed in this episode as well as deeper dives into clarifying your goals, perfecting your craft, and expanding your social network so the right people know you’re awesome at what you do and beg you to work for them. Want to Hear More Episodes Like This One? » Click here to subscribe and never miss another episode Here's What You'll Learn: Develop your skill set and then build your network of people Consider looking for work and networking your full time job Use online resources, industry magazines, etc How to use Facebook and Twitter to help you make connections Put yourself out there and make yourself valuable to people Make sure you continue to hone your craft and advance your skill set Find out what you don’t know and get good feedback! Should you take free work? People skills and social skills are more important than you think Part of advancing in your career is being able to make choices Re-evaluating your goals is growth Being fiscally responsible will give you more choices and give you the freedom to take work that’s valuable to your career and not necessarily your bank account To be happy it’s important to acknowledge that third circle: Personal needs Write down your intentions and focus -- no matter how many drafts it takes! Useful Resources Mentioned: Below the Line crew listings A Classic Case of Post-Production Burnout 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: Twitter|Facebook|LinkedIn Norman Hollyn has been described as a “media expert,” a reference to his experience in a wide variety of media types – in both the old and new media worlds. He is the co-producer and co-host of the videocast 2 Reel Guys. He is a long-time film, television and music editor (HEATHERS, THE COTTON CLUB, SOPHIE’S CHOICE, Oliver Stone’s WILD PALMS), and is a Full Professor and Head of the Editing Track at the University of Southern California’s School of Cinematic Arts. He is an author of nearly 100 articles and his internationally translated book, THE FILM EDITING ROOM HANDBOOK, has just been published in a fourth edition. His previous book, THE LEAN FORWARD MOMENT, also from Peachpit Press/Pearson, has been attracting great reviews worldwide. He has taught worldwide, including several workshops for the Royal Film Commission in Jordan, and schools in Shanghai and Beijing, China. He has taught at the Sundance Film Festival, and consults and speaks at major corporations such as Dreamworks Pictures, Pixar Animation, Forbes and the Philadelphia Inquirer. He has worked as an expert witness in legal cases involving the aesthetics or history of editing, and is partner in an Internet development firm. He can be reached at norman@normanhollyn.com. 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.

Our guest today is none other than Norman Hollyn. Norman is a media expert. He is, of course, an editor as well as a professor of Cinematic Arts at USC and travels all around the world as an editing educator.   Norman and Josh discuss Norman’s time teaching abroad, different editing styles across the globe, trying to get emotions out of your audience and much more.   This episode is brought to you by Studio Network Solutions and their EVO Shared Storage unit. Every EVO includes their easy to use media management software for organizing, tagging, and finding your media across all of your storage devices—even external, local, and cloud services. For more info check out studionetworksolutions.com/commandedit.   Links The Lean Forward Moment http://normanhollyn.com Follow Norman on Twitter @Schnittman   Song used in this episode was Bouncy Castle by Niko Xidas.   Get unlimited royalty-free stock music from Soundstripe: http://soundstripe.grsm.io/joshshort  Use the code COMMANDEDIT for 10% off!   Follow us on Twitter: www.twitter.com/CommandEdit Join our Facebook Group: https://www.facebook.com/groups/CommandEdit/ Get more of the podcast at http://www.CommandEditPodcast.com

Join host Larry Jordan as he talks with Paul Babb, Carey Dissmore, George Hall, Norman Hollyn, Louis Hernandez and James DeRuvo. Reasons for Hope: Visual Effects "The Storytellers Dilemma" Reasons for Hope: Post-production Reasons for Hope: Get Noticed Reasons for Hope: Education The Weekly DoddleNEWS Update The post Digital Production Buzz – May 18, 2017 appeared first on Digital Production Buzz.

Episode 27: Staging a Fight Scene Fight scenes are as tightly choreographed as any dance number – and much more likely to break a jaw if an actor isn’t paying attention. Join hosts Norman Hollyn...

Episode 25: Good Characters A character is more than a costume, or a prop. In fact, the costume reflects the character, it doesn’t create it. In this episode of 2 Reel Guys, co-hosts Norman Hollyn...

In this episode we pull an excerpt from EditFest LA 2014's Panel with Moderator Norman Hollyn, Editor Kate Amend, ACE (The Case Against 8, Farm Midwives), Rob Ashe Jr. (Conan O'Brien), Jason Ballantine, ASE (The Great Gatsby, Battle Creek, and Fury Road), and Kelley Dixon, ACE (Breaking Bad, The Walking Dead).

"What's the worst time you've ever spent in an editing room?" Sometimes, those times are easier to count than the good times. Why? Because the team creating the program don't know how to talk to each other. In this episode of the 2 Reel Guys, co-hosts Norman Hollyn and Larry Jordan share techniques learned from years of editing video and feature film projects. Larry shares his experience of editing video under the pressure of live and nearly-live deadlines, while Norman explains how he gets inside the head of the director to figure out EXACTLY what the scene is supposed to be about. Creating film is all about collaboration and this episode shows you how. "Improving Communication in the Editing Room" – this week, on the 2 Reel Guys.

