[Michael Thomson]

Hi guys

Interesting post Charlie !

I dont think its necessarily important what someone wears etc, because it all come down to that persons personality outside of the creative bit.

I’ve worked with / met editors that wear suits / shirt and tie / jeans and a worn out t-shirt etc well groomed / going for the tramp chic etc etc, in all cases the success or creativity amougst them all has been attributed to:

Environment (conformable yet practical)
Comfort (personal preferences in clothing etc)
And most of all getting peace to do their jobs !!

I think the days of stereotyping how a “creative” should look perhaps are now long in the past. One of the biggest mistruths i got told when i started out was that a tidy edit suite is NOT conductive to a creative mentality – utter nonsense !

[Michael Thomson]

Hey

If you look into the Boris effects in Adrenaline you could combine Jitter and a motion blur to achieve this.

Good luck

[Michael Thomson]

Hi Guys

I am keen on exploring this feature in Avid (pan and zoom) as i am used to using Stagetools as an external application on another system.

I understand that the pan and zoom effect will work with bigger files however how do you import a graphic thats say 2000 x 2000 pixels etc into the Avid?

Cheers

[Michael Thomson]

Hey Guys

Charlie nailed it on the head i think. Im never happy with everything in my edits but the day i am is the day i need to stop doing it. I think its always easier to think someone elses work looks different to yours its a natural thing because to tend not to look below the surface of an edit that you’ve not invested your time into, look harder though and you’ll see plenty of things about other peoples work that you dont like either. Editing is a tough gig because often the editor is the harshest critic, all in the name of stiving for perfection.

Appease your client on every edit, so what if that cuts not what you envisioned as long as they pay the cheque at the end who cares, take the lessons to your next gig and develop.

And most of all keep smiling, it is after all a great job !!

[Michael Thomson]

Hey Pixel

Hope this doesnt end up being a teach u how to suck eggs one….

DV is only supported for LP playback in the machine that it was recorded in, manufacturers wont guarantee playback in other decks (sony > Pana or whatever) but i’ve found the problem even amoungst different models from one manufacturer.

The output as u may have seen is crap, jumpy non-fluid playback if its a case of the above.

The bad news is that DV can be recorded LP in the camera, arrggghhhh !!! i dont think so in DVCAM ones but certainly miniDV cameras can. If thats the case get hold of the camera and firewire it in otherwise u may well be stuffed.

If the stuff was professionally shot on LP, get the cameraman shot.

Hope that helps

[Michael Thomson]

Hey

If your trying to move everything to the right try inserting filler.

[Michael Thomson]

Hey Nina,

By virtue of the job it is required that you do deviate a little at least from a script.

If the producer etc scripted a programme and handed you a timecoded ‘paper edit’ that required no editorial input, there would alas be no need for all of us editors, instead a machine would be invented that assembled the programme as per instructed.

Collaboration is always the name of the game in any production. Every player brings something to the mix and the editor is by no means an exception. You get paid to bring a knowledge of how best to gel a programme togther, so you should always feel free to flex that ability when you feel its needed.

As some people on here have said, sometimes your hands forced by a determined and often narrow minded client, but thats not your problem, advise and move on.

Good luck and have fun 😀

[Michael Thomson]

Hi Peter

Thanks for the advise.

Cheers

[Michael Thomson]

For what its worth, my ten cents worth

I’ve been (or my employers) in this situation many many times, usually the type of job where everyone in the clients organisation (sometimes pan countries) has to have a say…..bloody nightmare.

What we do is a bit of a mix of the advise on here. We:

Agree an outline budget that takes into account the initial job brief (as known at that time)

Meet with the point of contact from the client and outline what they want to achieve and how we will facilitate that

Agree that should the job run over a period of calender months we will invoice part in each month

inform them that once the point of contact is satisifed that we have checked all his/her check boxes with the edit (as per job brief) we will invoice the full value of the job.

The client then recieves a DVD or whatever to distribute to those with an opinion in their organisation, the client then has to collate all the feedback and filter that info to us. We then quote for the revision to the edit and it is dealt with as a new job, so no messy retainers etc, just as is sometimes the case two or three independent jobs covering the same thing that are invoiced and paid for with no hassles.

Just two things to remember: agree the invoice procedure from the outset and in any revision edits/jobs add a set fee for re-constitution of the edit lines etc, or if you dont wipe the media from the drives, charge them a standard fee for storage (by the day)

Hope that helps and good luck, never let the tail wag the dog!

[Michael Thomson]

Mike

I work within a production team, so not quite a one man/woman operation.

Mix of projects: promos, training videos and commercials.

With the exception of the commercials, the workflow gos:

Producer scripts / conceives production
It is shot
Tapes arrive in suite with no log or paper edit
Producer tells me roughly what he wants
i choose shots, brief graphics people, choose music and cut programme
Client / producer review

Turnaround for post is 4 – 5 days for 30 min cut.