How to Do Showreels
With the teaching for the module of Professional Practice coming to an early end due to principal photography for “Pillars of Creation”, we collectively had a look at showreels and the ways they benefit our employment within the industry.
It will be a no-brainer for most people reading my blog, but since showreels are effectively the visual equivalent of a business card, it was obvious that we would have to create showreels for ourselves as well. And although I’ve already obtained a job in the industry (see my last blog entry “It’s All So Worth It: I Got A Job In The Industry!”), I decided that I would still dedicate more time and effort into researching a proper way of creating a good showreel.
For whilst this topic seems to be quite self-explanatory and easy to understand, I felt that at the same time it could be a bottomless pit that hosts more information, tips, and tricks than what meets the eye. As such, I delved deeper into the rabbit hole and conducted some research before setting off doing my own showreel. And here are the results of my learning:
Some Disclaimers First
However, before I was able to start researching a showreel, I had to sort a couple of questions and ideas in my head in order to know what my best plan of action would be. And in order for my avid readers to understand, I would be required to write a short disclaimer – so please bear with me.
This disclaimer needs to start off with the fact that I’ve been told that I have hitherto created nothing to show for my showreel. Whilst that might seem like harsh information to swallow, there’s a kernel of truth in that. During the course of my studies, evidencing our learning and our path to obtaining information was always made a higher priority than the end result itself, even in grading our work. With the focus lying on good theory rather than good practice, and with all the other factors coming in such as wanting to obtain a good degree, limitations in resources and everyone still learning their own craft, it was somewhat an inevitable outcome.
Having said that, it was then obvious that I would not be able to use massive loads of footage to showcase my learning, but had to make do with whatever footage I had and whatever footage I would be able to obtain during my FMP. As such, it was also obvious that my focus would rely on filming for the longest time possible and to get the showreel done more towards the end of the module rather than earlier.
In addition to that, and although I’ve already been promised a job in the industry, there was another question of how to approach the obtainment of my footage: Would I be required to do a cinematography showreel or would I need one for camera assistance as well? Would I sensibly have the time, resources (and ultimately, the footage) to do both?
Since I was mostly focussing on cinematography during the course of my studies – and less on camera operation and camera assistance – but will now be required to focus on camera assistance in the meantime, there was a bit of a conundrum.
However, in order to make it manageable for myself within the time and resources available – and since I was low on a variety of footage anyways – I decided that I would only ever do one showreel and instead focus on my skills in general. Although that might seem backwards, I felt that promoting my camera and lighting skills would ultimately be what a DoP would want to look out for anyways. My capabilities of being able to light a scene or operate a camera would ultimately what I would be hired for anyways, so there would be no fault in showing what I can do on my own.
Furthermore, after conducting some research, I was not able to find showreels that would solely promote an individual as a camera assistant only. Most camera assistants that I got to know in the past years did not bother with a camera assistant’s showreel – but all of them bothered with a cinematography showreel.
So I figured that I could too.
However, that brought me to another issue I want to address:
Would I also show myself doing some work within the showreel? Like BTS footage of me slating, for example?
This took me some more time thinking, as I do not want to show myself too early in the edit. With me being a woman in a male-dominated industry, I am not sure whether it would be a good idea to attract too much attention to myself as a female camera assistant. Could I possibly incur a disadvantage from that? Would it be more beneficial for me to reveal myself later in the showreel? Or leave my appearance out altogether and only let my showreel and skills speak for myself.
What if showing myself as a female camera assistant might be my unique selling point though? With an industry that grows increasingly aware of the celluloid ceiling and the disadvantages of women in the industry (and with the increasing number of grants, bursaries, and additional budgets to obtain for a more gender-balanced production)?
There was no easy way to answer that question for myself that early on in the process. I realised that I would have to ponder a bit more about that and most likely let the edit of the showreel decide whether presenting myself within it would work as intended.
So with all these ponderations conducted, let’s finally start with the topic at hand:
What Is A Showreel?
Showreels are short videos showcasing your skill within any department or job role within the film industry, aimed at promoting yourself, your skills, and your talents to future employers in a quick and efficient way for everyone involved. It should be thought of as either your visual business card or – more befittingly to my mind – as an ad for your skills to help you stand out in that fast-paced and over-crowded industry.
As such, there are showreels for different job roles within the industry, of which I will only highlight the most apparent ones in the following:
Showreels for acting,
Showreels for directing,
Showreels for cinematography,
Showreels for camera operation,
Showreels for sound design and music,
Showreels for editing and colouring, and
Showreels for SFX, animation, etc.
Although this will not be an exhaustive list and just serves as a general overview, it needs to be noted for completion’s sake. It also seems to be a no-brainer that every single one of the abovementioned showreels will have a different focus than the others.
