(The latter is dependent on whether your production is happy for you to have their media at home, something that certain production companies have been squeamish about for security reasons. Or editors keep a local drive updated with all the project’s media so they can take it away and work from home for a few days on the workstation they have in the shed at the end of the garden (my own setup!) while the director is out of town for a few days. Very often assistants will set off an export, make their way home, log in to their AVID via TeamViewer or AnyDesk and upload it for the powers that be. Remote working is something we’ve been doing for years. Also, as ever, there is a natural order to these things prep, shoot, edit.īut what actually are the implications for us in editorial? This is understandable, because it’s a much bigger nut to crack. The majority of this theorizing is currently focused on shooting. All of this work will be brought together in a series of meetings chaired by the British Film Commission and British Film Institute. Producers and studios are doing their own studies. The ADs branch of BECTU has put together an extremely detailed document which is now receiving input from all other branches. We Gotta Get Outta This Place Thoughts on Editing in Lockdown by dan robertsĪ huge amount of work is going on at the moment behind the scenes to come up with scenarios whereby we might continue to make TV and film content in a world still dealing with a pandemic.
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