How do you direct actors for the camera? It isn't rocket science, but it isn't as easy as you may think, either. In this episode of the 2 Reel Guys, co-hosts Norman Hollyn and Larry Jordan discuss the challenges of directing actors. Unlike traditional theater, film and video has the ability to really get inside an actor's performance. What can a director do to help them feel more secure, so they can give the best performance? How do you balance wide shots with tight shots, geography with emotion? What should you say as soon as a take is completed and who should you say it to? These questions and more are covered in this episode of the 2 Reel Guys. “Directing Actors for the Camera” – this week, on the 2 Reel Guys.

"Everyone knows what's funny, right?" With those words, co-hosts Norman Hollyn and Larry Jordan explore the process of creating comedy on video. Along the way, the 2 Reel Players risk life and limb to showcase techniques that make a joke work. Discover the values of timing, setting up and thwarting expectations, and how to bury a joke until the audience has forgotten about it, only to spring it on them when they least expect it. "Creating Funny: How to Setup, Build, and Pay-off a Joke" - this week, on the 2 Reel Guys.

Norman Hollyn and Gordon talk about his work on the feature Heathers.

Norman Hollyn and Gordon talk about his book The Lean Forward Moment and the Ran Carmi Dissertation on the effects of editing for the audience.

Norman Hollyn, editor, author, and professor sat down with Gordon to discuss two new job positions that have opened up at USC, what's required for these positions and his approach to teaching. If you are interested in applying go to www.uscfilmediting.wordpress.com.

In this episode we play a section from Edit Fest NY. The Lean Forward Moment Panel has Norman Hollyn as moderator and Larry Silk, Josh Diamond, Anne McCabe and Sabine Hoffmann discussing their process and how they get their gigs.

Filmmaking is a collaborative craft. Yes, you can do everything yourself, but the best movies involve a team of creative people. Actors, producers, directors.... and crew. But what's the best way to work with your crew? In this episode of 2 Reel Guys, hosts Norman Hollyn and Larry Jordan discuss why harnessing the creative ideas of your crew is so important, how to speak to them and how to balance between providing direction and micro-managing. Along the way, they'll share their experiences of working with crews on large projects.

Sound design is more than just sound effects. It is the entire aural environment of your movie. Sometimes, sound design can be simple -- just one person talking. However, most of the time, it is layers of sound all carefully mixed together to provide a greater sense of reality to your images. In this episode of 2 Reel Guys, hosts Norman Hollyn and Larry Jordan discuss what sound design is and, using the same scene, provide four different examples of how the "feel" of a scene is influenced as the environment of sounds it contains changes. Then, they discuss some techniques you can use to improve your own sound design.

Unlike feature films, most documentaries (or reality shows) are unscripted. In many cases, they start shooting with only an outline and the script is developed as the material is shot and edited. However, just because a documentary is unscripted does not mean it is disorganized, or that it can ignore the basic tenets of storytelling. In fact, just the opposite. As hosts Norman Hollyn and Larry Jordan explain, story-telling is just as important as scripted projects. And in this episode, they give you some tips you can use to improve your own unscripted projects.

Music, in whatever project you are creating, suggests the emotional response your audience should be having at that moment. But how do you use music, and how does your story impact the type and placement of the music you use? In this episode of the 2 Reel Guys, hosts Norman Hollyn and Larry Jordan examine the impact music has on a project, using several specific examples of the difference in emotional content and meaning that occur when you use the same music, but put it in a different place.

Editing is story-telling. While we can all agree with that, that sentence isn't particularly helpful. What editing is actually doing is telling your story by juxtaposing different shots so that your audience sees, hears, and feels what you want them to feel. This sounds so easy... but the choices are virtually endless. In this episode of the 2 Reel Guys, hosts Norman Hollyn and Larry Jordan examine how the process of editing can enhance your story. Along the way, Norman deconstructs a scene and shows how changing the placement of shots, the addition of close-ups, and altering the timing can completely change the emotional focus of a scene.

Shooting your film is a time of constant problem-solving. But how do you decide how to solve a particular production problem? Back in Episode 4 we discussed how to adjust resources based on People - Facilities - Time - and Money. Is that the best criteria to use? In this episode of the 2 Reel Guys, hosts Larry Jordan and Norman Hollyn look at how problems can be solved by looking at them from the perspective of the story you are telling. Plus, they supplement this with a few stories of their own.

In Episode 6 we acknowledged that many filmmakers are afraid to work with actors. And we learned that this is often because they don’t know how to talk with them. The same is even more true when you’re working with dancers. Yet a good set of dancers, working with a good choreographer, can have just as much impact on your story as actors. In this episode of the 2 Reel Guys, hosts Larry Jordan and Norman Hollyn look at how different stories can demand different discussions with your dancers — and help you to see that working with dancers is no different than working with any other collaborator. It all tracks back to your story.