In addition to that, there are – broadly speaking – three types of showreels:
Montage Reel
Compilation Reel
Scene-based Reel
Montage reels is the type of reels that are most commonly known: They offer a variety of short clips edited together and usually combined under a single soundtrack. These are usually used for cinematography and sometimes even for editing reels.
Compilation reels on the other hand feature full clips or scenes – such as full-length ads – subsumed under a certain theme. These are usually done for corporate or commercial clients looking for a certain type or style and serve more of a purpose for producers.
Lastly, there are scene-based reels featuring up to 20-second clips that help emphasise certain aspects, such as acting, directing, and sound design, within bigger contexts. These ones, very unsurprisingly, are mostly found in showreels for actors, directors, and sound designers.
Elements of a Showreel
Being able to make your own showreel is a necessary skill to be acquired in this industry and thus should not be outsourced as a task to someone else. Since showreels are key to landing a job, they should be done well in all aspects, which is not only content and editing, but also the choice of the right soundtrack.
Because of this, and with the focus of a showreel being short and efficient, there are a few common denominators that are worth pointing out for everyone who wants to create a showreel in order to promote him or herself.
Tips and Tricks for Creating a Showreel
From the extensive research that I conducted whilst falling down this rabbit hole, I realised that a lot of my resources broadly repeated the same few tips and tricks throughout with only some variation. However, there were also a lot of resources that added their unique spin or opinion to the usual tips and tricks, which not only expanded my learning but might also make for a good checklist to follow for when I edit my first own showreel.
Thus, I decided to add a list of all the tips and tricks I gathered for properly editing a showreel in the following:
Consider your type of showreel!
Time is of the essence – keep it short!
Put your best work first and your second best last!
Tailor the showreel to the job you’re applying for!
Consider the skills you want to advertise!
Consider your mood/style/genre of music!
Pay heed to licensing and copyright!
Cut ruthlessly and go for quality over quantity!
Make it unique!
Keep it consistent!
Keep it simple!
Keep your showreel up-to-date!
Make it clear what you’ve done!
Don’t use footage that isn’t yours!
1. Consider your type of showreel!
Before editing anything, first consider the type of showreel you’re going for and plan the selection and order of shots and soundtracks accordingly. Nothing kills the purpose of a showreel quicker than a lack of planning (and thus cohesion) in the final piece.
2. Time is of the essence – keep it short!
Roughly 1,5-2 minutes in length are alright for any of the showreel types mentioned above as not everyone is having the time to watch your showreel until the end. You need to be able to grab people’s attention quickly, and that within seconds only. Be mindful of the pacing of your clips and the overall flow to help this perception. This also means that you shouldn’t let a clip linger on for too long and shouldn’t repeat a clip twice unless it serves a special purpose.
3. Put your best work first and your second best last!
This ties into tip #2. Since producers and production companies usually don’t have much time at hand and are flooded with showreels, very few of them will watch your showreel in its entirety. As such, here it is advisable to put your best work in the beginning to start off with a bang. However, some professionals still advise to end your showreel on the second best shot, as it also remains fresh in the viewer’s mind. Nothing is worse than starting off on a strong shot but ending on a bad take; start strong and end strong is the best route to go.
4. Tailor the showreel to the job you’re applying for!
Keep the video relevant to your job application and if you can tailor your showreel to a specific application or company, then you should do it. Should you be in the lucky position of having had a range of clients, products, genres, etc. then you should also provide a range of showreels dedicated to each of them, such as showreels for corporate clients, broadcast clients, commercial clients, short films, food contents, and maybe even for sports.
5. Consider the skills you want to advertise!
This seems fairly straightforward – if you want to apply for a job as a camera trainee or camera assistant, you would not want to advertise your skills on sound design or editing. Make sure to include examples that display your skills and talents and that are relevant for the job you want.
Consider your mood/style/genre of music!
This ties a bit into tip #1, but will also be important for tip #10. Since your choice of music will help you stand out as a filmmaker, you should always consider the mood, style, and genre of soundtrack for your showreel early on. This will influence the impact of the footage you chose, as well as the perception of your creative persona.
However, don’t be too tied to the idea that people will watch your showreel in its entirety with its music turned on. For some producers have been known to even turn the music off on showreels to focus on the visuals alone and not be too distracted.
However, regardless of whether people will listen to the soundtrack you provided with the showreel, it should still be selected with care music should give you some pace to help editing. As such, there are really only two ways to go to my mind: Complimentary or contradictory.
Either your choice of music compliments the footage and underlines its themes, or it contradicts the themes of the footage, creating its own subtext, which can be equally as powerful, if not even more. Depending on whom you ask, some say that the music should not distract too much from the visuals, whereas others embrace contradiction as a unique selling point. Here, experimentation will be your best friend in that regard. The only thing that is important is that it’s done with purpose and that you cut your footage too the music.
