LIBRARY: Tutorials Video Tutorials Reviews Interviews Editorials Features Business Authors RSS Feed

Post Etiquette 2: Engage Your Client

CreativeCOW presents Post Etiquette 2: Engage Your Client -- Art of the Edit Tutorial


Biscardi Creative Media
Buford Georgia USA
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.

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
Editing Movie Trailers with Patricio Hoter

Editing Movie Trailers with Patricio Hoter

More and more, films that are currently in production are working alongside with their marketing teams to establish a strategy months in advance of its release. That means that there’s more time to explore several options when crafting a trailer, but the workload also becomes heavier, and the stakes become higher. Avid Media Composer editors Christian Jhonson and Patricio Hoter (The Jungle Book, The Last Witch Hunter, Green Room, Titanic 3D, and more) explore this evolving artform.

Tutorial
Christian Jhonson
Art of the Edit
5 Tips for Finding the Right Edit Point

5 Tips for Finding the Right Edit Point

Accomplished editors tend to point to instinct and experience when it comes to the exact edit point. Here are 5 tips from veteran editor Sven Pape of "This Guy Edits" that may help you get there. Some editors say that great editing is invisible. So is the right frame the one we don't notice?

Tutorial
Sven Pape
Art of the Edit
The Surprising Upside Of Procrastination In Film Editing

The Surprising Upside Of Procrastination In Film Editing

What if you wouldn't have to stop procrastinating? Sven Pape of "This Guy Edits" demonstrates how to use procrastination to achieve some of your best film editing work. "Why do I procrastinate?" asks Sven, "I give you Aaron Sorkin who has one of the best procrastination quotes: "You call it procrastination I call it thinking.""

Tutorial
Sven Pape
Art of the Edit
The Secret World of Foley, One of Cinema's Most Magical Arts

The Secret World of Foley, One of Cinema's Most Magical Arts

The Secret World of Foley is an evocative, wordless insight into one of the cinema’s most magical arts: the creative addition of synchronized sound effects in post known as Foley. This short film is also one of the most beautiful things you've seen in a long time. We highly recommend it to any fans of movies, sound, and the inspiration of watching true artists at work.

Feature
Tim Wilson
Art of the Edit
FuseFX & mocha: VFX for Walking Dead, Empire, AHS & More

FuseFX & mocha: VFX for Walking Dead, Empire, AHS & More

The 100+ member team at FuseFX juggles over 30 television episodics a season, while also working on features and commercials. Current credits include: FOX's Empire, ABC's Agents of SHIELD, AMC's The Walking Dead, SyFy's The Magicians, CBS's Zoo, and FX's American Horror Story. Brigitte Bourque, FuseFX's Digital Effects Supervisor and a 20 year industry vet, talks to us about the work that FuseFX does, and how Imagineer Systems mocha fits into their pipeline.

Feature, People / Interview
Imagineer Systems
Art of the Edit
Editing: The Kuleshov Effect Put to the Test

Editing: The Kuleshov Effect Put to the Test

One of the most powerful discoveries in the early days of editing became known as The Kuleshov Effect: the same piece of footage means different things depending on the shots that surround it. It is a mental phenomenon by which the audience derives more meaning from the interaction of two sequential shots than from a single shot in isolation. One hundred years later, Sven Pape of This Guy Edits puts this venerable axiom to the test. Does this fundamental principle of modern editing still hold up? Prepare to be amazed.

Tutorial
Sven Pape
Art of the Edit
Game of Thrones: Battle of the Bastards VFX

Game of Thrones: Battle of the Bastards VFX

Deluxe Entertainment Services Group (Deluxe) has shared with us that its Australian animation and visual effects studio Iloura delivered a significant suite of work for the recent "Battle of the Bastards" episode of HBO's tentpole series Game of Thrones. Working on the epic battle sequence for the Season 6, Episode 9 crescendo, Iloura's team of visual artists used a mix of VFX and hand-crafted animation techniques to realize the vision for the bloody showdown. As a bonus, we include HBO's production featurette on staging and shooting Game of Thrones' most epic scene yet.

Feature
Iloura VFX
Art of the Edit
How To Become A (Wanted) Film Editor

How To Become A (Wanted) Film Editor

What does it take to master the art of film editing? Sven Pape, host of This Guy Edits, shares 7 recommendations that may just turn you into a storyteller in demand. Or more specifically, he says, these are his thoughts on how to become what you love, whether directing, screenwriting, shooting, acting: anything that you have a passion for.

Tutorial
Sven Pape
Art of the Edit
Gravity's Mark Sanger: Cut & Talk with Oscar-Winning Editor

Gravity's Mark Sanger: Cut & Talk with Oscar-Winning Editor

Academy Award-winning editor Mark Sanger stopped his usual activities to talk about working with director Alfonso Cuarón and his amazing work on Gravity, what to cut out of the film, and what to cut out of life with his guiding principle: make yourself invaluable, but never at the expense of others.

Feature, People / Interview
Mark Sanger and Christian Jhonson
Art of the Edit
Taking Over the ACE Student Awards Pt 1: Advice From Grads

Taking Over the ACE Student Awards Pt 1: Advice From Grads

For the first time in its history, the American Cinema Editors student awards were swept by students from the University of North Carolina School for the Arts. In part 1 of her look at this program's unprecedented feat, Creative COW Associate Editor Kylee Peña speaks to the students -- Aneesa Mahboob, Chris Dold, and Emily Rayl -- about the first part of their journey as filmmakers, the benefits of formal education, how they see the world from here, as well as their remarkable night at their first (and surely not last) Hollywood awards banquet. Whether you're a student or a seasoned pro, read on to be inspired, challenged, and reminded why we do this.

Editorial, Feature, People / Interview
Kylee Peña
MORE
© 2016 CreativeCOW.net All Rights Reserved
[TOP]