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Obviously, they want you to get as much as you humanly can out of the file, but yeah, I don't think anyone turned in that file without an [INAUDIBLE] in it (that passed anyway, because obviously otherwise they were making poo poo up). The test file is intentionally hard because they want to gauge your ability to parse difficult audio and pick up the odd borderline-unintelligible word using context clues. As for resume vs. skill. As a freelancer, resume can definitely help to get your foot in the door -- most of the clients I work for won't even look at you unless you've got a year or two under your belt -- but when it comes right down to it, it's all about skill. This isn't a job most people go to school for, and it's a skillset that you don't have a lot of opportunities to develop in the normal workday world, so they're perfectly understanding of the fact that your transcription experience is going to be pretty much nonexistent when you start out. Just put in your time, cultivate a good relationship with clients and good working habits, and you'll be branching out in no time. Weekly wage varies tremendously. First of all, there's the workload to consider -- sometimes clients just aren't shooting. In April and May I was getting work pretty much every day I asked for it, whereas now I get about two or three jobs a week from DT. Then, it also depends on what kind of work you can do; their standard-rate stuff is more common than the $1.25+ a minute rush/special work. When things are flush, if you've got a good rep for quality work, and you're putting yourself on the schedule pretty heavily, yeah, I think 200-300 is doable. But don't count on that as an average. If you want to try to make a full time paycheck doing this you're definitely going to have to pick up extra gigs.
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Aug 2, 2012 13:37
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Paraphrase. Sum up the question. As long as you get the basic gist of it, and it makes sense when read with the answer, you're good. If you want to be safe, you can just include the entire question (cutting out ums and uhs, false starts and stutters), but as long as you get the main thrust you're fine. For instance: Q: All right, well, considering that this is your first time on stage, and you've been through all these weeks of training -- but now you're going in front of an audience live for the first time, how are you feeling? Are you nervous? Could easily be: Q: Now that you're done with training, are you nervous going on stage in front of an audience for the first time? or Q: How are you feeling about going in front of an audience for the first time? or Q: Are you feeling nervous about going on stage? or even sometimes Q: Tell me how you're feeling. as long as it makes sense with the answer. (For example, if the interviewee responded to the above question starting with "yes, I'm feeling kind of nervous", you want to make sure the question is asked; that response would seem a little off if you used the last question.) And you don't have to include pre-interview stuff. I'll occasionally use [NON-INTERVIEW] at the beginning if there's just a ridiculous amount of dead tape at the start, but typically you just record the first question and go from there. kazmeyer fucked around with this message at 00:52 on Aug 24, 2012 |
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Aug 23, 2012 19:32
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You're just starting out; you'll get faster with experience, a pedal will speed you up, and I can't remember the last time I saw a file even close to that poor quality in live work. Most of the stuff you'll run into is more like this, quality-wise: https://www.youtube.com/watch?v=tuBf1-3zVsA although they do have the occasional Skype business call recording where the quality's not amazing.
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Aug 23, 2012 20:09
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Focus Forward is notoriously tetchy. I actually applied to them when I first started out, got turned down for including "okay"s in the transcript, applied much later when I was looking to fill some time and got in. Unfortunately, I also got picked up at a much more lucrative gig nearly simultaneously, so I've never actually done any work for Focus Forward and I couldn't give much of an inside view of the place. In any case, DT is the kind of experience you want. Media transcription is the road that leads to the lucrative gigs; focus groups and business transcription always pay poorly.
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Aug 24, 2012 07:35
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I can't remember the actual context (this is actually the same tape I tested back when I first started; that's why it's so crappy, and back then they really did use .RMs for everything <shudder>) but if the guys don't say anything, then I think you're fine with [NON-INTERVIEW]. Technically speaking it would be [B-ROLL] but I can't remember if they include that in the test and guidelines or not. If they say something, you do want to include it, like this: Q: All right, guys, shake hands. 1: Okay, man, good talking to you. 2: Take it easy. (or whatever) As you do media transcription for a while, you'll get a very fine sense of what's "on camera" and what's not, and that's one of the things clients love. Every time I pick up a new gig I always get compliments on my ability to pick out stuff that should be recorded and ignore the chaff. 
