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an editor’s reel, just as a colorist’s
reel will be different from a motion
designer’s reel. You might end up hav-
ing multiple demo reels to showcase
different talents.
One thing to note is the use of au-
dio in a demo reel. Reels are often cut
to a music bed that sets the pace and
says something about its producer’s
talent and personality. For most video
professionals this works out well.
However, editors may want to consider
using the audio from their source se-
quences because it’s an inherent part
of their storytelling process.Putting it all together
When it’s time to edit your reel, you
want to collect footage that highlights
what you’re trying to show your audi-
ence and sells you as a professional
video talent.
The reel should start off with a
hook. Your audience is always going
to see your opening shot; there’s no
guarantee they’ll watch the entire reel.
With that in mind, you want the open-
ing shot to convince them that what
follows is going to be worth their time.
After the tone of the reel is estab-
lished with the first couple of shots,
it’s time to tell a story. This is your
professional story. Make sure that
each shot flows naturally from one
shot to the next, building upon what
was previously done. Be careful not
to be redundant, once you’ve shown
the audience enough evidence of one
particular talent or skillset, move on to
the next. In the middle of the reel, you
want your audience to know that you
are a master of your craft and that you
consistently deliver high-quality work.
The end of your reel is the big
payoff, so finish strong. This is where
your audience will make their final
impression of your work. Use yourAlthough you’re working for yourself
in assembling a demo reel, you’re mak-
ing it to influence someone else. The
audience of your demo reel should be
whoever is going to look at it and decide
they want you to do work for them. The
best way to determine that audience is
to understand what you’re capable of
creating, who would pay you for that
kind of work, and what work you would
like to do. The client who stands at the
intersection of your past, present, and
future is the audience for your demo
reel. Begin working on your reel by
thinking about what will impress your
audience and what they want to see.A reel for all occasions?
Once you have your audience in mind
and you know what you want to tell
them it’s time to put together your
reel. What type of reel you assemble
depends on who you are and what you
want to tell your audience. A cinema-
tographer’s reel will be different fromPROFIT MAKING
A résumé can be helpful to anyone
working in professional video, but
more important is a good demo
reel. And just like with any proj-
ect, there should be an intentional
plan for every shot and cut.
by Chris “Ace” GatesHow to cut a demo reel
last clip to send them out with a bang. You want
them to be in awe. As the old adage goes, always
leave them wanting more. One of the best ways
to do this is to limit the size of your reel. There’s
no need to put a clip from everything you’ve
ever worked on in there. Keep the total time
of the reel under two minutes. You can always
show the client more work upon request.What gets left behind
What doesn’t go into a reel is just as important
as what does go into it. There shouldn’t be
anything in a reel that takes away from your
work. A demo reel is an exhibit of your work;
don’t claim someone else’s work as your own. If
you’re making a cinematography reel, don’t put
in work that was shot by someone else. Likewise,
don’t put in pieces that are stock content, made
with presets, a completed tutorial or a derivative
of such a piece. If called out, it will push a client
away faster than mediocre quality work.
Remember context is important. Don’t put
in any clips that, when viewed out of context,
are mediocre or subpar. There are a lot of greatThe opening shot
of your reel is the
most important.
Choose a clip that
shows off your
technical skill but
also offers some-
thing unique and
attention-grabbing.These are a Few of Our (Least) Favorite Things!
Chances are that you encountered one or more of these the very first time you
edited video. We’re sorry to say, no matter how careful you are, you’re sure to encounter
them repeatedly over the course of your video career.- How to Color Correct Video
- How to Deinterlace Footage
- How to Fix Shaky Footage
- How to Get Rid of Hisses and Hums in Audio
- How to Convert Frame Rates
- How to Get Rid of Unwanted Objects in Footage
These problems plague all videographers,
but good ones know how to stop them dead
in their tracks. Videomaker’s How To: Fix It
In Post instructional video teaches you how
to fix the six major problems that we hear
about over and over again:- Washed-out Color • Shaky Camera Work • Hisses and Hums • The Visible Boom Mic
Learn more at videomaker.com/flaws
390 C08 Profit Making.indd 56 9/24/19 2:28 PM 352 Fix it in Post DVD.indd 26 9/21/2017 1:44:44 PMPROFIT MAKING NOVEMBER 2019
VIDEOMAKER >>> NOVEMBER 2019 57
Putting it all together
When it’s time to edit your reel, you
want to collect footage that highlights
what you’re trying to show your audi-
ence and sells you as a professional
video talent.