7. Pay heed to licensing and copyright!
At this point in time it should be a given, however, my research revealed that it cannot be repeated enough apparently, so for completion’s sake here it goes:
Never violate copyright! If you find yourself wanting to use copyrighted music, pay a license to be able to use it! Never use uncredited music as it makes you look unprofessional.
Furthermore, the advantages of paid-for music are plenty as well, as you not only gain access to more unique music and thus have a greater range of choice available to you, but also because with paid-for music, licensing has already been done for you.
Licensing/crediting the music you use furthermore shows that you are aware and respect the intellectual property of others, which not only makes you more respectable, but also more professional as a filmmaker.
8. Cut ruthlessly and go for quality over quantity!
When it comes to your showreel, cutting ruthlessly is the only right way to go! With a showreel, you should only ever be showing your polished diamonds. This might be a struggle especially when starting out, but if you’re unsure about a certain shot, it might be best to just leave it out altogether (and rather go out and shoot something good instead). There is no sense in using quantity over quality, as this is not what any employer would be looking for. Less is always more with showreels – don’t clutter it if it does not serve a purpose. 9. Make it unique!
This should be another no-brainer within this competitive industry, but might regardless be overlooked in the amount of information floating about surrounding showreels. As your showreel is a form of self-promotion, it should be obvious to make it unique and stand out in a positive way. With this, it might be helpful to find your unique selling point and create something special to get you noticed. Be it your skill of being able to emulate amazing gimbal or drone shots, or your skill of editing complicated sequences together.
10. Keep it consistent!
However, whatever you do with your showreel, you should always keep in mind to keep your piece consistent. This can only ever truly be achieved if you have a concept or a strong vision planned out before you start and if you keep re-evaluating your decisions against the backdrop of that concept. This not only shows that you can successfully stick to a concept (which is important for creative teamwork), but also that you are able to implement it.
11. Keep it simple!
In tandem with tip #10, keeping your showreel simple will almost always be a safer bet, especially if you are still starting out in your career. It’s always better being able to successfully pull off something simple and make “that simple thing” look good, than looking amateurish on something really complicated and ultimately failing. The rather simplified rule of thumb that you’re only ever as good as your worst shot has helped a lot of producers and directors in sorting out applicants for a job. Or, as one of my resources put it plainly:
“The viewer is looking for a reason to stop watching [your showreel], so don’t give them one.”
12. Keep your showreel up-to-date!
Again, another no-brainer. With the quick advancement (and replacement) of new technologies, styles, genre-hybrids, and much more, it is almost compelling for any budding filmmaker (and also for those being in the industry longer) to keep their showreels as current as possible. Whilst it might seem strange sometimes to see a single filmmaker flood video platforms such as Youtube and Vimeo with yearly-updated showreels, it is actually the best bet to take.
Releasing regular showreels furthermore gives anyone interested in your work enough insight into (as well as a quick reference to) the development of your skills, and whether you are capable of keeping up with technology, style changes, etc. It furthermore shows that you’re up to par and not relying on work that was done ages ago but now feels (and looks) outdated.
13. Make it clear what you’ve done!
With showreels, and since filmmaking is always a joint venture, it is especially important to make clear what your part in the work was and what you are ultimately doing/applying for. As such, you should always make sure that your name, what you do, and your contact details – or any relevant means of contacting you – are on the showreel itself. Some professionals advise the use of lower thirds in order to outline what job you did on any particular clip:
“This may sound like a no-brainer, but include your name and contact information on a quick slate at the start and end of your reel. With all the other details and creative decisions being put into a reel this can easily be overlooked. (…) The best way to do this is to use short text descriptions over each clip to denote your role and explain what work was done.”
However, to my mind personally, this can easily become really cluttered and distract from the actual work that you are seeking to advertise. As such, I would personally go for simply stylised title cards in the beginning and end of a showreel (in the case of montage reels) or at the beginning of each segment (in case of compilation reels).
14. Don’t use footage that isn’t yours!
Last but not least – and this cannot be emphasised enough – it should be obvious that you should only ever use footage that is yours. Never pawn off someone else’s work as your own. This is essentially plagiarism and you will inevitably be found out if you keep doing it. This also leads to the next segment of my blog entry:
Music and Showreels – An Explosive Mix
This issue already somewhat showed through in the list of tips and tricks above (especially with tip #7), but the matter of music and showreels nevertheless needs further addressing. From conducting my own research into the matter, I quickly realised that a lot of the “professional” showreels I encountered online featured copyrighted music. In fact, from seven showreels that I found whilst looking for inspiration, only one of them used music that had definitely been cleared.
