Alumni Stories

Alumni Highlight: Alex Craig

Alex Craig graduated in 2011 and began his career in New York City. Now, he has co-founded his own NYC-based production company named We Are Films, and his clients include the likes of Microsoft, Nike, and Squarespace, as well as music artists like Sufjan Stevens, Andy Mineo, and more.

When did you know you wanted to go into film and digital media? What sparked your interest?

I knew film was what I wanted, and something that I had to do when I was 12 years old. My brother and I made short films back then with all of our free time. It’s what we loved doing then and it’s what we love doing today.

What has your journey into the industry looked like?

It’s been a crazy journey. It’s not like a normal job where you put in time and hope to get a promotion. There have been all kinds of twists and turns to get me to where I am today, and I’m sure there are going to be lots more turns.

So many things happened after I graduated from Compass and moved to New York City. I started as an intern at a camera rental house. After that, I worked as a Production Assistant on Law and Order, followed by Men in Black 3, and some other shows. Then I started doing assistant camera. Then digital imaging technician, which transitioned me into coloring. I colored ten feature films, including one that won the grand jury prize at SXSW. (Also did VFX on five feature films, but that’s a whole other story.) While doing all that, I was shooting small things here and there. One day, I got hired to shoot a McDonald’s TV spot because they liked my reel. After that, I transitioned out of color and basically freelanced full-time as a Director of Photography. At the same time, my brother and I started a production company named We are Films. Now, we have a full-fledged production company where we direct together. Also, I still freelance as a Director of Photography. I shot my first feature film in 2015. That’s finally coming out later this year, called REM. It’s been a crazy ride so far, and I’m loving it.

What has been your favorite part about working in the industry so far?

It’s all a blast. I just love making things. And it’s nice to get paid to do that.

What has it been like to have your own production company?

It’s a huge undertaking, but it has been amazing. Because of it, I have been able to travel to all parts of the world. It’s great to “be your own boss.”

How did the hands-on education at Compass help prepare you for life after college?

I knew I wanted to “do film” before going to Compass. While at Compass, I worked on every single project I could, and it was nice that we got to learn what each role on set was. After attending, I knew more about what I wanted to do. I learned that there are a lot of different jobs within the industry.

Do you have any advice for upcoming graduates or someone considering a career in film and digital media?

If you want to work in film, do it. But you have to be all in. It’s a lifestyle that some people love, but it’s not for everyone. If you want to do it, commit to it and don’t look back. Also, you have to make a living. Don’t be afraid to work on commercials and corporate videos here and there. Make them better than anyone else would. Learn from those, and you can apply what you learned to narrative films or anything else you are passionate about.

Alumni Highlight: Elizabeth Nelsen

What began as a love of photography, has developed into an exciting career working on the production-side of network TV shows like Top Chef. In this interview, 2011 graduate, Elizabeth Nelsen, talks about her journey into the film industry, the truth about working on reality TV shows, and more.

When did you know you wanted to go into film and digital media? What sparked your interest?

I loved photography from an early age, and I had an affinity for understanding how things worked. My Grandpa gave me his old 35mm SLR camera, and I’ve been hooked ever since. Eventually, I served on the media team at my church. We had to make a lot happen with a little and really teach ourselves as we went along. I enjoyed that process and wanted to learn more, and that is what led me to Compass.

What has your journey into the industry looked like? Which productions have you worked on?

I started out working on anything that I could – paid or not – local or not. I just wanted to get experience and a feel for how productions worked. I focused on finding work within the Camera Department, but if I couldn’t find it, I would do anything just to meet people and learn. I ended up briefly working at Birns & Sawyer Camera House in North Hollywood, and I learned an incredible amount in that time. Afterward, I worked on indie features like Old Fashioned and Short History of Decay …and a number of random super low budget features, shorts, web series, and commercials.

Eventually, I fell into Reality TV. I had never focused on that part of the industry, but I grew to like the multi-camera style and frenetic nature of the format. Things change quickly because the story is developing as you go, and you have to facilitate for multiple crews. I love multitasking, so it was a great fit. I’ve worked on several seasons and variations of Top Chef, and working with the same company has allowed me the opportunity to work in both Production and Camera.

What has been your favorite part about working in the industry so far?

There is always an opportunity to learn something new. If you’re bored, you’re doing something wrong!

How does working on a show like Top Chef differ from working on a feature film?

Reality TV is very different. I find that the pace is much quicker, and the scheduling is a lot more aggressive. There are several cameras to manage as opposed to one or two. There are complex wireless systems. Setting up a control room is much more involved because there are so many camera feeds the Director and DP need to see. Depending on the show you need to incorporate tools from the live broadcast world, and I enjoy the constant puzzles and problems to solve.

How did the hands-on education at Compass help prepare you for the industry?

The experience was invaluable because they really put you out there and let you go for it. Afterward, you dissect the experience and evaluate what should have been done differently. Sometimes we made decent films. Sometimes we made terrible ones. Each experience was worth something. The pace of Compass was pretty intense, and I think that was helpful because the industry will require you to run a little bit faster than most other work. You have to put in effort and be a self-starter. Compass structured the program this way by design.

Do you have any advice for upcoming graduates or someone considering a career in film and digital media?

Get out there and work. Even if you are settled on a certain position or direction, be open to other opportunities — even if they seem beneath you. Each experience is an opportunity, and you have to keep yourself in that mindset. Work hard and work honestly. Do things that other people aren’t willing to do. Do what needs to be done before someone has to tell you to do it. Don’t just be looking out for your own interests and goals, make sure you are focused on helping others succeed as well. People are looking for the self-starters and problem-solvers— be that person! It’s all the basic stuff, but if you do it, you will stand out from all the others in your same position.

