-
2013 an exciting new year
-
[Craig Seeman] “The question is why are they hiring you?
If it’s because they know your work and your familiar with their NLE and workflow of choice, you’d be using their equipment.”I am a “hired gun”. Mainly for creative reasons, but almost always on their gear. Some of these shops have less experienced staff editors that do the nuts and bolts work. In other situations, I’m hired to handle overflow. Creative editing skills are assumed to be a given, but equally important is the ability to sit in the chair and work with their gear. Note, too, that they would not pay extra if I were allowed to bring my own gear. So I get paid the same whether it’s just me or me+gear.
[Craig Seeman] “They hire another Media Composer editor.”
Remember I said they had no budget to hire me. This also means they have no budget to hire a different editor. The revisions/versions would be handled by the junior staffer. Also remember in the hypothetical scenario, I was the one supplying MC and the system. They wouldn’t have that available to work on without a rental.
[Craig Seeman] “Again the question is why are they hiring the given editor?”
That’s the wrong question. The right question “who is doing the hiring?”. If the producer or a production company is hiring the editor and that deal includes the editor’s kit, then it doesn’t matter and your scenario is accurate. I work that way, too, on occasion. If it’s a post house doing the hiring, the editor often has to work with the gear provided to them. This is a similar situation for DPs. Many DPs can dictate the camera to be used for the production, but in some cases they lose and have to use the camera picked by the producer. It’s simply the way the world works. Sometimes the reasons are completely valid and sometimes they are silly.
In the context of Craig’s original post, it’s really more about setting up the pipeline for a show. That’s a very critical scenario. You’ll also notice that he said the producers have put the other editors on notice that the show would be cut in X in 2013. So, Craig gets the edit system he wants, but the other editors may or may not 😉
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
[Oliver Peters] “Here’s another example. Walter Murch has been cutting on FCP “legacy” since “Cold Mountain”. That’s still his preferred NLE. Yet on “Wolfman” he had to cut on Media Composer, because everything was already in place at the time he was brought on board.”
I understand that Murch was the “replacement” editor in that film. That’s a bit different than being hired at the start of a project and Murch not editing on his NLE of choice. I doubt they would have hired him if they and he didn’t feel comfortable with his skills on Media Composer.
-
[Craig Seeman] “I understand that Murch was the “replacement” editor in that film. That’s a bit different than being hired at the start of a project and Murch not editing on his NLE of choice. I doubt they would have hired him if they and he didn’t feel comfortable with his skills on Media Composer.”
Correct and agreed. A good argument though for knowing multiple systems, though 😉
I do know some talented prime time TV editors who lost good gigs because they mainly knew Avid and the show was using FCP (legacy).
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
Oh one last thing Craig – if ever you get asked to cut another Olympics vt, can I suggest “you gotta the love” by flo and the machine!
Michael Sanders
London Based DP/Editor
Reply to this Discussion! Login or Sign Up