In this week’s Special Report on editors, SHOOT canvassed editorial house owners, editors and executives to get their opinions on issues and trends affecting the spot cutting business. The questions were: What are the latest trends in editing? Are you seeing more involvement on the part of directors in the editing process? Are more editors diversifying beyond spots into other projects? What’s the best way to groom an up-and-coming editor? How is the creative landscape shaping up for 2004? Will this year be better than others, both business-wise and creatively? Below are their responses:
Tim Anderson
Partner/editor
King Cut, Venice, Calif.
The trend in editing remains, as always, in pushing concepts to the creative edge. However, the huge leap that digital technology brought to the post arena has evolved beyond the "shock and awe" of achieving an effect. Now the focus is on integrating an ambitious technique into a dynamic story and concept. It is no longer the effect for the effect’s sake. I think this trend has its genesis in computer gaming material. Its influence on spots and mass media in general is exciting.
The hyper-real sense of visual style is creating its own reality, and in turn, a new language. This new vocabulary builds upon and expands the conventional means of storytelling. Postproduction plays a key role in this expanded line of storytelling.
The nurturing of fresh talent has moved away from the traditional apprenticeships of the past. The shift seems to be more on a qualitative level versus a quantitative one. Coming up in the ranks, a junior editor doesn’t have the volume of labor-intensive chores that was common even five years ago. We’re allowing these talents to blossom sooner. Hence, the discussions revolve around "why" you make a creative choice rather than "how" you make the choice.
Kirk Baxter
Editor
Final Cut, New York
The biggest trend would be location editing. The new Avids are handy tools when you’re shooting visual effects work and you need to know it’s safe to move on. But I feel the real reason it’s being asked of us is [because] a lot of directors are not allowing for editing in their schedules. It’s a time-efficient way to keep the director involved, and helps build unions between the director and editor, which is a must.
Location editing has allowed for a closer union between directors and editors. It’s madness not to have your director involved in the cut, but unfortunately, I feel editors don’t belong on sets. You can be easily swayed by the grandeur of the filmmaking. It’s hard to drop a wide shot that took four hours to set up, even if it’s damaging to the story. It’s fine for a rough cut, but editing needs to be done in a relaxed, low-key environment, where decisions are made upon reflection.
Advertising is diversifying beyond spots, and editors adapt to that. It’s healthy to your craft to cut as many different formats as possible.
New editors have a hard time competing with the tried-and-tested editors’ show reels and reputations. I find it’s best to keep them close, under the title of cutting assistant. That way they can get exposed to good clients and great work. It’s helpful if they can cut one of the spots in a campaign that you’re doing. Get their reel marketable under your banner, and then release them into the cruel world.
Betsy Beale
Executive producer
Lost Planet, bicoastal
At Lost Planet we have always worked closely with directors, but I think the trend is for directors to assert themselves with agencies and clients much more during the editing process. Directors are also becoming more involved in selecting an editor they feel is most appropriate for a project. On many of our jobs, they collaborate with the editor in the pre-production process.
Lost Planet has always encouraged our editors to work on other types of projects. Working on these projects keeps everyone creatively energized and provides new avenues of artistic expression.
We believe it’s important to cultivate young talent and create an environment that’s conducive to the learning process.
If January is any indication for how ’04 is shaping up, it will be a great year both creatively and business-wise.
Bob Cagliero
Executive producer
89 Editorial, New York
An agency’s strong past relationship with their editor has always been an important ingredient in choosing an editor for a project. What I feel may be happening more often than in the past is agencies seem more willing to explore editorial options beyond their usual suspects. While not as wide open as perhaps the director selection process, I sense greater curiosity and willingness to experiment with editorial talent.
It seems that agencies are asking directors which editors they like to cut with more often than not. While this used to be reserved for top tier directors and their cutters, it seems that director recommendations carry more weight on a wider range of work than in the past.
I think [diversifying] is up to the editor. If an editor is constantly busy with spotwork and enjoys the advertising process, they tend to stay with that work. Some of our editors are constantly involved with their commercial work, yet find time for a short film for a friend or a pro bono piece. Some of our editors are very involved in sound design and music, and have worked on those areas only for films they have not cut at the request of a feature or documentary director. Some of our editors will squeeze in a music video or promo for a change of pace.
[We] tell [our assistants] to be patient and constantly hone their skills whenever the can, [and to] create a reason and project to get on an Avid after hours. Our editors may challenge an up-and-coming assistant to do a cut-down version. Sometimes it’s just being in the right place at the right time. For instance, a multi-spot project may allow an assistant who has gained the client and editor’s confidence to cut one of the spots
Only time (and maybe the Super Bowl) will demonstrate how ’04 will be creatively. Hopefully, we’ll see more courage in advertising than in the past year or two. A robust economy will foster a higher volume of work, as well as more creative work.
