Last year in July we had to opportunity to interview a member of the Hockey Hall of Fame, the great Luc Robitaille. Luc is featured in “50 Ways to Score More Goals” a project that Post Fifth Pictures produced for Hockey Player Magazine, LLC.
Shot on location in Park City, Utah, Luc shares some of his greatest tips and memories on how he became a star in the NHL.
One of the best compliments an editor can get (when you already know that the client actually likes your cuts and your workflow) is that you are fast.
This is one tendency that will brings clients back again and again. The more directors and producers start to edit their own material with editing suites coming down in price so much, the less work editors have. One way to let them leave the edits to you is to show them you are going to get their job done faster.
If you are like me, you edit with both Final Cut Pro and Avid. I did learn Final Cut Pro about a year before I started editing on Avid, but now hold Avid a tiny higher than FCP. For what? It all depends. But the one thing I like to keep the same (or close to it) is the keyboard. This makes switching between systems much easier.
A few years ago I took a freelance night shift as an assistant editor at production company in North Hollywood. It was a short gig, but overall it was a good learning experience. I utilized about 4 Avids at a time, outputting to DVCAM, BetaSP and Digitbeta. Every once in a while I would freak out because I had a small question about their specific configuration and it was 12 AM. Who wants to get a call from the new guy at 12 AM? Nobody. Going from office to office over the past couple years, it takes a while to get used to everyone’s specific setup. One of the places I work at the most has a great machine room full of great HD equipment. It took me a while to remember tasks like resetting timecode on the Sony HDCAM deck though.
Here is a walk through on resetting the timecode to match your HDCAM tape. (Forgive the iPhone 3G camera resolution)