Creative COW SIGN IN :: SPONSORS :: ADVERTISING :: ABOUT US :: CONTACT US :: FAQ
Creative COW's LinkedIn GroupCreative COW's Facebook PageCreative COW on TwitterCreative COW's Google+ PageCreative COW on YouTube
LIBRARY:TutorialsVideo TutorialsReviewsInterviewsEditorialsFeaturesBusinessAuthorsRSS Feed

Post Etiquette 2: Engage Your Client

COW Library : Art of the Edit Tutorials : Walter Biscardi : Post Etiquette 2: Engage Your Client
Share on Facebook
CreativeCOW presents Post Etiquette 2: Engage Your Client -- Art of the Edit Tutorial


Biscardi Creative Media
Buford Georgia USA

©2014 CreativeCOW.net. All rights reserved.


Don't turn your back on your client! Instead, create an ideal environment for collaboration.



Play Video Tutorial

WalterBiscardi.com is advice, inspiration & training from working creative professionals on all aspects of the creative industry from pre-production to post to growing your career and business. Learn from working editors, photographers, sound designers, colorists, producers, directors and more to not only learn the basic skills, but real-world, insider knowledge on getting the right job and then building your career in the Film, Television and Creative Media Industry.

  View 2 Comment(s)

  Art of the Edit Tutorials   •   Art of the Edit Forum
Reply   Like  
Share on Facebook
Comments

Re: Post Etiquette 2: Engage Your Client
by Mark Suszko
A lot of old suites were designed taking their layout cues from the "trench" style layouts in production trucks or old network control rooms, with the clients sitting behind the editor on a couch or at a desk. This was never an ideal arrangement for collaboration, more for situations where the editor was a human version of a remote control, just executing each move a director/producer barked from behind them.


I'm a huge proponent of using an L-shaped desk that gives your client a chance to sit along-side, for eye contact, but still with a modicum of distance. They need enough space to lay out and organize notes, boxes of media, a laptop, their snacks, whatever, without crowding you or your gear. You need to be able to see their face reacting to the monitor, and reacting to you, when you talk to them.




The little island creates a shared space that you can use to spread out your own "stuff" when working alone, or it can be shared with the client or producer. Having had the occasional client with a halitosis problem (coffee breath, yuck), the short separation of the side table also gives a welcome physical and psychological distance to make the editor feel uncrowded, while still keeping the clients close enough to engage.

The island can also be partly filled in underneath with cabinetry to discreetly store away user manuals, the computer tower or drive arrays, routing panels, etc. with some sound isolation ability. For me, this setup is the best of both worlds. If I have a chance to build a suite, this is the way I'd lay out the desk.
Re: Post Etiquette 2: Engage Your Client
by Patrick Givens
I agree with you Mark, the L-shape setups are nice for today's edit suites where there's a lot more space due to a lot less equipment needed. Back in the day, the "trench" style layouts were the only way to fit everything & everyone in the same room. Most linear room edit suites usually contained a switcher & audio board (both the size of large doors), the edit controller, a couple of DVEs, a Chyron or CG, stacked rows of preview & program monitors, a couple of big heavy computer monitors, waveforms & vector scopes, and possibly a 1/4" reel to reel and several misc pieces. So the producers were forced to sit back behind the editor...... there was no other place to put them. So they sat usually at a nice sized producers table or a big comfy couch behind that table (both elevated above the editor's "trench"). Though I did have a few clients that enjoyed rolling a chair down next to me typing on the CG or pushing whatever button they could.

•pgivens•


Related Articles / Tutorials:
Art of the Edit
Finding Your First Job (Or Your Next One)

Finding Your First Job (Or Your Next One)

It's something we're all asked all the time: how do I get the first real job in the industry? It's almost always a question coming out of a young, wide-eyed, innocent looking baby deer of a human being who is graduating from university very soon and for the first time realizes that they're going to have crushing student debt AND no actual plan to get from here to Oscar-worthy filmmaker.