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Aug 24, 2012 23:58
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Ugh. The only thing worse than when I have to turn down a tape because the pay rate just isn't commensurate to the work is when the client hits me with a subtle guilt trip over it. I appreciate that times are hard, but I'm still not going to do a tape that's going to take me three times longer than normal for 25% above the standard rate. (This is why diversifying your gigs is a good thing.) kazmeyer fucked around with this message at 20:57 on Aug 25, 2012 |
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Aug 25, 2012 20:55
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Unfortunately, I can't really speak much to Focus Forward; I actually signed on there once, but I got another (far more lucrative) gig at the same time so I've never actually done any work for them. Amro's got a good point on the availability angle -- if you're only putting yourself down for 30 minutes it could be that the assignment editors are having difficulty finding work that short (and they might not want to cut up longer tapes for various reasons). There are definitely slow seasons when it comes to transcription, but it's all based around the work. If you're doing media work, you're dependent on the shows that are filming, because if all of the shows that your client handles are done for the season, things are going to slow down. With FF, I understand it's lots of focus groups, so it's highly dependent on their production schedule. Which is why diversification is good; if one client slows down, others may be able to pick up the slack. Unfortunately, until you get some good experience, getting other gigs can be difficult. Watch Craigslist for job postings, and try Daily Transcripts if you haven't. They've been a little on the slow side lately, though, so they may not be hiring at the moment.
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Sep 10, 2012 07:12
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Basically, it's just what you've got on your transcription resume: total length of time as a transcriptionist, and how much of that time's been spent on media work. When you hit six months' experience (of any sort) it becomes easier to get hired on places, and 1 year makes it easier still, because transcription work isn't for everyone and the vast majority of people who try it burn out in their first 12 months (most in the first three or four). If you can get to two years and most or all of it's media experience, they can assume you're reliable, talented, and know what you're doing to the point where they'd barely have to train you if they took you on. Skill's also a part of it, though. No one's is going to pick you up on experience alone, you'll have to do some sample work to prove you're as hot-poo poo as your resume suggests, but if you've been doing this a few years and have the commensurate skills that experience brings, it's not hard to get hired on anywhere. You do need to spend a lot of time watching Craigslist, though, because the jobs which you really want generally don't hire year-round, they only post ads when they need someone to fill a spot.
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Sep 11, 2012 07:49
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I have multiple clients, and lately I've been focusing on a couple of other gigs, so I probably only schedule myself for around 120 minutes a week these days. I haven't gotten anything in a week or two, actually, but I'm on for ~30 minutes a day and they usually have a hard time filling that low a request. You'll almost never get all the work you ask for, just because it's dependent on production and things have been a bit slow lately. Currently, DT pays me .70/minute for standard work, which is considerably below my usual rate (which is why I'm on the schedule so sparingly, basically I'm just sticking on the roster for rush jobs/as-broadcasts right now). I stick around primarily because I like them so much, and some of the stuff they throw me is pretty fun. Because of the pay issue, I generally limit myself to video shoot work; as a rule, I don't do anything with more than two speakers at a per-minute rate unless it's really well moderated. They know this, and don't send me those huge multi-speaker calls. Unfortunately, when you're first starting out and don't have a lot of irons in the fire, you don't have the luxury of being able to do that -- you have to spend some time in the salt mines, build up experience, and then once you've got more work than you need you can afford to get picky. And I don't use AIM anymore -- used to pile everything through Trillian, but lately I just run Google Talk and Windows Messenger. You can also PM me here if you have questions about anything. EDIT: Missed a part of your question. I think when I first joined DT, the rate started at .60/min, but they had this weird thing where you could kind of set your own rate between .60 and .75 and it would determine the amount of work you'd get. I think I started at .66. I was with them for a while and worked my way up to .75, dropped off after they had a lull and were offering nothing but those awful group discussion tapes, and then signed up again early this year. They offered me .70, and I didn't haggle overmuch, as a good portion of my work is rush and as-broadcast stuff that pays a lot better. My primary clients tend to pay by the page, by the work hour, or by the job, and all work out to much better per-minute rates. Like I said, I stick around DT because I like them. kazmeyer fucked around with this message at 15:17 on Sep 17, 2012 |
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Sep 17, 2012 12:16
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pentagon posted:Seems strange that they keep hiring on more people when they can't even meet the schedule requests of the people they already have. I guess they like to have as many people as possible in case they get a flood of work or something. Well, it's a couple of things, really. The work really does fluctuate, and you can go from nothing to slammed in the course of a couple of days, and vice versa. You're dependent on the clients shooting and their schedules; if a client delivers a ton of tape and wants it all back in two days, you need enough people to handle that volume. If that volume keeps up, you can keep them all busy, but the reality is it ebbs and flows. And transcribers burn out like you can't imagine -- clients have told me nine out of ten newbies are gone in the first few months because they get sick of it. So having extra scribes in the stable is a requirement just to make sure you've got coverage.
