[Juris Eksts]

What’s more, I’m positive there was a thread below this one that I was going to read next, and while I was writing the previous reply, it dissappeared too!

[Juris Eksts]

I’ve had the same, (but only once I think),
I thought at the time the OP had deleted the thread to avoid embarassment.

[Juris Eksts]

I think this would depend very largely on what sort of editor you’re expecting to employ.
Do you need someone who will push buttons for you, or someone who will have very strong opinions on how to make programmes, will know how to interact with clients, somoone who will work with anything they’re presented with to make any programme work to the best of its potential, even if that potential is low, or someone who will throw out any dodgy camerawork, wobbly, out of focus shots, bad grammar, (in terms of language or filming technique)?
I was once present when someone was choosing potential flat-mates, and they just had all the potentials in together at one time, not interviewing them one at a time, but to see how they’d react together in a stressful, social situation. That way they could see genuine reactions, which told more than asking questions, and being told, where someone with good verbal skills will win out, but those verbal skills aren’t neccessarily the most important in that situation.
Editors are very often in sensitive and stressful situations, and each one will react differently. Those stressful situations can create either awful tension and a terrible working environment, or a place where really good work happens, and I think it’s only by working with people over a period of time, seeing how personalities interact, that you learn enough about them to make a decent judgement.

It also works the other way round – does that editor want to work with you? Can they make a living with you on only 30 hours a week? but more importantly, do you give enough space for a real editor to make a meaningful, satisfying contribution?

So my recommendation would be: employ a few as freelancers, see if they fit, then make a decision later.

[Juris Eksts]

Lots of different thoughts on this:
(I’m assuming that because you want material for a reel, that you’re just starting out on the career path, and that you want to be an editor)
First is that this will be a good lesson, – agree everything in writing before starting a project.
Second is that even if the job was a freebie, the material does belong to the director, so no, you have no rights to use that material. So he/she would have the right to sue you if you used it. But, if there was no budget to pay you, they may have no budget to hire a lawyer, but I wouldn’t bet on it.
Thirdly, that the career of an editor is largely built on relationships, so maybe it’s not a good idea to start that career by getting on the wrong side of people. He/she may or may not have contacts in the world you’re trying to make your own contacts in, if not then it may not matter, but if he/she does, then you could find you have an uphill battle before you begin.
My tuppence worth.

[Juris Eksts]

Hi Sandra,
This does seem counter-intuitive, but when you get used to the way Avid works with effects it will be very easy and controlable.
First of all, cut the sequence that you want on your V2 together, but don’t re-size yet. Put in the push transitions, then collapse all the clips of that track together. Only then put on the resize (preferably use 3D Warp in the Blend section), and adjust as neccessary.

[Juris Eksts]

I completely agree about the very loose terminology in use, particularly things like L.S, MS CU etc., but GV and CAs has been in use on this side of the pond for a very long time, and it was definitely taught that way in film schools over here.
But this is a case of . . . divided by a common language.

[Juris Eksts]

May I disagree strongly on the B-roll – GV debate.
I think that General View is a far far better description than B-roll which actually gives no information at all about what it is.
Maybe the other term we use, CA’s or Cut Aways is an even better description.
Nothing to do with the OP though.

[Juris Eksts]

I tend to cut my sequences with lots of overlapped audio and music, so moving parts of those around can be be quite a hassle.
My main way of moving cut sections around is by making gaps in the sequence with the ‘select from here to end’ tool with all the tracks selected. I move the sequences apart until there are no overlaps, extract sequence to be moved by ‘extract to the clipboard’ (alt-x), re-insert where desired, then close everything up with the trim tool.
I also work by making of copies of my sequences, and working on those, so I can easily go back and re-establish sync from a previous version if I’ve lost it seriously.

[Juris Eksts]

Or mark an In or Out, (or use a Marker) and trim to that

[Juris Eksts]

All of the above, but also very simply, I stand at the back of the room to watch either a longish section, or especially all the way through, that in itself gives a different perspective.