Alumni Highlight: Paul Rice

Paul Rice, a 2017 graduate of Compass College, is an editor living and working in Los Angeles. He recently completed his internship at Toy Box Entertainment, an LA-based motion picture advertising company. Now, he works at ProGuides as an editor working on gaming tutorials and more.

When did you know you wanted to go into film and digital media? What sparked your interest?

I don’t think there was really a single moment when I decided film was what I wanted to do. It sort of just happened organically. I made some videos and said to myself, “that was fun,” and a few years later I had a nice little skill set. Since I enjoyed the work I thought, “why not go to film school?”

What has been your favorite part about working in the industry so far?

This is probably not true of all entry-level jobs, but my favorite part has been my ability to be creative. ProGuides has given me a good amount of freedom to take things where I want with projects. I can put little goofs or gags in the videos because it spices things up. A little seasoning goes a long way when it comes to tutorial videos and guides. Also, the money is nice.

What’s it like working as an editor for ProGuides?

Working at ProGuides is awesome. It’s crazy and lots of work, but because it’s a start-up, I think that’s expected. It’s fun working in such a relaxed environment where everyone has similar interests as well.

How did the hands-on education at Compass help prepare you for the industry?

I learned a lot about production at Compass. It is nice to know that I can use, or easily figure out, whatever equipment is thrown at me. However, since I’m mainly an editor, I don’t get to use my production knowledge too much. I also learned a lot of useful theory. Before Compass I would always just do what I felt would be cool for the video, but now I try to give everything I do in a video reasoning. It shouldn’t be cool just for the sake of being cool, at least most of the time.

Do you have any advice for upcoming graduates or someone considering a career in film and digital media?

My advice to graduates is work hard. If you go above and beyond and do good work people will notice. Just keep trucking along and getting better at whatever skill you are learning. Make sure to put conscious effort into improving your skills. Skills pay bills, and it feels even better to pay bills doing something you enjoy.

Alumni Highlight: Jesse Harbold

Jesse Harbold is a 2012 alum of Compass College living in New York City and working in the post-production departments of award winning shows like VICE and Orange is the New Black for HBO and Netflix.

My sophomore year of high school, I received a video production class instead of all the architecture classes I had requested. However, after beginning the course, I realized I was having a blast and just seemed to naturally understand the concepts better than any of my peers. From there, it blossomed into more classes and independent studies. I researched film and story on my own and took a film history class. My life soon became consumed by it. I got into theater as well. I think what struck me was that, up to that point, I had nothing I could confidently say, “I enjoy this, and I’m good at it.” Sports were my thing, but never my thing. It was a little bit of a forced identity. Film allowed me to express myself in its purest form.

During my time at Compass, I started working professionally in the industry; primarily with Mark Baas, a connection given to me via Compass alum Karl Koelling of Taproot Pictures. I spent many weekends working on local commercials as a Production Assistant and creating my own projects for different classes. After completing the final thesis project, I received an internship with an independent production company in New York City doing script coverage.

In August 2012, I moved to NYC, couch surfed for two weeks, and then finally found an apartment. I spent two months at my internship doing script coverage, then was given the opportunity to work on Darren Aronofsky’s NOAH as an extra. Immediately following that, I was offered the chance to be a Production Assistant on a film the company I interned for was about to start shooting. That first feature introduced me to many people I would collaborate with over the next three years. From there, I worked on an additional 14 to 15 feature films, as well as various commercials and music videos.

In July 2014, I stepped into the role of Assistant Director on a half-million dollar movie. After that experience, I moved off set and into post-production. I worked as the Post-Production Assistant on season three of HBO’s hit show VICE. After seven months, I wanted to get back to scripted TV, so I moved into a facility doing dailies for network TV. While working there, I learned how to use Avid, which is a requirement if you want to work in network TV. A year and a half later, I moved on to work on season five of Orange is the New Black as their Post-Production Assistant. Following the season, I moved back to VICE as an Assistant Editor on their new nightly news show for HBO.

My favorite part of working in this industry has to be the flexibility to do anything I really want. I’ve dabbled in everything, from development through post-production. You can experiment while making a living and never be tied to any one company. I love that. It’s such a sense of freedom. Also, I enjoy the casual atmosphere of most work environments. A suit and tie, commuting to a 9-to-5 job, just isn’t me.

To clarify, I think this is an important note, the post-production departments at Netflix and HBO do not actually make the show. Their roles are usually administrative in nature, overseeing all of their shows. I work for the companies contracted by Netflix or HBO to produce the content; this is a privilege because they rarely deal with individuals outside of an established circle of trusted people and independent companies. Working on their shows is by far the best of the best. I’ve been fortunate, not just to be a part of the HBO and Netflix lineups, but also to have been a part of their Emmy Award-winning lineup. The extra level of care this entails is surreal. They both give thorough story notes and care deeply about the quality of material they’re producing. Learning set etiquette, story structure, and artistic vocation at Compass was so crucial to being able to keep my head above water starting out. Set etiquette was especially crucial in the early days. I’ve seen interns and production assistants get fired on the spot because they possessed poor etiquette. I also feel Compass gave me a humble view of the larger picture. This is fundamental, understanding how the small stuff impacts the larger stuff. Compass was terrific at showing how everything connects. I think the best advice I can give is to be patient and humble. They both will be tested greatly. Never lose sight of what you love about this business and art form. I have a core set of films I always go back to when I feel this happening. They re-inspire my joy and love. Don’t let negativity seep in.