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Codex – more color tools
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[Andrew Kimery] “I think that goes to the point of a ‘disconnected’ editor being advantageous. If the director looks at the footage and mentally fills in gaps with his/her prior knowledge from being on set/location then that can be problematic because the audience won’t be privy to that same information. I think a primary role of the editor is to be a surrogate for the audience and being disconnected from production makes that task easier because all you know is what the footage tells you.”
I think you misinterpreted my point. The audience also doesn’t have to dig through hours and hours of footage, the editor does. And that’s where memory comes in. Memory for an editor is just about as important as any skill. If you shot it, you know it better than a “disconnected editor” likely ever will. And there is also a significant time savings because no one needs to “learn” the footage.
I don’t disagree with your point. I’m also not saying one model is superior to the other. They both have their pros and cons. I think in a cameraman/editor single person arrangement, skills have to be developed which allow you to view something you know a lot about, but with the eyes of someone who doesn’t.
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Brett Sherman
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[Brett Sherman] “And there is also a significant time savings because no one needs to “learn” the footage. “
I’m with you now. Yes, especially in situations where it’s not practical for the editor to watch down all the footage, it’s very helpful to have someone from production (the director, producer, etc.,) be in post to help answer questions about the footage.
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[Andrew Kimery] “Many times there is an energy/magic/excitement that can happen in production that colors people’s memories, but that same energy/magic/excitement doesn’t necessarily translate into the recorded footage. And ultimately what’s recorded in the footage is the only thing that matters.”
I’ve worked on many doc style pieces and that statement is quite accurate. The excitement that might happen in the field when it’s happening live can be very different when seen after the fact through the camera lens. And yes, it’s helpful to know from the director what he or she thought was the essence of what was captured but in the end the only thing that really matters is what comes through in the footage.
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[greg janza] “And yes, it’s helpful to know from the director what he or she thought was the essence of what was captured but in the end the only thing that really matters is what comes through in the footage.”
And if the essence didn’t come through in the footage then the director, since he/she was there, can (hopefully) help the editor recreate it in post.
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agreed.
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[Andrew Kimery] “And if the essence didn’t come through in the footage then the director, since he/she was there, can (hopefully) help the editor recreate it in post.”
I’ve been on countless field shoots where something a client or an agency rep has said has helped me interpret what will make THIS video more successful – and therefore becomes critical to my editorial understanding.
But I also understand that unless you have the budget for unlimited re-shoots – in many, many situations, the editors job is to find best story that their instincts can locate – in what they actually have – regardless of any “plans” anyone might have had in prep.
Maybe it’s a matter of the type of work you do?
Some types of complex narrative arcs probably emerge best when the editor is allowed to becomes “storyteller in chief” – IF the ultimately responsible parties like the director and producers are okay with that.
But in other video types (certainly in corporate work where I have spent most of my career) information from the executive suite “as discussed on set” – has been not just useful, but often CRITICAL to the successful completion of a project.
Yes, an editor often has totally valid reasons to act as a surrogate for the audience’s untainted perspective.
But in lots of other situations, the editor who was on-set to soak in more of the INTENT of the field discussions – ALSO can bring a boatload of useful knowledge into the edit suite.
The devil will always be in the details, I suppose.
One factor, is certainly that not that long ago, it was logistically impossible to bring all the tools of the edit suite OUT of the suite and onto location. Today it’s pretty trivial.
We’ll see if this continues to change at what stage – and where during the post process – editorial work migrates over time.
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[Bill Davis] “But in other video types (certainly in corporate work where I have spent most of my career) information from the executive suite “as discussed on set” – has been not just useful, but often CRITICAL to the successful completion of a project.”
Agreed. I don’t work on many corporate projects, but on the ones I have worked on all the language and imagery, has been vetted by marketing, legal, management, etc., so there is no room to ‘rediscover’ the piece in post. It was all hammered out before hand and the challenge for the editor can be sticking to those guidelines while still trying to make something entertaining and informative.
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[Andrew Kimery] ” I don’t work on many corporate projects, but on the ones I have worked on all the language and imagery, has been vetted by marketing, legal, management, etc., so there is no room to ‘rediscover’ the piece in post.”
I wish that was the norm but corporate projects in which there’s a full vetting by marketing, legal and management prior to shooting or during shooting are rare indeed.
As with so much of video production now, the focus, scope, story, messaging and overall thematic structure of a piece can change many times over throughout the post process.
I’m currently working on a 1min in-house promo spot utilizing a dozen employee interviews that has gone through three rounds of changing the overall message focus. And all of these changes have occurred after all shooting was completed.
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[greg janza] “I’m currently working on a 1min in-house promo spot utilizing a dozen employee interviews that has gone through three rounds of changing the overall message focus. And all of these changes have occurred after all shooting was completed.”
Well that sounds annoying.
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[Andrew Kimery] “[greg janza] “I’m currently working on a 1min in-house promo spot utilizing a dozen employee interviews that has gone through three rounds of changing the overall message focus. And all of these changes have occurred after all shooting was completed.”
Well that sounds annoying.”
… not so unusual in the corporate video world! … I could tell you stories… ☺
Shawn
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