Jon Ettinger
Senior VP/business development
FilmCore, Santa Monica and
San Francisco
The continued use of the Internet for client approval and file transfers seems to be here to stay. Additionally, editors are beginning to use laptop-editing systems as that technology continues to develop. Many of our clients are bringing jobs to us that involve international television markets, as well as cinema releases.
There are a number of very strong directors who have specific editors with whom they want to work. Oftentimes, using a director’s editor is basically a dictate. Directors with this clout are involved in the editing process. This can range from viewing copies of work in progress right through attending finishing sessions.
Most commercial editors also work on music videos. In many cases, this is a sideline. It broadens the scope of their reel, and can lead to a relationship with the director.
[When it comes to grooming up-and-coming editors], first and foremost you need a company-wide commitment to growing talent from within. This includes editors as well as producers. Once you have instilled this idea within the company, then you must follow it up with active mentorship from senior editors and strong guidance from management. The final ingredient for success is having generous clients who are willing to take chances with new talent.
Without a doubt, this will be a better year both financially and creatively. Budgets are clearly rising and larger packages seem to be returning, rather than just single spots. On the creative side, we are seeing our clients stretching out a bit with visually oriented spots. With many jobs being prepared for international audiences, it’s more important than ever that spots are easily understood by a diverse group of viewers.
Tony Fischer
Owner/executive producer/editor
Fischer Edit, Minneapolis
The trends that I see in editing support the "package deal." As spot production becomes more post intensive, and the execution of post effects more complicated, the role of director and production company to coordinate everything has become very important. Agencies are looking for a coordinated package that they don’t have to worry about. It’s kind of like one-stop shopping: Pick your director and he’ll figure out the post for you. As a result, relationships between editors and production companies and directors are growing in significance.
The collaboration between editor and director feels to be weighing more toward pre-production than it has in the past.
An up-and-coming editor needs as many appropriate opportunities as possible once he’s out of the gate as an editor. Our editors have always started as assistants. As assistants, they learn the equipment so that when it comes time to work with clients, the function of the gear is transparent, and they can concentrate on the task at hand. The assistant should also spend a fair amount of time in the edit room with seasoned editors, working with clients and thereby get a feel for client interaction and session management. After a point, the leap has to be made and that’s when the opportunities need to come very regularly. A way to attract work for an up-and-comer is through price. Their services can be offered at a rate below that of more senior editors. It’s all about building relationships and a reel for them and keeping them busy.
I think that America is in a very conservative mood right now and advertisers reflect that mood. The process has been slow in the same way the economic recovery has been slow. This year is showing a lot of promise and there have been indications in the press and other places that advertising will be up this year. Will things improve creatively? That remains to be seen.
Bill Fortney
Executive producer
Avenue Edit, Santa Monica
It will be a better year both business-wise and creatively. The former fosters the latter for two reasons. First, in a recession-like environment, everyone gets more conservative in terms of both the size of budgets and the kind of work produced. Whether that is beneficial for the clients or not is unclear, but it’s understandable. My experience is that a freer, looser environment tends to elicit more creative work. So with business getting better, I think the work will get better. Secondly, the amount of good work is, to a large extent, a numbers game. So if we’re producing more work, we will be producing more good work, regardless of whether the overall level of work is better. In any case, I think we’ll all feel a lot better this year. I’m excited to see what happens. I think a lot of good, pent-up creative ideas are going to bust out.
[The best way to groom an up-and-coming editor is to] let someone else [groom them], then steal them. Another way is rather obvious, but interesting to me nonetheless. Assistant editors are really apprentices. As an executive producer, you get to see them under pressure with your clients and they are often called on to do some cutting in the course of a given project, whether it’s doing revisions or laying out a first pass at a cut. Additionally, they tend to develop their own potential clients while they are assisting. Along the way, they may get to cut a few spots of their own, and [they’ll build up] a reel. I think you can predict much better how well a young editor will do if you’ve seen them develop in this way. In the best case, you can help them where they need it and not launch them until they’re ready.
Certainly there is more involvement of directors in the process. Although the pendulum hasn’t swung all the way to a London-style approach, there are a few directors who can dictate who will edit their spots. More often, it seems the agency is willing to consider very seriously a director’s suggestion. Post houses are picking up on this, and are building closer relationships with production companies. This in turn will reinforce the trend, at least for the short term.