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Sep 19, 2012 19:39
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Phiberoptik posted:Is it possible to work for these transcription companies online from Canada? Or do I have to live in the states. That I'm not sure about. I actually stumbled across one Canadian transcription gig, and they were only hiring Canadians. You can always ask the individual shops, see what they say.
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Sep 24, 2012 00:22
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Jedi Knight Luigi posted:Hey kazmeyer, ever heard of CaptionMax? Is there disdain for companies like these from you freelancers? Well, considering that at this very moment I'm working on an as-broadcast script for CaptionMax, no, no disdain. Could you be more specific?
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Oct 1, 2012 03:16
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Jedi Knight Luigi posted:I was just wondering about the general differences between the full-timers' and freelancers' playing field. Most of these places use independent contractors. CapMax uses in-house people for closed captioning, as I understand it -- as that takes some specialized training and fast hands -- but they farm out (at least some of) their transcription work. One of my clients handles a lot of work for them, so I end up doing a lot of their as-broadcast scripts. The pay is different, usually a set price per 30/60 minute episode (meaning 20-22 minutes/40-46 minutes, sans commercials) and sometimes you even get the closed captioning data or a shooting script to work from. The detail can range from dialogue only, to timecoded dialogue, to timecoded dialogue with shot lists and whatever other nonsense the company requesting the script asks for. I generally prefer as-broadcast work to other types of jobs, because it's easier -- you're working from a finished episode, and not raw video -- and the pay rate is usually higher (sometimes much higher). It depends on the client and the complexity, but ABS starts at $30 per 30 minutes and goes up from there. The really insanely detailed ones can get up over $75 per 30 minute segment, although there does start to come a point of diminishing returns where you're actually having to spend so much extra time on the work that it's not that great anymore. I try to stick with the low- to mid- complexity jobs for the most part, and CapMax is usually one of my better clients.
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Oct 1, 2012 05:52
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Focus Forward and Daily Transcripts will hire new transcribers on occasion, and check Craigslist for job postings. Most of the places you really want to work for will require experience, yes, but there are a few places you can get in the door without it.
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Oct 6, 2012 21:02
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Nice. I keep getting emails about rush jobs, but they keep hitting when I'm already swamped with other stuff. I always feel guilty when I have to pull back from a client a bit, but I'm just busy as hell. (DT isn't the only outfit who's on the feast side of the "feast or famine" dichotomy at the moment.)
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Nov 2, 2012 22:56
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Spartan421 posted:I made about $170 yesterday. After all these months I can finally see how you're able to make a decent living doing this. Your next step (if you really want to do this full-time) is to pick up an ancillary gig or two. DT will pay the bills nicely when they're flush, but every production studio has lulls. You always want to have more options than you have time to exercise.
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Nov 3, 2012 13:14
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They may be having a problem with the site -- that's their address. (They did have this weird thing where they used to be at dailytrans.com and migrated over to the new domain, I see the old site points to the new address now, so maybe they were consolidating everything and something broke.)
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Nov 4, 2012 04:20
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Writing an article on how cell phones affect people's lives: "Some employees feel like they can never fully escape work, since cell phones allow the office to follow them home or out on the town." Copy editor: "Can you provide a reference for that?" Never change, Demand Studios. (That's the only requested change. Seriously considering kicking it back with "YES IT'S CALLED REALITY YOU loving DOLT" and eating the reject.)
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Dec 13, 2012 01:08
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FredMSloniker posted:No one answered my question, so... Copy editing gigs seem to be considerably more difficult to land than writing gigs. Demand wants actual, professional copy-editing experience from their applicants, according to their application. It might be the sort of thing where if you write for them for a while and get stellar grammar results you can get in -- I've gotten to write for a number of different sections based mostly on my research ability -- from what I understand they're pretty tough on the CEs.
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Jan 1, 2013 11:35
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Generally speaking, converting a file to .mp4 works best for InqScribe. You also need to pay attention to the framerate; InqScribe has an adjustable framerate, and if you don't match it up with the file you're going to drift a second or two every 10 minutes. Generally, what I do is drop a TC at the beginning of the file to get the offset, then jump to the end and see if the offset's the same; if not, I go back and switch the framerate until I get it sorted. Most stuff I find is either 29.97 or 29.97 DF, but you occasionally run into something shot at 30 frames or something else weird. And yeah, DT is great. I feel guilty I've dropped off their rolls again, but my other clients have just been burying me in much more lucrative work. I wish I could just stay on-call for as-broadcast stuff, but that's not really an option.
