Person Lastly
Forum Replies Created
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as with anything in this business it’s about being at the right place with the right attitude and your ability to make that opportunity grow. sometimes taking on another internship may be needed if it gets you in the door of a place you want to be. just be ready to show your stuff when needed. good luck.
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P I C = W A N A B
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if there is another shop in town, start shopping. obviously if you stay, it’s going to make you bitter. it’s hard to go to an existing boss and demand more money without another option. if you are a big part of their revenue, they will make it worth your/their while to keep you. or maybe the other shop makes you a great offer? curious, are you a flame/inferno/smoke artist?
good luck.
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it was $1.00 (one dallar) – $5,000.00 per day. not $1k-$5k. totally depends on what agencies think you are worth. If they want Hank Corwin to cut a spot, it’s going to cut bank. if you want your nephew to do it, then it could be for free.
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$1-$5000 per day in spot editing. depends on the ad agencies’ perception of you. having a solid reel helps as well.
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“Another editor could use 40% AE because her/his client base is all ad agencies who like bouncing digital bunnies”
MANY ad agencies/clients waiste their money on Call Now!! spots, no doubt. i have yet to bounce bunnies in my work fortunately 😉
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” If you’re defining an editor as the traditional “person” who simply cuts together film in a “cuts only”, off-line fashion… then your stuck in the 80’s. Too many visual storytelling techniques now depend on technological mastery that was unthinkable just a short time ago.”
obviously i hit a sore spot with you that i never inteneded. most off-line editors use NLE’s, obviously. using a “cuts only” system for cutting anything other than basic assemblies would be foolish. i’m just saying many ‘professionals’ get too involved with doing it all while losing sight of the original intent. and that is providing a well executed product. obviously budget dictates this. i completely understand that. fortunately, i can leave the picture and audio finish for the specialists. a good colorist (tape to tape, or film) can take the images to the next level. a good sound designer can make bad footage look interesting. and a good compositor can make the impossible reallity. and so on.
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almost everything i do is offline and film based. meaning, once the cut is approved i take it to finish elsewhere (picture and audio). i use AE to roughly composite and stabalize when needed. but rarely is it something that lasts to the final product. do many offline editors get along without using AE/Shake? absolutely. it is not the easiest thing to learn. and quite frankly, if i get caught spending more than 9% of my time away from creative editing, fire me. it’s not what i’m paid to do. but, it can be quite useful for selling a cut (reducing distractions to clients) or to help confirm my thoughts for finish.
many editors do one stop shopping for post. that’s cool. it just distracts from what we’re trying to do in the first place…
edit
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i’ve always said that book would be best supplied with a dvd of the obscure clips he chose to reference.
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macs are gooder