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Getting a job in videogames

September 7, 2011 Videogames

Over at Jordan Mechner’s relaunched site, ((If some design details look familiar, it’s because Ryan Nelson helped with the revamp.)) game designer Adam ‘Atomic’ Saltsman looks at the differences between [big-budget and little games](http://jordanmechner.com/blog/2011/09/atomic/):

> Don’t forget that taking a true game design role on a big game is almost impossible. The vast majority of the team, while they all have creative input and the ability to affect the outcome of the game, are largely devoted to producing the game content, not making decisions about the game design.

> Even in a game studio with a thousand employees, only a handful of them will actually work on game design on a daily basis, and they’re probably going to hang on to that job for a while. This is just the reality of it; if game design is the part of making games that you love, making small games is going to be a much better bet, at least for now.

It’s detailed advice with lots of links and examples. Check it out if you’re interested in the playable side of motion pictures.

Missed opportunities and second chances

September 7, 2011 Awards, First Person

Melissa Rossi won a Student Academy Award for her university thesis film. That success prompted her to move to Los Angeles to begin a career as a writer/director. But she wasn’t ready.

She writes in to discuss what she wishes she had known, and what she’s doing differently to be ready the next time.

—

first personBack in 2005, I won a Student Academy Award for the thesis film I made at the Florida State University Film School. I had just moved to LA, just learned the real meaning of traffic, and had just added the word IKEA to my vocabulary. While I had the utmost confidence in actual technical filmmaking — I felt comfortable holding a boom pole, scheduling a film, and working with actors — I knew very little about the industry itself.

melissa rossi[Read more…] about Missed opportunities and second chances

FCP 7: Not quite dead yet

September 2, 2011 Follow Up, Software

Good news for Stuart and others who [despise Final Cut Pro X](http://johnaugust.com/2011/final-cut-pro-and-con): Apple has resumed selling version 7. But you better [really want it](http://arstechnica.com/apple/news/2011/09/apple-relents-begins-selling-old-final-cut-studio-again.ars):

> Final Cut Studio can be purchased for $999 (or $899 for educational buyers). That’s the same price the suite was being sold for as of July 2009, but $700 more than its newer replacement, Final Cut Pro X.

To be fair, the older Studio edition includes Motion 4, Soundtrack Pro 3, DVD Studio Pro 4, Color 1.5 and Compressor 3.5, which are now priced separately (or not available at all). FCP Studio won’t be sold in stores at all. It is available only by calling Apple directly.

This is certainly good news for editors who need to stick with FCP 7 for a project.

I maintain my belief that newish editors are much better off starting with FCP X or one of its competitors (Premiere or Avid). Don’t invest time and money in a program Apple wants dead.

Timely vs. timeless

September 1, 2011 News

Television has the blessing and curse of short production schedules, so it’s possible to land a joke about something happening in popular culture, such as Lady Gaga, Twilight, or Twitter hash-tags.

But even if it’s a good joke, it’s not always a good idea.

[Looking back at Cheers](http://nymag.com/daily/entertainment/2011/09/cheers_parks_and_recreation_mi.html?mid=twitter_vulture), Parks and Rec co-creator Michael Schur argues that one of the keys to keeping a show from feeling dated is avoiding topicality — within limits:

> We have a couple rules on the show. If possible we never show the year; like, if there’s a banner for some event we never show “Harvest Festival 201” or something. Because we feel like visually that would be bad; we want people ideally to be watching these shows long into the future and you don’t want to date yourself.

> But on my show we are purporting that these are real people doing real things so you can’t help it. One of the essences of Tom Haverford is he loves hip-hop and pop culture and the Fast and the Furious movies and it would be limiting to not have him reference those things. […] A lot of comedy is about people getting references and recognizing and being able to relate to something.

I love Parks and Rec, but I’ve found myself wondering how well Tom Haverford (Aziz Ansari) will hold up in reruns.

Perhaps in his favor: Even now I don’t get a lot of his references. It’s like Niles and Frasier arguing about sherry or Proust. The comedy comes from the intensity of expression, not what they’re actually saying.

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