Editors are definitely diversifying beyond spots. Part of the reason is that our traditional clients, agencies, are diversifying themselves. … Diversification was always a good way to keep the spotwork fresh and informed by other media. Now, however, as the various forms of entertainment merge, [diversifying] will become a matter of survival. The revolution of advertising as true entertainment is gaining momentum.
Michael Gresch
Partner/executive producer
Terminal, Santa Monica
Mobility, multi-format editing, digital intermediary, smaller, more personable companies and tighter schedules are a few [of the latest trends], but … mobility is one thing that changed how we’re working in ’04. The introduction of Avid DV Pro has opened up the true mobile edit studio and equipped independent editors.
We believe strongly in bringing the director’s vision through the entire process, and with the ability to post cuts on the Internet, and travel to locations, most of the directors we work with have been able to stay involved throughout the process.
[Editors are] definitely [diversifying]; the lines are officially blurred. Everyone seems to be doing everything. … We are doing films not because we have to from a business stand point, but because we want to. It seems to be good for all of us as individuals and as a company. Working in different mediums gives editors a chance to learn and just do something different. They like the crossover.
The best way to groom an up-and-coming editor has not changed in 20 years. … Let them cut—that’s it. Let them cut anything and everything, as often as possible, regardless of the money, regardless of the schedule. There is only one way to learn how to fly and it always involves a very scary leap. Also, when they get in front of a creative team or up-and-coming director, help then nurture the relationship.
Who knows—if I could predict [the future] … I’d head to Vegas. … Creatively, we have been involved with some very cool projects in ’03, and the beginning of ’04 is starting out to be a very good year.
Budgets are tighter, but you learn to work within that constraint. There are breaking points; we saw one of those near the end of ’03 in the production community where they were pushed to the limit. But they worked out their issue with the client, at least to a compromise. So if we can all stay reasonable, this year has the potential to be a good year creatively.
Mark Littman
Co-founder/editor
Northern Lights Post, New York
High-end editing is moving beyond the :30 spot. Longer form pieces, interstitials, presentations and Web content, both branded and not, have all proven their value as marketing media. Although the impending demise of the traditional commercial has most likely been exaggerated, the normal spot is definitely now sharing the prestige spotlight with these newer delivery formats. So what was formerly in the realm of "corporate" or "industrial" editorial is now entering the workflow of the traditional commercial editor. Of course, excellent editing is excellent editing, regardless of the format or budget, so the most successful and talented commercial editors will embrace this shift and see what new creative opportunities it presents.
[When it comes to grooming young editors], lead by example. Instill an enormous sense of pride in the work you do and demonstrate an absolute commitment to the client who pays the bills. Give opportunities that are "earned" and be sure they were earned. Present challenges and criticize the responses. Introduce them to the people that will be instrumental in their career. Teach them to collaborate with these people at any opportunity they get, and to impress them, regardless of content, form or budget. With most clients, you only get one shot to impress.
2004 looks to be strong in many areas of the industry. The economy feels like it is recovering, and there is a sense that advertisers will begin spending again, however gingerly. There is also a lot of pent-up creative from the past couple of years that’s itching to get out. The bottom line, though, is that advertisers will be looking to get a lot more for their money. Bad for musical chimpanzees, good for strong, promising creative that might actually sell a product and return a fair profit to the people involved.
Technically, high definition will present more opportunities as more networks and advertisers embrace its potential and more writers and art directors think in wide-screen. With many boutique facilities now equipped to handle the format, there is a lot more room for experimentation and discovery.
Lynne Mannino
Executive producer
3 Fingered Louie, New York
Creatively, I see a trend that has benefited commercial editors and their clients: Editors are being given opportunities to edit feature films, long and short format work, music videos, etc., in addition to spot projects. In the not-so-recent past, if you were editing commercials, you were often typecast and not given the opportunity to edit projects outside of the commercial arena. Editors who are used to working in the :30 and :60 format generally do well when given more minutes to develop story, and working on longer format projects can enhance the commercial creative process as well. I think the editors crave diversity—it keeps their day-to-day fresh and stimulating.
Developing relationships with directors and creatives has encouraged the above-noted transition, since more directors are working in multiple areas. Most editors welcome collaborating with the director. It brings another viewpoint to the process, which is ultimately about collaboration.
Up-and-coming editors are great assets, and it is important for seasoned editors to be mentors. Allowing the developing talent to sit beside experienced editors is key to learning the ropes in part because it gives the next generation lessons in how to interact with clients. Talent is innate. It’s the business many of them need to learn. From an executive producer’s standpoint, this provides the opportunity to give young talent overflow work and promote them.
