Rick Turners
Forum Replies Created
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There isn’t enough jobs available for the amount of trained post professionals out there.
What will this idle 60,000+ jobless post pros worldwide do? Create their own companies.
They’ll all drive each other out of business.
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Damn, 80k? I’d love to hear if they went for that. Due to saturation of AE artist in LA, I know a lot of people who are lucky to get 45k.
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I guess it makes sense for people to be peeved about this release..
sure, we can all learn Resolve now, but what that will ultimately mean is everyone will do it themselves instead of seeing professionals.Yeah, I’m sure it will run on an iMac, with an iPad controller, within a month of its release.
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I used to work at a place that did close captioning on anime shows..
paid Closed captioner $150 per 20-30 minute episodes (how much the company was getting, I dont know)
The boss would always talk about how EVERYONE in LA is offering CC services, so the market is very competitive.. but I’m not sure its not as bad as the editorial market.
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It’s 1920×1080,
I’ll give that batch photoshop idea a shot!
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ResolveUser.net looks to be under construction?
I’m sure there will be hundreds of tutorials, as Resolve is now as accessible as FCP.
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whatever is bringing in the amazing clients that MPC, The Mill and places like Envy in London attract is the key..
So…
good sales reps?
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Lauren, the problem is that my 15 year old cousin can export things properly, just tell him what he needs to do in 25 seconds.
Company’s don’t have to look far, at all, for a new editorial staffer. They are everywhere.
Just spoke to someone yesterday.. assistant editor at $16/hr. Realistically, not bad.. but not what people seem to think they’ll get.Now, being a lead editor cutting major commercials is another story. But again, thats not something you apply for and get, that is years of building high end clientele and essentially being your own business.
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Editing is a hard skill to sell..
You cut things together and a story happens.. problem is anyone can do this to a level where it “works” well enough to pass. The only way to prove that you are worth cutting films is by having cut a film that has done well. And to have cut a film to prove you can cut a film you have to have cut a film already.. blah..where is the entrance here?
For example, 3D artists have an art in the industry that has a direct impact/concrete skill to display.. “ok.. you modeled something and it looks amazing”.. there is no explaining to be done “how you found the shot” or “you had to use this because the other angle was fudged, without me the film would suck!” basically, 3d is a concrete and obvious skill, unfortunately editors dont have this to show, editors who do mograph (which is becoming more common and essential) is a little different.
and personally.. I hope colorists stay under the radar so that it stays a professional pocket in the industry and not a red carpet everyone-wants-in type of thing that directing/editing/producing has become.
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Geez, you guys are lucky.
I’ve been working in LA for a few years, worked in a couple “big” post houses.. and all of the assistants (of course) secretly talk about their pay…
an assistant editor right now is lucky to get 35-40k per year based on data i’ve gathered from 20 or so assistant editors over the last 2 years. (3 trailer houses and 4 full service post houses, as a freelancer)
It makes sense.. there are 30,000~ new grads every years in the US who all default to being editors after graduation. (after giving up careers as directors, of course.)
It’s a buyers market.
Grinner…
750 a day for a freelancer? Where?.. maybe for a top notch flame artist doing stereo vfx work on a coca cola spot?
Having worked with a lot of smoke artists/avid DS/and fcp guys I’ve never met one who is getting close to that.If that is the going rate in St. Louis let us know..