reel editing thoughts?

[Sam Eilertsen]

Hey all,

Working on a new reel. Any thoughts on how to cut the most effective one? Particularly:

• ideal length?
• best balance of cut frequency, considering that I want to show my ability to execute complex camera moves, while also trying to squeeze as many good-looking shots in as I can?
• keep projects contained within the reel, or intercut them?

Or any other comments you may have. Thanks!

 

[Mark Toia]

Just blow people away from start to finish. There are no rules or proven methods.
Just remember this. Your average shots will bring down the great shots.
If its not highly compelling all the way through ... Then it's too long. Simple as that.

Good luck Sam. Look forward to seeing it.

 

[Adam H Stewart]

I always start with one killer track. Not a fan of cutting to multiple tracks.
If you have a variety of shooting styles, commercials, narrative ect I would even suggest multiple reels.
Length wise - I recommend below 2 min, start and end with best work - good luck !!

adam

 

[Ethan Knight]

I'm editing my first RED reel at the moment, and grappling with the same exact points you raised.

Most of my work is documentary, and intercutting material from different projects feels a little jarring for me, but no other choice.

I never thought that editing something sub two minutes will be so time consuming..

 

[Manfred Lopez]

One way to do it is to construct an integrated narrative arc using bits and pieces from different projects. It might also help to change the music halfway through. I thought the Red NAB reel was very well put together and it too featured an integrated narrative arc with three music changes if I remember correctly.

 

[AndreasOberg]

Interesting discussion. Maybe people could post links to what they think are the best show reels?

I'm also working on our first show reel and I'm struggling a bit with having quite different materials. The idea to split it into different reels is interesting.

Best wishes
/Andreas

 

[Robert Ruffo New]

Agents tell me that nowadays reels are only necessary if you work on long-form. If you do short-form (meaning ads, music videos), just give links to the work itself.

Each feature film should have its own reel - less than 5 minutes or so, but whatever length stops it from being boring or showing so-so work.

 

[Marc Wielage]

I've seen some major name cinematographers who have reels for their commercial work, reels for their episodic TV work, and separate reels for their feature work.

My thinking is: keep it short. Don't show the whole :30 second spot -- just a :10 second excerpt, dissolved to another :10 second excerpt from another spot, and so on. Nice, non-intrusive uptempo music throughout -- no original audio. DP's name, agent, and contact number at the head and tail of the reel. Keep it to no more than 5-6 minutes at the most. And I'd date it so it would say:

JOE BLOW/Cinematographer
2013 Commercial Reel
The Gersh Agency
310.274.6611

or whatever.

 

[Marc Wielage]

I've seen some major name cinematographers who have reels for their commercial work, reels for their episodic TV work, reels for their music videos/shorts, and separate reels for their feature work.

My thinking is: keep it short. Don't show the whole :30 second spot -- just a :10 second excerpt, dissolved to another :10 second excerpt from another spot, and so on. Nice, non-intrusive uptempo music throughout -- no original audio. DP's name, agent, and contact number at the head and tail of the reel. Keep it to no more than 5-6 minutes at the most. And I'd date it so it would say:

JOE BLOW/Cinematographer
2013 Commercial Reel
The Gersh Agency
310.274.6611

or whatever.

I have color-timed demo reels for DP/friends of mine over the years, and we sometimes would go in and tweak the shots a little bit so that they stand out from each other a little more. Some of them pop in titles inbetween each piece -- "Ford Probe 2013" or "Apple iPhone 2012" -- just as a quick introduction. I also know from experience that producers' eyes tend to glaze over after 3-4 minutes.

 

[Sam Eilertsen]

Thanks for your responses guys! Looking around online I've seen a lot of approaches: single reels both divided by project and intercut, separate reels for different formats, or more an online gallery with spots, shorts, and separate reels for each feature. DPs with a large body of work seem to take the latter approach, but since I'm starting out and have only one feature and a handful of shorts and 2nd unit jobs under my belt I'll probably aim for a single reel.

Personally I tend to like watching reels that intercut many projects, are tightly edited to music, and are 2 1/2 mins or less. But I feel like if I were looking to hire a DP I might want to see a bit more length.

At the end of the day I think reels are just kind of a dumb way to assess a DP. You're looking at only the best bits of their work, and lacking context you have no idea how well the shots tell the story of the films (which is really what's important). But, I always get asked for it.