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Jan 22, 2013 17:50
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Slightly Used Cake posted:And so much variation too. One thing I've been worried about since I started training for medical was how boring it was going to be, but if I can mix some general and media in I don't think it will be a problem. Plus getting to see some set up interviews for shows and things, I was working on something the other week and I'll be very interested to see the finished project as the guy seemed really nice and funny, but it seems like they're planning on portraying him as a hardass, and also, making him dumb down so much. That's the same test file I worked on when I started like 5+ years ago; things have changed drastically since then in terms of video and audio quality. (When I think about some of the jobs I worked in general transcription back then I get the cold sweats. I remember one client that used a voice-activated tape recorder in an attempt to save money, and had it set so low that I basically got the middle syllable of every word. I enjoyed the hell out of charging that rear end in a top hat for 40 minutes of unusable gibberish.) And yeah, I can't say enough good things about DT. If they'd raise their standard rate, I'd be theirs for life, but it's really hard to turn down $2-$3 per minute jobs for $.70.
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Jan 22, 2013 19:50
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Slightly Used Cake posted:How are you getting those if you don't mind sharing, are you going through a different agency, or you must be going directly to the clients are you? How would you suggest connecting with clients who actually pay reasonable rates? And also, it's not wonder you can make a living at it. DT is getting lot better, I don't know if you're aware of their rate change so it's not standard anymore, I haven't had one below 65 cents since before Christmas, which okay, not awesome but there has been a lot more work since they've changed it up actually. And I can't even imagine how you did that file, what was it just one big {INAUDIBLE] tag? Jesus. It's an experience/skills thing. Of my three primary transcription clients, two of them won't even look at an applicant without two years experience, and being able to do as-broadcast and other specialty work is another big plus. That's one of the reasons I send people to DT over places like Focus Forward; DT gives you media experience, and once you have two years of media experience on your resume it's a lot easier to find good gigs. You still have to watch Craigslist like a hawk, 'cause most of the really good ones only post when they have a vacancy and that doesn't come up all that often, but it's a lot easier to get your foot in the door when you've got a lot of experience. My newest client didn't even bother making me take a test, they just said "I think we can assume you know what you're doing" and started sending me work. A lot of the stuff I do is still in the $1-2 a minute range, but occasionally I'll get some gems like movies or clip reels that can pay substantially more. I'm finishing up a project for Warner Brothers right now that's running $3.75 (but they're making me earn it, it's pretty intricate stuff). And yeah, I've considered hanging out my own shingle, but then I'd be competing against people I like for the work I want. It's a lot of hassle, and transcription really isn't my endgame career goal. Maybe once the economy recovers a bit more and there's a lot more production going on, maybe. And going over my DT transcription test, I count 29 [INAUDIBLE]s.
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Jan 22, 2013 21:32
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Yeah, that's one of the pitfalls of freelancing. There's no minimum wage, so there are places offering just insulting rates, and if you don't know any better, you might hook up with one. And there's scam artists. I think I've said it before, but if you ever hook up with an outfit and they don't immediately send you a W-9 and a contract to sign, that's a red flag. "It's cool I'll just pay you through paypal or whatever" tends to end up with you holding unpaid invoices. My very first client still owes me about $1200.
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Feb 1, 2013 22:33
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You definitely want to get a pedal ASAP. I've only ever known one transcriber who went without, and all the others I've talked to thought he was nuts. Once you take the playback controls off your hands, it becomes a lot easier to manage the tape without thinking about it, which will improve your typing speed and retention substantially. The rest of it just comes with experience.
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Feb 2, 2013 04:37
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Spartan421 posted:In InqScribe I've had problems with the pedal not reversing for some reason on a file or two. I was able to set up a reverse hot key using shift-tab or something like that. It's only a little slower than the pedal since those keys are easily accessed. Do you remember what types of files they were? InqScribe can open a lot of different formats, but certain ones (WMV in particular) can screw up its playing/seeking abilities. I don't use my reverse button, generally speaking -- I have my pedal set to drop back four seconds when I let it go, so I'll either tap it a few times to jump back, or click a previous timecode if it's a long way -- but if it's a WMV or certain other formats, it'll sometimes act weird, like it has trouble reversing more than a few seconds from where I'm at. I find that converting files to mp4 makes it a lot easier on the program; I use XviD4PSP for most files, and Handbrake to convert anything it doesn't like.
