Mark DAgostino

Years ago DP Dennis Quaid sent me his suggested flourescent corrections to correct tungsten and HMI to match various types of flourescent bulbs. I thought I'd share that: 3200K Tungsten Cool Whites: plusgreen50 *increase 3/4 stop SP35: 1/2blue, 1/2plusgreen, 1/4plusgreen *decrease 1/3 stop SPX35: same as SP35 OSRAM FO: same as SP35 SP30: plusgreen, 1/3blue,1/4plusgreen GE Light White F96T12 LW: 85, plusgreen50, 1/2 plus, * increase 1/2 stop GE Metal Halide MVR250/HOR U: plusgreen50, 1/2plusgreen, 1/8plusgreen, 1/8blue HMI: Cool Whites: Plusgreen, 1/4 Plusgreen *Decrease 1/4 stop SP35: Plusgreen, 1/4CTO, 1/8CTO *increase 1/4 stop *all increases/decreases ar above/below incident light level

Your opening scenes look as if they were lifted directly from the edited film with that film's pacing. While that may work for the film it's much too slow for the reel. I'd suggest that you can keep all the scenes but re cut at a faster pace. Many shots are just left up there too long especially when it's a face closeup without any other action. Can you get work from this reel? The reel is just one part of that. Yours would certainly get some attention and maybe a few calls but it's how you sell yourself after that that will really answer that question. Oh, and Mat is right, get rid of the documentary stuff and/or put together a separate reel for that. It was a bit jarring. You go from a nice filmic aesthetic to "video". Just my humble 2 cents worth...

I agree with what Jesse said but would like to take it one step further. While yours is not a "director's" reel I feel it would help to place a few scenes together from the same project as they may have been cut in the final film. This would help to better see how your shooting and lighting style actually applies to the bigger picture, (no pun intended), and affects the emotion of the scene. Of course, the trick is to do this without slowing the pace of your reel.