We hope, as always, that business will be brisk, and the creative will keep getting better. We all hope it is going to be great, exciting and creative. But who’s going to say anything else? Award-winning spots are fantastic, but loyal clients and a great working environment are more important.
Kristin O’Connor
President
Greybox, Richmond, Va.
Latest trends are always new versions of the same three parts: technology, talent and business. Technologically, anyone who wants to edit can do it. One challenge for clients will be to weed out the pretenders who say "I’m good" from the truly talented people. The editors with talent rise to the upper echelon, gain recognition and an industry following and will, in turn, set stylistic trends. "Talent" is subjective, and it takes the ability to recognize talent in order to classify it. So ultimately, success depends on who you’re fortunate enough to work alongside. Next, there is the packaging and promotion of the editor. And it doesn’t matter how killer the cut is if it doesn’t show up on time. Focused editing companies that offer talent, service their clients just right, think big and hang it out there are the wave of the near future.
Directors are getting more involved with the editing process. Many directors are creating cuts themselves, sometimes even before the "real" edit starts. This can be seen as both a positive and negative. Positive, because editors get a good feel for what the director sees in his/her mind’s eye and have a visual guide to his/her vision of the spot. This can be a negative as well. Some directors can hurt an edit by falling in love with a particular take, shot or setup. The feel, pacing and flow of a spot can be hurt by the inability to leave a shot on the cutting room floor. It puts the agency in a tight spot: wanting to trust the editorial team, but nervous about not agreeing with a potentially high priced/high profile director. The answer lies in collaboration. Ideally, the director is involved the first day or two of the edit and gives his/her opinions and ideas, and then leaves the cutting to the editorial team hired to do the job. A fresh look by the editorial team usually takes a cut to a better place.
Who is being groomed and who is doing the grooming makes all the difference. Those doing the grooming need to let go of their templates for how things should happen. Every individual has a process. Those being groomed need to take the ball, work 18-hour shifts and take risks. Risks will make you sharp. New editors need to have confidence in their craft, but they must also recognize what they don’t know in order to develop.
It seems that ’04 will be a better year for the companies that embrace the new business environment in the industry. This year already has a far better feel to it than the past three.
Jim O’Hagen
Partner/managing director
Post Factory, New York
There might be a lack of trends in editing right now. Usually, when a trend comes along, it takes a long time of use and over-use before it runs its course. The trends seen now are the ones that have been around awhile, such as desaturation of color as a look, ramping up speeds within a single shot, split screens, freeze frames and flash cutting.
In general, we are also seeing a move towards storytelling and away from just technique. Spots seem to have a stronger visual idea embedded in the structure from both the agency and directorial side. The merging of worldwide global markets and brands, combined with access to information, have created a previously unprecedented ability of diverse and broad disciplines to influence the look, feel and structure of commercials, and advertising in general.
It does seem that directors are having a bigger say—or at least a chance to request or suggest an editor, [but that] depends on the clout each particular director has in how involved they are in the editing process. Directors and production companies are getting involved in not only the choice of editor, but also a first cut. American agencies are coming around to the idea that having the director around can be a good thing. After spending an enormous amount of time and energy on selecting a director whose vision they wanted for their spots, agencies are engaging their services in the post process, which is beneficial to the goals of the campaign.
Some [editors] are taking on longer formats like videos, short films and features. Some would like to try something different than the :30 format. Some are afraid of losing out on a spot package while tied up with a longer project. Younger editors are also realizing that they can expand their career goals and extend their careers by opening up their focus. … Creative editors want diversity and it’s a little easier to have it these days.
Make [the up-and-coming talent] part of the team. Companies need to recognize young talent and establish a strong support system for them to grow. Also, [get them] to cut their own projects, get on the Avid and start learning, experimenting and creating.
Even this early, there seems to be a real promise of good creative work. Everyone from directors to account people want to be working on great spots. Everyone seems to be concerned with quality and capturing that special creative moment.
John Palestrini
CEO
Blue Rock Editing Company,
New York
The creative contribution and power of good editing is increasingly being recognized by anyone who has a message to deliver. Sample reels have become more important that ever. This is both understandable and unfortunate. While this is a valid way of judging an editor’s ability and does provide cover for one’s butt, it also stifles new talent and fresh ideas.
Directors do seem to be getting more involved, and that’s a great thing. Editing is a very collaborative process; put a good editor in a room with a good director and great things can happen. When the chemistry is working, it is amazing what you can get out of the footage. Whenever possible, directors and editors should get a shot at doing one great from-the-heart cut before the powers that be take over.
Editors by their nature love to push their creative limits. We encourage them to cut or even shoot anything that will keep the juices flowing: music videos, features, whatever. Editors do these other things strictly for the love of editing—it is definitely not a way to get rich.