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Feb 2, 2013 19:15
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Spartan421 posted:Yeah Kaz, I think they were .wma files. I'll have to check out those conversion programs you mentioned next time something screws up. I'm not sure if either of those programs do WMA; I do know that Jodix makes a host of freebie programs to convert back and forth from several different formats. I have their WMA to MP3 converter for handling those.
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Feb 3, 2013 05:38
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takishan posted:I think the pedal is one of those things where everybody swears by because everybody else swears by because everybody told them to start with it at the beginning. Actually, I recommend the pedal because it's a lot easier to learn and use than macros. Taking the playback controls away from your hands lets you keep typing while you manipulate the playback, and that's an enormous speed increase for starter transcriptionists. I've had to do one or two jobs over the years where some proprietary software or another wouldn't take pedal input, and the nearest thing I can equate it to was using Windows without a mouse. Which isn't to say that you can't learn to go without, as you and the other transcriptionist I know demonstrate, I just think if you used a pedal you'd be even faster.
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Feb 5, 2013 12:29
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takishan posted:You've been doing this longer than me, so you're probably right. I'll order one and report back. I think that you'll like it, and I hereby apologize if you're just somebody who bucks the trend and likes the keyboard better. But I think it makes controlling the tape a lot easier, because it becomes kind of an instinctive thing, and you can just power away at the keyboard while fast forwarding or rewinding. (Of course, I also find myself occasionally trying to control Youtube videos or episodes of shows using my pedal as a reflex.)And I keep forgetting to mention this. Anyone who does transcription for a long period of time, check out the books by Dr. Paul Ekman on deception detection. You know, the microexpression stuff that show Lie To Me was based on? A lot of people really can learn how to do it, and transcription is great practice since you're sitting there looking at the subject and going back and forth over the tape. It's fun when you get a crime show, and you see somebody drop a really enormous tell when they're talking about their alibi, or how they never had any problems with the deceased. (Just fair warning. Getting good at that poo poo will gently caress up your personal relationships like you can't imagine. Sometimes it's better not to know.)
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Feb 8, 2013 08:19
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Take your time, and keep reminding yourself that you're not going to see tapes that bad quality when you actually get on the job; they just want to see what you can do with complete garbage.
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Feb 11, 2013 01:57
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As long as those [INAUDIBLE]s weren't standing in for whole sentences or something, sounds like you did good.
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Feb 11, 2013 18:44
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Cast Iron Brick posted:Kazymeyer, I'm assuming you have GChat for work. Is there any way we could talk about your methods and all that? I don't have PM's so I'm asking here. I usually have chat programs turned off, since I don't really work with DT these days, but you can email me at my username @gmail.com and I'll be happy to offer what advice I can. jabro posted:Not whole sentences but two were two or three words. Other than that and what I talked to you over PMs about I feel I did decent. Good lookin' out, then. (One of the reasons I had so many was I had a bad habit of trying to pick out as much as possible, so I'd do "[INAUDIBLE] said we [INAUDIBLE] to [INAUDIBLE]" without really clicking on the fact that that wasn't much better than a single [INAUDIBLE]. My previous client was nuts about accuracy, so if I heard a word in the middle of gobbledygook I was in the habit of capturing it, but I'd have to be pretty sure to avoid using an [INAUDIBLE] tag. One of the toughest things about freelancing full-time is keeping track of which client likes what. I can't count how many times in the early days I'd get back, "Uh, what is this?" and realize I'd sent something to DT in another client's format or vice-versa.)
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Feb 11, 2013 21:22
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Yeah, through my entire time with DT, I think I can remember maybe two files which approached that level of terrible, and I instantly returned them and they didn't give me any flak over it. They know the score. But you can learn a lot more about someone's skills by what they can do with that RealMedia garbage than you can a nice, professionally shot high-bitrate single-speaker talking head interview in a soundproof studio.
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Feb 11, 2013 22:15
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(And is DT busy as hell right now? All my clients are trying to drown me in work, and I'm just curious if it's a coincidence or an industry-wide thing.)
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Feb 12, 2013 00:32
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Yeah, DT are fantastic folks; I stopped putting myself in for work very reluctantly, and I still haven't taken their column off my daily work sheet yet. (If they'd let me stay on just for as-broadcast I totally would.)
