Working From Home: Editing

I’ve always fantasized about hiring an entire production staff that could work from home.  It doesn’t work for everyone, but I work much better in the comforts of my own house (and backyard). While is it possible, many supervisors remain resistant.  One reason it is often easier to communicate edit ideas with editors as they edit.  This has never been a big hinderance for me personally because I don’t mind being sent, emailed or FTPed a program and then writing up edit notes to send back.  Sometimes I feel that I need to sit with the editor for morale sake because they have to go into the office. 

Recently, I had the eye-opening experience of working with my editor friend Jenny Gebhardt.  I was at work sitting at the Final Cut Pro editing station. She was at home editing on her Final Cut, and; because of screen sharing, I was able to see everything that she was doing.  It as a little freaky at first to see the cursor and timeline seemingly moving on their own.  One of my colleagues thought I was talking to myself while I was giving Jenny instructions through the computer microphone.  Perhaps I am late to the game, but this totally blew my mind!  Who needs the overhead when everyone can work remotely?  It may be some while before working from home is the norm. But I’ve been ready for it for a while now.

Navigating the HD Revolution

High Definition has arrived in full force.  Most major American networks and distributors (and many in countries around the world) require that projects be shot and delivered in HD.  Many production companies, crews and editors are racing to figure out what is the best way to make the change over to HD.  Amateur documentarians are facing the realities of up converting or adjusting their budgets.

It is a bold and exciting new world out there… but also confusing.  As an established television producer, I often have a hard time sorting through the maze of HD options.  Here are a couple of things to keep in mind when deciding what type of HD format to shoot on.

1. What type of editing intake system will you be using?  There are many types of HD record options (HDCam, HDV-HD, XDcam, etc.) and there are decks to go with each.  It is important to know how your edit system will acquire the footage.  You don’t want to show up to your edit session with tapes that don’t match the tape deck in use. This is a waste of time and money.  If you don’t know where you will edit or what type of system you are using, you can consider using a camera that records onto a disk.  Later, you can then transfer the footage onto a hard drive or straight into the appropriate editing program.  Or, you can choose one type of tape format and rent the appropriate type of deck when the time comes to digitize.  This will cost a little more but it happens a lot.
2. Super important – what type of footage does your network, client or distributor accept?  Some networks won’t accept some formats or minimal footage must come from it.  For example, they may allow a given HD project to have up to 15% standard definition footage.
3. Will you be required to deliver all of the raw footage and if so, in what format?  With many cable projects, producers are must hand over the raw footage… often in duplicate.  If the client wants that footage in a certain format like HDCam, it makes sense to go ahead and shoot with that format.  If you don’t have to turn over your raw footage, consider how you will archive the footage once your project is complete.
4. What are resolution and frame rate requirements.  Most of the projects that I work on are shot at  1080i or 720p.  Will your final project been show full screen?  Do you have to down convert to standard definition and if so, will it be center cut, anamorphic or letter boxed?  You’ll want to make sure that the camera being used has the proper settings available and that the tapes and edit system can accommodate your needs.
5. Will you buy or rent a camera?  This is a big question because a lot of money will be spent either way.  It will be helpful to have an idea of what types of HD needs you may have in the future.  If you rent a camera, or hire a cameraman with his own gear, ask to see a footage test to get clear understanding of what your footage will look like.

You’ll notice that I have not listed specific types of cameras or tapes.  I don’t want to make detailed suggestions when every situation is so different and there are so many options.  It is important to talk to as many people as possible about your project until you feel comfortable making choice.  Talk to shooters, editors and distributers/networks/clients.  Sometimes there may be more than one solution to your HD needs.  But armed with the right information, you can make the best decision for your project.  Good luck and let me know if you have any other helpful hints.

TV Reality Snobs

Oh come off it!  Stop giving me dirty looks when I say that I am a documentary producer who enjoys Reality TV.  I don’t enjoy ALL Reality TV shows just like I don’t enjoy all Documentaries or Sitcoms.  I have my particular poisons – Amazing Race and Survivor are long time favorites.  I love Amazing Race because I love international backdrops. I also like to see what happens to team communication when there is a lack of rest and nutrition as well as a lot of stress.  Okay, that IS a bit intellectual.

Concerning Survivor, I’ve watched every episode since season one when someone I knew appeared as a contestant. (Well, there is one season where I missed half of the shows because I was pregnant and had a toddler at home. I fell asleep in front of the TV a lot.) I admit I get sucked in emotionally. I really CARE about who wins or losses and get mad when the people I am routing against find a way to make it another day.  I go to bed imagining what I would have done .  There was a time when I didn’t have to imagine that hard because my job felt a lot like the show – cut throat politics and high school cliques.

Moving from a viewer stand point on to a professional one, I like to see what techniques are being used on the most popular shows. (My husband gets tired for me “working” while watching TV). I like to see what is going on with character development, editing, sound and story line.  Survivor, by the way, has great intro pieces and a wonderful use of low angles with wide lenses. They could back off the sound effects during challenges though.

What a blessing to be able to learn and grow in my profession while relaxing with my friends and family in the living room. It doesn’t really matter if it is high-brow or low-brow.  If borrowed techniques make it into a documentary or segment that I producing and it works, I just may have Reality TV to thank. I know a graphic artist who would get very upset if you so much as said “hello” to him during his lunch break while he was studying the commercials that were being played in the break room.

Is it hypocritical of me to develop a career around educational and informational programming and then go home and watch highly sensational shows? Perhaps. But at the end of the day I am a proud fan of TV.  Now excuse me. The DVR is calling with a new episode of Run’s House.

 

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