The reel should start off with a
hook. Your audience is always going
to see your opening shot; there’s no
guarantee they’ll watch the entire reel.
With that in mind, you want the open-
ing shot to convince them that what
follows is going to be worth their time.
After the tone of the reel is estab-
lished with the first couple of shots,
it’s time to tell a story. This is your
professional story. Make sure that
each shot flows naturally from one
shot to the next, building upon what
was previously done. Be careful not
to be redundant, once you’ve shown
the audience enough evidence of one
particular talent or skillset, move on to
the next. In the middle of the reel, you
want your audience to know that you
are a master of your craft and that you
consistently deliver high-quality work.
The end of your reel is the big
payoff, so finish strong. This is where
your audience will make their final
impression of your work. Use yourby Chris “Ace” Gates
last clip to send them out with a bang. You want
them to be in awe. As the old adage goes, always
leave them wanting more. One of the best ways
to do this is to limit the size of your reel. There’s
no need to put a clip from everything you’ve
ever worked on in there. Keep the total time
of the reel under two minutes. You can always
show the client more work upon request.What gets left behind
What doesn’t go into a reel is just as important
as what does go into it. There shouldn’t be
anything in a reel that takes away from your
work. A demo reel is an exhibit of your work;
don’t claim someone else’s work as your own. If
you’re making a cinematography reel, don’t put
in work that was shot by someone else. Likewise,
don’t put in pieces that are stock content, made
with presets, a completed tutorial or a derivative
of such a piece. If called out, it will push a client
away faster than mediocre quality work.
Remember context is important. Don’t put
in any clips that, when viewed out of context,
are mediocre or subpar. There are a lot of greatshots and sequences that work because of the
original video they’re in, but when removed from
their original edit and juxtaposed in a demo reel,
the clip loses its polish and becomes humdrum.
Always consider the context of every shot and
edit in your reel.Show it off
When it comes to making a demo reel, you are
your own client. You’re selling your ability to
make great video, you’re the product. Be critical of
yourself and think objectively about how you can
win over your clients. Most importantly, give your
reel exposure. A reel won’t do you any good if it’s
sitting in your timeline or by itself on a website.
Invite people to see your reel and put it in front of
your audience. If you’ve done the hard work, your
audience will be in awe of a reel that sizzles.Chris “Ace” Gates is a four time Emmy Award-winning writer
and video producer.You can comment on this article by going online:
http://www.videomaker.com/?p=95168These are a Few of Our (Least) Favorite Things!
Chances are that you encountered one or more of these the very first time you
edited video. We’re sorry to say, no matter how careful you are, you’re sure to encounter
them repeatedly over the course of your video career.- How to Color Correct Video
- How to Deinterlace Footage
- How to Fix Shaky Footage
- How to Get Rid of Hisses and Hums in Audio
- How to Convert Frame Rates
- How to Get Rid of Unwanted Objects in Footage
These problems plague all videographers,
but good ones know how to stop them dead
in their tracks. Videomaker’s How To: Fix It
In Post instructional video teaches you how
to fix the six major problems that we hear
about over and over again:- Washed-out Color • Shaky Camera Work • Hisses and Hums • The Visible Boom Mic
Learn more at videomaker.com/flaws
390 C08 Profit Making.indd 57352 Fix it in Post DVD.indd 26 9/21/2017 1:44:44 PM9/24/19 2:29 PM