Which makes for an appalling ratio and for even worse industry practice, as a lot of filmmakers online seem to uphold the opinion that – since you only ever use it for a showreel and not “for the real deal” – you can use any music soundtrack without regard to its copyright or original creator.
Which could not be further from the truth. In actual fact, I would argue that using copyrighted music without clearing the copyright for your purposes would pose a major red flag for any employer who risks getting liable for anything you created on their behalf.
Furthermore, I would also argue that within an industry that thrives on intellectual property and the attribution of credits to said property, I would be frustrated if my work done was, firstly, not credited properly, and secondly, was not credited properly or let into on the profit even though it might even be used elsewhere to generate income for someone else and might have only done so because of my contribution.
More About Showreels and Music
Another issue with music and showreels – or music and editing in general – that I haven’t quite grasped yet, is finding the right music for the right edit and making them work together in harmony (or at least in carefully crafted contradiction)!
This had been a problem of mine ever since the beginning, and is something that I decided I would tackle along with this task of making a showreel for my self-promotion.
As such, I started out by asking my boss on his approach to editing with music. Here, I received a really good first pointer when he pointed out that he prioritises the visuals before the music, will say that he orders and cuts visuals first and then goes to find the fitting beat to them. Whilst this is clearly a more visually-driven approach than a musically-driven one, it would have been my first intuitive step as well as I personally rank the footage higher in priority. I think at this point, I would have rather become a sound operator/sound mixer if I wanted to prioritise music instead.
As such, I decided that I would prioritise selecting and assembling my footage first, but that I would also start researching for good soundtracks alongside it so that I would be able to re-inform and update both my assembly as well as my music choice and find that sweet spot of amalgamation in order to make the final showreel work.
Thus, I ventured online and searched through a couple of audio and soundtrack libraries such as e.g. FreeMusicArchive, AudioJungle, Playonloop, and Artlist in order to find soundtracks. However, as this was a rather tedious task that involved a lot of going back-and-forth between choices and would not allow me to settle on a specific soundtrack until the polishing of the edit would be done, there is not much to elaborate on for now.
The Application of My Learning – Editing My Showreel
With all the previous research done, it was obvious that I would have to edit my showreel on either Avid 2019 or Premiere Pro 2019. Since editing on both softwares and in general is nothing new to me, as evidenced by blog entries from previous years such as e.g. “Premiere Pro Training and Stand-In for ‘Bleed’”, “Introduction into DaVinci Resolve”, “Let Me Introduce You to: Adobe After Effects and Green Screens”, and “Final Cuts: Of Colour Corrections, Last Edits, and the Results of My Learning” the focus of this segment will lie mostly on the outcome once I get round to editing it properly.
Editing Update: 7 April 2020
Already at the beginning of March, I’ve started editing a showreel with the footage from the previous FMP, which I lit and/or shot. However, after the Covid-19 pandemic reached the UK and especially after the subsequent lockdown, I decided that I would redo the edit. This was furthermore supported by the fact that I had now not only gathered more time, but also acquired more shots to put into, which updated my showreel tremendously.
As such, and with the help of Chloe’s editing computer, I sat down and started my edit from scratch on Premiere Pro 2019. As already highlighted in the previous paragraph, this was nothing new or challenging for me, so I just followed through the motions of selecting some promising shots, to assembling and pre-cutting them.
I then finally decided on the soundtrack that I was going for and bought the license for the showreel music sample called “Evolve” from the host Playonloop.com:
After purchasing and downloading the song, I then sat down and edited my showreel in tandem with the soundtrack, followed by a general sound edit. After the sound edit was done, I ventured into basic colour correction and colour grading, before finally letterboxing my showreel and adding title cards with my name and contact details at the front and end of the showreel.
Following a bit of a cleanup, I finally exported the reel. And what shall I say, this is the result:
Covid19-Disclaimer
Whilst I would have liked to go more into detail, improve the title cards, and cut more to the beat in some aspects of the video, this goal was cut short by the fact that I did not have much access to editing facilities in quarantine as I would have had at university.
Especially with the editing workload of our editor Chloe on “The Pillars of Creation” and only ever one computer available to use for the both of us, I did not have as much time available as I wished I had in order to improve the quality of my showreel to my liking and my usual standards.
However, depending on when the lockdown ends, I might still be able to create a better version of that video with more facilities at hand later down the line.
For now, this will have to do.
P.S.
As you could see in my uploaded showreel, I decided against representing myself within the reel itself. Looking at the vast resources and examples on cinematography showreel, I did not find a single one that would show the person in question on set: They all prioritised the footage itself instead of promoting their person. And since this is, ultimately, what is of importance in a cinematography showreel, I followed suit.
To smashing the distinction between "cinematographers" and "female cinematographers"!
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