This whole piece reads like paid advertising. Is it?
Wow, this comment thread really proves the point of the article. Problems abound, and yet people are very resistant to seeing them as legitimate problems and dealing with them in a thoughtful way.
One suggestion for men (and I'm a man): when you think about gender stats, imagine the numbers were reversed, so *men* were only hired for 18% of behind the scenes jobs. And ask yourself if your arguments about women not being hired for legitimate reasons (they don't want the jobs, don't have the skills, whatever) still make sense to you when applied to men. Same with race.
It's a simple mental trick, but switching out the gender/race/etc. of your argument and then seeing if you still agree with it, and if not, *why* not, can really help reveal your hidden assumptions and unacknowledged ideas.
How about a Lynda.com subscription? $240 for a year, with unlimited use of the video courses. (You can pay more to get the media used by the teachers, but you really don't need it--I just use my own footage and photos as I follow along).
The courses that I've taken are mostly about motion graphics, Photoshop, and animation, but they have a really wide range of courses, and not only post production topics either. The ability to skim the transcript and click on a line to jump that moment in the video (à la ScriptSync) is so handy (plus you can watch the videos at faster speeds if you prefer).
The only challenges are motivating yourself and finding the time to take the courses, which are problems with any kind of self-directed learning.
This is very cool. That said, it's not always a good idea to have music play constantly, don't you think? Choosing moments without music, and choosing multiple music cues to reflect a change in thought/location/idea, is very helpful, I think. You signal to the audience that there's a new thought or moment when a new cue starts, or the music stops/starts, and you give the audience a kind of sonic break by not having wall-to-wall music. That said, this is a fascinating feature -- I'm curious to try it out!
These are helpful tips. I'd like to add one thought, though: some of the shortcuts that help you when dragging a clip to the timeline are still not as fast as just using pure keyboard shortcuts. Dragging a clip onto the timeline while holding down Command for an Insert Edit isn't as fast as hitting the comma key (or in my case, V, because I have Premiere set up Avid-style).
This is a wonderful point. I sometimes see movies where the writer clearly doesn't seem currently engaged in the emotional struggle of the characters, and the ending then seems too pat -- even if it's one of the classic unresolved or semi-resolved indie movie plots. You know, where the characters walk down the street in a long wide shot having not changed that much over the course of the movie, and you can reflect on the need to just move forward despite the ongoing uncertainty of life, or a group of characters have realized (once again) that it's not your family that matters, it's the family you find for yourself along the way that's important. And all of that is important and true...except it doesn't feel important or true. It feels trite. Because the writer and filmmaking team aren't feeling the emotional journey in a fresh and current way.