There's an expression that there is only one correct camera position for a shot. We don't actually believe that, but what IS true is that an understanding of what different camera angles, positions, and the blocking of the actors within the frame, can help bring your story to a deeper level. In this episode of the 2 Reel Guys, hosts Larry Jordan and Norman Hollyn look at the implications on your story of your choices of where to place your camera when you shoot.

Color may not tell your story, but it certainly reinforces it. Color tells the audience what to expect in a scene before the first word of dialog is even spoken. And, as you might expect, different colors have different meanings. In this episode of the 2 Reel Guys, hosts Norman Hollyn and Larry Jordan look at the impact of color in a scene.

The first time a director really gets to see a character is when they first walk on the set. What that character looks like is, more often than not, the responsibility of the costume designer. How does a costume designer decide what an actor should look like? In this episode, we find out. Hope Hanafin, vice president of the Costume Designers Guild, joins hosts Norman Hollyn and Larry Jordan for this episode of the 2 Reel Guys. In it, we discuss the process of costuming; and what caught our attention is that it doesn't really start with clothes!

Real-life shooting issues like tight schedules, actor and camera problems, tightening budgets, and natural catastrophes, all conspire to limit the number and variety of shots that we are able to shoot for a scene, despite our best plans. (These shots are what we call "coverage."); When push comes to shove, how do you decide which shots you absolutely MUST have? In this episode of 2 Reel Guys, hosts Norman Hollyn and Larry Jordan show how to use a storyboard to convey what you want to shoot, then illustrate a great technique to help you determine those shots that are critical for your scene.

Every year, hundreds of films that are well shot, well directed, well finished and well acted fall by the distribution wayside because their poor audio makes it impossible for an audience to understand and enjoy them. Poor microphone choices, combined with poor techniques, create large roadblocks which prevent the audience from watching your story. In this episode of 2 Reel Guys, hosts Norman Hollyn and Larry Jordan discuss the basics of sound recording, including helping you to make good choices in microphones, in order to capture the emotions and content that are conveyed through well-recorded audio performances.

The heart of editing isn't technology; not even the software you use to edit your masterpiece. Instead, the essential part of editing is storytelling. A good editor combines all the different audio and video elements so deftly that the audience is captivated by the story, totally oblivious to the technology and craft involved. In this episode of 2 Reel Guys, hosts Norman Hollyn and Larry Jordan discuss the basics of editing, including deconstructing a short scene from a student film to illustrate how the editing decisions help the audience understand what is going on in the character’s mind.

Lighting does more than illuminate your actors, it illuminates your story. Properly used, lighting can start telling your story before your actors speak a word. However, far too many beginning filmmakers are willing to accept the light as it is, rather than adjust the lighting for their benefit. In this episode of 2 Reel Guys, hosts Norman Hollyn and Larry Jordan discuss the basics of lighting, and provide some examples of how a simple change in lighting can have a dramatic effect on the viewer's emotions.

Actors can be frightening, especially to new filmmakers. This is because actors live in a world of emotions -- experiencing them, then projecting these emotions through their characters into a film. Because of this, many directors don't know how to work with them. But they're really not so scary when you realize that they are trying to do the same thing that everyone else on your project is doing -- tell the story through the most effective use of their tools. In this episode of 2 Reel Guys, hosts Norman Hollyn and Larry Jordan discuss how to work with actors and provide some simple techniques you can use to solve, or avoid, problems.

Collaboration is at the heart of film-making, but how do you balance collaboration with leadership? In this episode of 2 Reel Guys, hosts Norman Hollyn and Larry Jordan discuss collaboration -- what works and what doesn't. Discover why collaboration is not the same as "making a movie by committee," and that leadership does not mean "having all the answers."

It is fun to grab a camera and start shooting. But, without spending some time planning beforehand, what you shoot may not be what you want. In this episode, hosts Norman Hollyn and Larry Jordan discuss the process of pre-production. Who is responsible for doing the work? How do you balance between what you want and what you can afford? And some simple techniques that can keep the process of organization from becoming overwhelming. Organization may not be "creative," but good planning is the foundation upon which all creativity rests.

When creating video, it's easy to be seduced by the technology. But, if you don't have a good story, no one is going to watch. In this series on creativity, digital media experts Norman Hollyn and Larry Jordan discuss the importance of story in the creative process of visual story telling.

Controlling where the eye looks in a film is an essential skill of the story-teller's craft. In this series on visual story-telling, digital media experts Norman Hollyn and Larry Jordan illustrate what attracts the eye and how to use that knowledge to control how the audience experiences your film.

Continuing shooting.A Raku firing class with Susan Gerr of Birch Mountain Pottery, Old Sturbridge Village, a recreation of a New England village in Sturbridge MA and another potter, Dot Burnworth at Sawmill Pottery. This puts me over the hump as far as enough video to begin editing.Check out the Digital Production Buzz episode for May 22 and listen to the first interview of Norman Hollyn, an editor and teacher at USC, he has a lot of interesting comments on learning how to edit. At 11:50 or so into the podcast he makes a comment that strikes me as both simple and profound when it comes to summing up the message of a film when you begin editing.