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Born and raised in Los Angeles, Bell’s father worked in the film industry, and Bell was sure he didn’t want to do that; he wanted to be a rock climber. Bell said that when he decided rock climbing wasn’t going to be his permanent profession he ended up getting a job on a very low budget movie and then became an apprentice editor to Norman Hollyn. His philosophy, he said, is, “I believe that editing is a craft and it can be learned, and the only way you can learn it is by doing it.” He also says that editing is a service industry, and in a competitive industry you have to set yourself apart. As a group he said that editors are the least open to change, which is a surprise given they are tasked with making changes all day long. This was particularly his experience in the transition from film to digital. As he progressed he realized that there was a way to distinguish himself with the new digital tools, and that there were a subset of tools that weren’t being embraced by other editors; tools like Photoshop, After Effects and Combustion. Though he doesn’t do true VFX work, he explained that his ability to make changes in-the-edit to the performance has been invaluable both for low-budget movies as well as the bigger movies he’s worked on.
In the Q&A session Bell talked briefly about working with studios and how he deals with studio notes. None of the messages or user accounts will transfer over, so you'll want to go there and create a new account. As I may have mentioned at some point, Malvineous and I (he much more more than me) have been trying to figure out the last remaining bit of the Duke II level format - the stuff that aligns certain tiles. Hey all - I'm certainly pleased that we've got pretty much the last piece of the puzzle solved for Duke II.


It's still very much in the alpha stage, but hopefully it won't be too long before I can release something! The Duke II editor will require quite a bit of effort to get it usable I think, because the way the foreground and background layers are arranged it would be quite tedious to do it manually. One of the reasons why it's so tricky is that when you design an editor for a single game you can hard code a lot of things (like the best way of arranging the tiles in the tile selector.) Because my editor works with a number of games, and it will let you edit other things like the tilesets, this sort of thing can't easily be done - so I'm not quite sure how it will turn out!
Well my intention is for the editor to one day work with pretty much all classic games, but it just depends on time and whether the games can be reverse engineered. Cosmo is more or less working (because it's so similar to Duke II) and Jill of the Jungle will be there fairly early on (because it's so similar to Xargon.) Monster Bash sprites are currently read only so they'll be up there on the list of priorities too.
In most cases modifying existing levels is all you can do anyway - things like level names and the number of levels are almost always hard coded, so having the levels in the .exe won't be any more of an issue than with any other game. At any rate the only thing blocking Wacky Wheels at the moment is a lack of modding info, so if anyone can find out something about how the levels work that'd certainly get things happening more quickly! I've been planning to modify some Wacky Wheels levels for a long time, but I never get around to it.
He said that he thinks most successful editors and directors don’t complain about studio notes. Your general web browsing experience will be much improved if you upgrade for free to Internet Explorer 7, Internet Explorer 8 or Google Chrome.


Szevvy said I should post a screenie of my editor, so here's what it looks like at the moment. I've looked into it some and have some very incomplete information about it on my web site. But to pay rent he took people out rock climbing, and most of them were from the industry and they were all very stressed out.
One major limitation is that I don't know how to edit the route that the computer-controlled players drive.
He couldn’t understand it, but a friend who worked in the industry got him in to watch Robert Leighton edit a scene from The Princess Bride. If it doesn’t make sense it’s probably because that person was unable to articulate clearly what they were feeling at the time.



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