Great article. Parallels my own experience in production and post-production. Younger readers please notice the effect applied over time. There's a dedication to building his network and there's a dedication to building his craft. Both took decades to come to fruition. It's a long haul.

Producing if you've got the connections and cojones and feel for it is a faster path. Directing is an even worse path as you have less opportunity to develop your craft than an editor (fewer projects) so you are more dependent on talent and luck (the right project at the right time seen by the right people). Most directors also have to be able to the sleazy side of networking better. Personal connections, blind eye, setting people up.

Like skilled tradesmen and classical musicians, editors have the option to live purer lives.

Well that's certainly thinking the worst of Blackmagic. Working hard to democratise post and what do they get for it: snippy comments from Michael Silvey.

I'm really grateful to a company for making a first class smaller product. The Tangent panels are nice but not in the same quality league (Ripple, Wave) or are substantially more expensive (Elements and up).

One superb panel for the application you use will do you more good than a mediocre panel which doesn't quite work right with three applications. I agree with No Film School here: if Resolve is your main colour grading application this is the one you need. For editors, the Shuttle Pro would probably make a bigger difference to your speed than colour trackballs.

Skyfall looks great but Upstream Color is pretty grim looking. Doesn't really advocate for cheap DSLR film making. The real advantage for 4K camera would be to shoot in 4K but finish in 2K DCI. This gives you all kinds of room for recropping and FX in post, as well as a lot more detail and less visible digital noise throughout the film (using the right post tool, say Davinci Resolve).

Might never arrive. Misplaced. Opened. Whatever happens to checked bags. Quite a bit.

Richard, there are some films which should have been shot in colour but were not for budget or technical reasons. They can benefit from colorization. Moreover there are films with poor colour which be restored/enhanced to brilliant effect.

Thanks for giving Hollywood producers and studios the hell they deserve for making such crappy and uninspired films for the last fifteen years (worse almost every year). Remakes and sequels are for grifters. It's great that Rotten Tomatoes is able to preserve some integrity (registered critics) as IMDB ratings and reviews are now totally compromised. Big studio films budget for astroturfing IMDB. Everything that big capital can touch, they can and will undermine.

The talk was great as well. I'm not a huge fan of podcasts (prefer reading) but the NFS crew are a lively bunch.