Missing that Mahogany Desk

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Jenna Tenace Jenna Tenace
As I sit in my movie theatre-styled chair with that little half-useful, half-really inconvenient fold-out desk folded out, halfway listening to my History of Iraq professor, I can't help but miss the beautiful, full-of-opportunity mahogany desk adorned with a $40 pencil cup and a MacBook Pro that is now empty, waiting for its next intern, in New York.

After a series of gut-wrenching, inopportune internship experiences (including having the "internship of my dreams" suddenly "not need an intern in that department anymore"), Beast, a post-production editorial house, saved my summer (and what seemed to be my life) by taking me in.

Post-production what? I had no idea what I was getting myself into. So, I packed up and moved to the city—all while not knowing what I'd really be doing for the next three months. I had a few days in the city before I started work, so I decided to walk over to Beast, introduce myself and see what they were really all about.

The uncertainty stopped there. From the second the elevator doors opened into the world of Beast, I knew that I was going to have a great experience. Within just three months, I got to work with some of the hottest editors in the industry, learn how to use a $400,000 special-effects program, explore the ins and outs of producing, and become really attached to that desk.

On my first day, I met each editor. Only through meeting them—listening to their creative ideas, hearing what they've previously worked on—did I understand both their talent and passion. The editors at Beast are world-renowned; some have worked alongside celebrities and athletes, not to mention some of the best agencies in the world. Not just extremely talented, but eager to work. I can't begin to explain how many times this summer I thought to myself, "I HAVE GOT to be that passionate about what I do."

Some of my days were spent apprenticing under the Flame artist. As a master of adding special effects to commercials, Jon showed me how to add things that weren't there, set movement to stationary objects—he could create anything he wanted. While I was there, he spent most of his time working on the AT&T Giant commercial.

Though I thought learning how to use Autodesk Flame was artistically captivating, I really wanted to get a sense of the whole post-production process. I asked my supervisor if I could sit in with the producers and see what exactly they did in the process. After two weeks, I was creating bids for clients, sitting in on new business meetings and offering my two cents. The most rewarding part: My opinions were actually valued and taken into consideration.
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