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Feb 12, 2013 05:35
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Standards vary. DT, IIRC, is [INAUDIBLE] for everything. I've got a client that uses (inaudible). I've got another client which uses [indistinct]. The last one actually makes a distinction, it's either (inaudible): can't be heard or (unintelligible): audible but can't be understood. Drives me batshit when I have work for three different clients, like I did today.
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Feb 12, 2013 08:38
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Oh, man. Last night was one of those nights that either makes you give up transcribing altogether or set a personal rule about what kind of tapes you'll do for what kind of pay scale. Suffice to say after doing a tape for an "I Love the '80s"-style show consisting of a comedy duo constantly talking over each other and finishing each others' sentences verbatim for a per-minute rate, I'm never again doing multiple speakers unless the client pays by the page or by the hour.
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Feb 15, 2013 21:18
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Freeze_Dried_Chives posted:Ugh Mediapiston is closing. That site is how I have been making a living for the past 6 months, gently caress. Textbroker pays poo poo and Writers Access never has enough work. It says they are encouraging people to work for Odesk instead, anyone have luck with that site? Will it be easy to keep making a full time living at 40 hours a week there like Mediapiston was? This is why I try to hammer it into people's heads to never, ever, EVER try to get a full-time living off a single freelancing gig. The only way to do this and not set yourself up for disaster is to juggle multiple clients. It can be a pain in the rear end trying to make time for three transcription clients, a writing gig, and a search engine job without any of them being particularly neglected (in my example), but if any one of those clients drops off the radar for me I can quickly make up the slack with others. And I'm still considering adding to the roster.
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Feb 16, 2013 04:10
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Freeze_Dried_Chives posted:Yea it was pretty stupid to start relying on only one site like that. I tried doing equal work for all the writing sites when I started, but it started seeming like a waste of time to do something on Textbroker for $3 when I could do the same amount of work there and get $15. It's easy to get into that kind of a trap, and yeah, I don't mean you should take jobs that are clearly not worth your time. I consider my gigs by approximately how much they pay me per hour of effort, and most of the ones I keep going are in the same range. If I find a new one that's pretty lucrative, I ease off on whatever's paying me the least, in order to keep my average moving up. Unfortunately, general content mill sites are on the decline, thanks to the changes in Google's ranking system. A page written by somebody without actual experience in the field isn't very valuable nowadays, which is why most of the sites which are still around are demanding a resume to match whatever field you're writing in. I'm not really sure what the best ones are anymore.
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Feb 16, 2013 06:05
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Was it a USB-1 or a USB-2? (The 1 has separate switches for FF/REW, where the 2 has them sort of integrated into the main body of the pedal.) I've been using the same USB-1 since 2007 or so and haven't had any issues with it, other than it getting a bit squeaky.
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Feb 16, 2013 20:33
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Slightly Used Cake posted:Yeah it seems to be working again, weird, and I can't actually say, USB1 I think. Seems like it just had a bit of a fit with my software. Threw me off because all of a sudden InqScribe was not accepting input from my play button. Seems to be okay now, fingers crossed. I think it's just the week I'm having. I have noticed on rare occasions that I get some kind of a conflict between my USB peripherals; sometimes I'll reboot and either the mouse or keyboard doesn't accept input, and in rare cases the pedal has stopped working. Usually unplugging and replugging the offending peripheral sorts it out. (I have assloads of USB stuff connected, though.) Luigi Thirty posted:I've got a lot of free time, infinite capacity for boredom, and audio studio equipment so DT looks like it wouldn't be too hard for some extra cash. Question, in terms of tapes, is a flexible term. Generally speaking you want to record anything that's a response to a direct question, the subject volunteering relevant information, or any scene with dialogue staged for the camera. You'll eventually develop an extremely fine sense of what's on-camera and what's not, but when you're starting out, more is better. Basically, you want them saying "You didn't need to record this part" rather than "you should have recorded this part," dig? If there's any dialogue associated with the high-fiving I'd definitely get it down. (You may also eventually get jobs which require B-Roll logging, which is basically just noting what's happening on screen, but IIRC that's not included in their test.) (And it may seem easy, but there's a reason I tell everyone to do a half-hour of Henry Rollins or something before trying out. This job can seriously, seriously drive you bugshit and it only takes one horrendous tape to make you snap. If you make it six months without saying "gently caress it I'll go flip burgers this is bullshit" you've beaten the odds.)
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Feb 17, 2013 03:34
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