This week we are continuing our 2022 Instructor series with Tavin Dack. In the 10 years since graduating from the SAIT Film and Video Production program, Tavin has worked in a variety of roles in the Alberta Film and Video-verse. Today, he’s translated his expertise in post-production into a successful career in the corporate sector, producing training, marketing, and communication videos.

Tavin will be teaching the Editing with Adobe Premiere workshop on Saturday, June 25th and Sunday, June 26th. Click here to learn more and get your tickets.

CSIF: Tell us about yourself; what do you do in the film industry?

TAVIN DACK: Since I graduated from SAIT’s Film and Video program, which feels like a lifetime ago now, I’ve worked primarily in television and independent film. Obviously, most of my experience has been in an edit suite working in a variety of roles, but, like a lot of others out there, I dabble in a bit of everything. I’ve especially enjoyed being on set working as an AD and an effects supervisor.

I’ve really taken what I learned in the film industry and applied that to my current job. I work for an interior construction company producing all types of video content and even work with virtual reality technologies. It is incredible how vital video communications has become to the corporate world.

CSIF: How did you get started in filmmaking? Why did you decide to become a filmmaker?

TD: When I was about eleven my father bought a DV camera. I spent a lot of my weekends making silly little movies with my sister. Funny enough, the way I was making movies was much like the very early days of filmmaking where all the editing was being done “in camera”. Essentially there was no editing. They would just film all the shots in order without having to splice and edit them together.

It was a few years later that I got my own laptop computer and had access to Windows Movie Maker. Being able to capture and edit footage was a revelation for me. I found myself enjoying building the movie in the computer rather than shooting.

From there it was media classes, and even some work I did in animation, that really showed me that I wanted to do something with media.

CSIF: What movie(s) inspired you to work in the film industry?

TD: Kung Pow – Enter the Fist. If you are not familiar with that movie, I am not surprised. If you are familiar, you are probably surprised. It’s a little low budget movie from the early 2000’s. The film uses footage from a 1960’s Kung Fu action film but the filmmakers composited new actors into that footage and shot new footage which when combined makes this really bizarre story about a chosen one.

Is it the greatest movie? No. But it really showed me how much can be done with post-production. I think that movie was really a trend-setter. It did face replacement before that was a common idea in filmmaking.

CSIF: What kinds of stories are you interested in telling?

TD: I’ve always been interested in ancient myth. I think one of the defining features of myth is the exploration of ideas and concepts that are deeply and intimately human. Because of this, myth tends to be timeless. If you look at the movies that have really defined the generations, they always take heavy influence from ancient myth, so much so that some of those ideas have become tropes.

I guess I’m interested in stories that explore aspects of humanity that can be understood by anyone, anywhere.

CSIF: What is the most important thing you’ve learned about working in the film industry thus far?

TD: I think I’ve learned that it’s okay to take a break. Everyone who has worked on a movie knows how much work is involved and how long the process can take. When you have downtime, it can begin to feel like you should be working on something new. We’re all human, and as important as it is to be looking for the next project or gig, it’s also important to take care of yourself. If that means taking a step back, then you need to take a step back.

CSIF: What advice do you have for others looking to work in the film industry?

TD: My advice would be don’t just stick to your lane. If you’re an editor, get a camera and learn how to film something. If you’re a director, try acting or gripping or sound work. Having even a slight understanding of how the filmmaking process works as a whole can make your work even better, I would say this is especially important for editors and camera operators.

It also gives you a whole new tool set when collaborating with others. If you know what the editor needs in the edit as a camera operator, you can film better footage. If you’re a director you can understand how to block your scene not just for your actors, but also to make the boom operators life easier. Being someone who makes other peoples’ jobs easier is always a great quality to have.

CSIF: What is the most embarrassing or funniest thing that has happened to you on set?

TD: I’m sure the majority of my really embarrassing stories I’ve just conveniently blocked out. I do recall being on the set of a little short film called Cotard which was directed by fellow CSIF member Kaz Nakajima. I was working as the video editor on the project, and I had offered to be the DIT for the shoot.

Well, I arrive on location and set up my rig. I go on set to watch what’s going on, and just as they go for a take, my phone goes off. So yes, I committed that immortal sin. I’ll leave it at that.

CSIF: Tell us about your most recent project.

TD: During the pandemic, I didn’t really do much contract work, and it left me with some time to do my own projects. I did start up a little online Discord cinema for friends. It was a lot of fun to create runs-of-show and pair movies together along with trailers and all the fun things you’d expect.

For Halloween, I decided to use my online cinema for a 12 hour live steam of Halloween content, including some original content. That original content ended up being a pilot to a fictional TV show called “The Ghost-Men”. It is a parody of those really cheap ghost hunting shows, where hosts try to convince the audience that mundane events are evidence of the supernatural.

The project ended up almost killing me, with split night shoots over a couple weekends for location availability. I couldn’t find any camera operators willing to trudge through that, so we ended up having 3 people on set doing the job of 5-6. Everyone brought a lot of energy though and I couldn’t have done it without so many people just being kind.

Ultimately, my exhaustion and lack of crew kind of worked for the project and added to the cheap nature of the parody, but man, we were all done at the end.

CSIF: Any final thoughts/words regarding filmmaking?

TD: Just that I think the traditional definition of filmmaking has changed, or at least expanded. I’d encourage everyone to keep an open mind and don’t limit yourself to a certain medium or platform. Sometimes challenging yourself in a different area can make you a better traditional filmmaker.

CSIF: What is a film that you wish you made and why?

TD: I don’t think I can pick one film. If I pick a movie that I want to improve, I’d be ignoring the amount of hard work that originally went in it while not knowing the challenges they faced. If I pick a film I love, then it was made exactly as it should have been.

I will say, I’d love to be involved in a Star Wars or Star Trek film. I said I like myth and often science fiction and fantasy fit the parameters for myth. I also think those are big franchises that have moved away from really what made them impactful to begin with, and could benefit from a return to a smaller more human story.

Favourite movie(s): I’m never certain how people can pick a favourite movie. I don’t think I can pick. Apologies. The best film I’ve seen recently is Everything, Everywhere All At Once. You should see that.

Favourite movie snack(s): It depends on the film, but if you’re ever near an Alamo Drafthouse Cinema their vanilla milkshake is pretty amazing.

Instagram: @tavinldack

Recent work: Ice Edge Business Solutions