![]() |
||||||||||||||||
![]() |
||||||||||||||||
|
||||||||||||||||
![]() |
Alex Gimenez - Video Editor In LA:
|
|||||||||||
|
|||||||||||
Welcome to the site.
Since its inception, computer controlled editing has changed dramatically with the advent of digital video. This is where the purpose of this site begins. With technology today, one can literally edit a project far form the production area. Studios don't have to be close to the post houses anymore. |
|||||||||||
I hope you'll find it useful exploring my résumé in this expanded electronic form. My downloadable standard short-form résumé is here as well as things that don't usually appear in résumés such as work ethic and personal philosophy. This site not only covers the usual notable historical credentials and the experience I have, but it goes back into the archives of what has been an interesting video journey for me. Weaved here and there, I'll cover some areas about myself that will help one to understand what I bring to the table as an editor and how that affects the work I do. Until you've experienced lifting 2-inch videotapes onto credenza sized Ampex VPR-1's under CMX control, you don't know what a workout you're missing. With technology, tapes got thinner and machines got smaller -- 1-inch helical tapes, Betacam SP, Digital Betacam and SR High Definition Recorders, to sight a few. No longer do editors have to pump as much Iron Oxide. In today's digital pen and mouse domain, the editor has to go to the gym to workout if he or she is to stay in reasonable shape. Along the way I studied art specializing in oil painting and that experience helped me better understand video color. Getting video color right and applying color effects in the early days was a challenge because the tools were so limited in nature. Today, digital color is far more detailed with greater flexibility. When I was editing Home Improvement staring Tim Allen, sophisticated special effects were not at all common for the average television show, let alone for a situation comedy. At that time, the executives at Wind Dancer were brave visionaries in letting me bring to bare all the tools a contemporary edit bay offered. By today's standards it didn't have the depth and power available now. With that said, we made history bringing unique 3Dimension and 2Dimension transition effects to the forum for the first time. For this effort, I was fortunate enough to garner two Emmy nominations during the first two seasons of the show. Another highlight that almost got an Emmy mention was the designing and implementation, for The Disney Channel, of a Near Real Time linier tape-to-tape Auto Assembly Program for the Quaker Town Promo Campaign. It included Chyron Triggers, Traveling Matte Transitions and ADO follow. This was a massive collaborate effort between promotional, editorial and engineering. The Disney Channel created the graphic elements. I created the editorial flow and engineering wrote the software to make it happen. This was so successful, that Encore, Starion, TVN and PBN used us to create similar auto assembly programs for them. I've experienced the video evolution go from 2-inch tape Standard Definition to Digital High Definition - from PC70 studio cameras to film style handheld cameras - from the Ampex 30 second Slo-mo disks to Avid Fluid motion time-warps. I can't tell you how many different pieces of equipment I've learned and operated throughout my career. The de jour flavor of the day is Avid Symphony with an earlier six-year appetizer of Autodesk Smoke. It's interesting how one piece relates to another. |
|||||||||||
|
|||||||||||