Feature, People / Interview
Art of the Edit
Positivity: Editor Jesse Averna on Evolving Your Career

Positivity: Editor Jesse Averna on Evolving Your Career

Four-time Emmy-award winning editor Jesse Averna has been a lifelong fan of filmmaking, a love reflected in his ambition to move into directing. Jesse shares insight about evolving his career, including the importance of being a positive force in your post community.

Editorial, Feature, People / Interview
Art of the Edit
Cutting Grand Budapest Hotel:Oscar-Nom Editor Barney Pilling

Cutting Grand Budapest Hotel:Oscar-Nom Editor Barney Pilling

Oscar-nominated editor Barney Pilling discusses balancing a distinct visual style, using driving performances, and managing visual effects on Wes Anderson's Grand Budapest Hotel.

Editorial, Feature, People / Interview
Art of the Edit
Unbroken: Editing Angelina Jolie's War Drama

Unbroken: Editing Angelina Jolie's War Drama

Editors William Goldenberg and Tim Squyres discuss the process of co-editing Unbroken, the Angelina Jolie directed war drama, including constructing challenging sequences, working with an actor-director, and knowing when a scene feels right.


Art of the Edit
Editor Bryan Capri Talks Cutting Lifetime TV Movies

Editor Bryan Capri Talks Cutting Lifetime TV Movies

Editor Bryan Capri's shift from editing corporate training videos and independent films to crafting TV movies for SyFy and Lifetime was no accident: hard work and a positive attitude were everything as he found himself cutting films and designing workflows for major networks.

Editorial, Feature, People / Interview
Art of the Edit
Arson Dogs: Editing a Web Series

Arson Dogs: Editing a Web Series

One of the most complicated projects yet undertaken by Creative COW Contributing Editor Kylee Wall: an unscripted web series called Arson Dogs, which featured massive multi-clips, 8 dog handlers, 3 trainers, and a whole lot of very enthusiastic dogs. Adding to the complexity: because it was for the web, Kylee had to come up with her own structure and pacing for the show itself, as well as the individual episodes, and still turn it around in a very tight timeframe.

Editorial, Feature, People / Interview
Art of the Edit
A Beginner's Guide to Building a Budget 5.1 Editing Suite

A Beginner's Guide to Building a Budget 5.1 Editing Suite

As TV producer Jonathan Bird readied his first 6K feature for the fulldome-theater market, he needed to starting working with 5.1 sound. It turns out that it was trickier than just connecting his computer to a home theater receiver! Here's his trial-and-error progression to success.

Editorial, Feature, People / Interview
Art of the Edit
House of Cards: Coloring the Game-Changing Netflix Series

House of Cards: Coloring the Game-Changing Netflix Series

Season 2 of the pioneering Netflix series "House of Cards" brought a number of changes, including new Lead Colorist Laura Jans-Fazio. She spoke to us about her approach to this visually distinctive show, her remote collaboration with Executive Producer David Fincher, and her use of the Baselight grading system for fast turnarounds with the show's 5K footage.

Editorial, Feature, People / Interview
Art of the Edit
Interlude's Treehouse: Interactive Video Authoring

Interlude's Treehouse: Interactive Video Authoring

"Welcome to a new world of storytelling," invites Treehouse's Interlude, an early player in the world of online authoring and delivery of interactive videos. In this review, Jerry Hofmann finds an impressive and easy-to-use service for creating "smart video" for more engaging content.

Review, Editorial, Tutorial, Feature
Art of the Edit
Under the Dome with Encore VFX Supervisor Stephan Fleet

Under the Dome with Encore VFX Supervisor Stephan Fleet

Visual effects are at the heart of Under the Dome, a hit CBS drama based on a novel by Stephen King, about a town trapped under an invisible dome that isolates it from the rest of the world. Read how Encore VFX created the dome itself for Season One, and other effects, as well as providing a full range of on-set and post services, all while translating the languages of many different disciplines into a single, unified vision.

Editorial, Feature, People / Interview
MORE


FORUMSTUTORIALSFEATURESVIDEOSPODCASTSEVENTSSERVICESJOBSNEWSLETTERNEWSBLOGS

Creative COW LinkedIn Group Creative COW Facebook Page Creative COW on Twitter
© 2015 CreativeCOW.net All rights are reserved. - Privacy Policy

[Top]