I would like to raise a glass, tip my hat, and offer a small bow to the invisible ones—the teams of creative people who work tirelessly and without attention to make the films we enjoy as perfect as they can be. The next time you watch a film, stay through the credits, and try to picture the post production team at work. When they were in high school, those were the kids in the booth, and they deserve a hug.
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“I know this is a total first world problem,” Wally admitted, “but I’m thinking of going somewhere else because I’m tired of spending half of my day doing nothing.”
Eddie nodded. “Same here.”
“The grass is always greener over the septic tank, they say.” Kristy was trying to lighten the mood. “You’d be begging for this if you had to work a full eight hour day in a real job.”
You can’t save money on the camera, because if the footage is terrible there’s nothing that can be done to make it not-terrible. A lot can be done with correction and effects, but there is no substitute for clean footage. You need a good microphone, too, because the same goes for sound. If you then want to film a bunch of unknown actors willing to work for a percentage of the profits wearing their own clothes and filming in your grandmother’s house, you can make the film itself essentially for free. Then you need professional finishing, otherwise all of the hard work in writing, acting and directing will be lost in the inconsistencies.
“And he’s gone again,” said Wally. “That was quick.”
“So,” Eddie started, “do we go back to our desks like he said or wait here because he said he’d be back?”
“I have no reason to stare at my useless screen just because it makes me look busier, so I’m going to wait here until he gets back.” Wally sat back down and picked up a magazine from the break room table.
“Works for me.”