What is an Assistant Editor?
As an Assistant Editor you will support the Editor in preparing all of the media of a project during the post-production stage.
To be an Assistant Editor, organisational skills are key in what is a very administrative job role. As an Assistant Editor you will manage the media, logging it, monitoring its movement in preparation for editing and ensuring that there is always sufficient storage space. Media will include special effects, sound effects, dialogue and camera footage.
A Videographer is the person behind the camera, shooting all types of productions and events such as; corporate videos, B-roll footage for film and TV productions, weddings, business meetings, music videos and even Bar Mitzvas. Usually, the videographer will both shoot and edit the film, taking the project through to completion themselves.
Software for professional editing: the pros, the cons and where to start from.
There are many alternatives on the market, but just a few are used by professionals and learning all the tricks of the trade takes time and experience. So what are your options?
Avid Media Composer
The undisputed industry standard for feature films and big productions, which is equipped with the most stable platform for the most complex workflows. Plus, with a complete set of tools to make the most of shared storage and multiple operators working on the same project, it is the go-to choice for post-production companies and editing studios dealing with large teams and complicated setups.
It takes a lot of time and work to shoot a feature film. But even when all the filming is done, the movie is only half-way through its path to be a finished product. The other half usually happens inside a post production house, where different departments work in synergy to put video and sound together into a blockbuster.
If you think post-production is the right path for you, here are the first steps to make your way into this world.
Figure out which department you want to work in
Most post-production companies structure their organisations (hence, human resources) along three main departments: Production, Editing and Sound. The first step, which you’ve probably already taken, is deciding which one of these is the right fit for you, depending on what you want your daily job to be like. Here’s an idea:
More and more editors are working from home, but is this a good thing for the Editor, the Producer, the Director or the film? Freelance Editor and ProductionBase member, Guy Ducker, takes a look.
As I write, I’ve just had my first day’s work outside my flat in about four months (thank you to the good people of I-Motus). It’s not that I’ve been idle during these months: I’ve just had an unusually long run of jobs where I’ve been cutting from home on my trusty iMac. I’d joined the ranks of the stay-at-home editors (emendator domesticus). This phenomenon is comparatively recent. It’s been theoretically possible for some time: we’ve been able to run Final Cut Pro from a consumer Mac for many years and Avid Media Composer (my preferred weapon) released an affordable ‘software only’ version in 2006. But what has made the real difference is the sudden dominance over the last two or three years of cameras that record straight to hard drive. No longer do editors need hefty tape decks and expensive interfaces to get the pictures in and out of their editing machines. If you have a system set up at home, you hardly need to lift yourself from your chair. The material comes to you on a drive, and the finished cut can be returned on the same drive or via an FTP site. If you like, you can even avoid meeting the producer and director – uploading cuts direct to Vimeo or similar sites, so they can watch them without leaving their homes. Filmmakers might never need to leave the house again.
But is this a good thing?
This week, award winning editor, Joby Gee, discusses the moral dilemma of showing people in their ‘true’ light.
I like the clip where she says, “He’s not an a***hole”…. can we just take the “not” out”. (From the Facebook page, Edit Suite Stories).
The most frequent question I am asked when I meet non-telly people is the “truth and honesty” one for want of a better phrase. Often, their first question is “why do you spend your days trying to contort people in the film your cutting to create some sort of twisted version of reality for our entertainment?”. Decent, hard working folk assume that it happens to almost everyone (including the Queen).
Well, recently the BBC interviewed me about editing (I babbled on) and I said all sorts of nonsense which hopefully someone can extract into two minutes and make me look like I know what I’m talking about. But it got me thinking; if I was a contributor in a documentary then what should I expect? What will those people who came round to film me do when they get into the edit suite? I’m starting to worry about all the things I’ve said on camera now. Oh my God, what have I done….?