You have to get [up-and-coming talent] as many things to work on as possible. … Low budget projects are always a real challenge. It’s much easier to cut a well-conceived, well-shot commercial than a low budget project that relies solely on editing to give it life. Clients who are willing to work with an up-and-coming editor often get far more than they were expecting. A young, talented, hungry editor will work his or her ass off for you—and that is what makes the difference.
There’s definitely a more positive feeling in the air. We are all hoping this will be a better year than the past few—it almost has to be. Creatively speaking, the demand for good editing will continue to increase. There is no doubt that the level of editorial talent is at an all-time high—the work speaks for itself. Editing is a key ingredient to any successful spot—anyone who knows anything knows that. More and more clients are beginning to recognize and appreciate the editor’s contribution.
Linda Rafoss
Executive producer
Version2. Editing, New York
Some directors are more involved than others; it depends on the nature of the relationship between editor and director. It seems that directors do want to be involved but either lack the follow through because they are overscheduled on other projects or else the agency cuts them out of the process after the shoot in the interest of saving time and money. Many times, the director’s cut is done after the client version ships and all deadlines have been met.
As far as the latest trends in editing—we’re finding more and more projects that involve integration of visual effects and live action. We’re able to partner with our visual effects company, Liquid Light, early on in the rough cut to design and lay out graphics. This makes it much easier for clients to see ideas that previously were only realized in the final conform—also, because we share the same space, it makes it very convenient to go back and forth between offline and online to address changes and works in progress.
Put [up-and-coming talent] in the line of fire with clients you have solid relationships with—the more chances they get to hone their craft in front of real live clients the stronger they become. Spec work is always good.
So far, the first quarter of ’04 seems to be in better shape creatively than all of ’03. If it keeps going at this pace, ’04 will be a great year.
Rick Russell
CEO/founding editor
Final Cut, New York and London
One major trend that has really taken hold is the ability of editors to take their portable editing software via a laptop computer to increasingly remote shooting locations. This has had a major effect on achieving cuts under a tight deadline, allowing the editor to be on set to help the director see how the edit is progressing as the production is being shot, and increasing the ability of editors to be more mobile and flexible in their service to clients.
In regard to creative trends, there is always a diversity of cutting styles, color grading, postproduction effects, etc. Having had a trend of simple performance-based quirky comedy and non-tricky post in the main over the last few years, I have noticed a renewed interest in creative teams exploring visual effects mediums and new computer graphics. The big visual spectaculars are trying to make a comeback, but on smaller budgets, requiring even greater ingenuity from directors and their craft teams. … Good advertising will always require good creative writing.
Many commercials are treatments of concepts rather than word-precise narrative scripts, and therefore the editor is often helping to write copy, design graphics and fashion the ultimate communication of the piece. This can be a fix-it job or a creatively stimulating journey—hopefully the latter.
Being based in London, I have always worked with directors closely before presenting the cut to the agency. When I first worked in the U.S., I found that directors were almost entirely excluded from the editing process. I have seen a change over the last two years. One reason why many U.S. agencies are now more open to director involvement in post is that with the recent wave of international directors shooting more in the U.S., agencies were quickly confronted by the fact that the often original and idiosyncratic styles of these directors had as much to do with the editing as with production. Depriving the director of the chance to put the cut of his or her original vision together only resulted in the finished commercial lacking the distinctive qualities that were the reasons why the job was awarded in the first place.
Editors who specialize in cutting spots have mostly cut other work in their careers. However, there is definitely a trend in commercial editors breaking into feature films. Again, this has been led by a generation of young commercial directors getting movies made, who hire their commercials editor to cut the feature. Combine this with a generation of editors that feel ready to expand their careers for creative reasons and career longevity. Another factor is that the movie studios have woken up to the visual styles and complexities that TV commercial audiences take for granted, and have [realized] that the editors are a key factor in stretching those boundaries.
Just as production companies have felt the need to diversify in recent lean times, editing companies as businesses benefit from a wider spread of work. Most post facilities now regularly take on complete or partial film effects work on features in parallel with commercials work. There is a double edge to this, as an editor associated with a successful film will no doubt enhance his or her reputation and give gravitas to the cutting room, but most longform film projects are financially less lucrative than commercials. The more frequent foray of commercials directors and editors into feature films is something that will increase, and it will enrich the advertising industry.
Chad Sipkin
Owner/editor
Consulate, New York
Mobile editing or the ability to work on assignments from anywhere, independent of a fixed studio, is a developing trend. The ability to facilitate simple offline changes from within a film transfer or other finishing session saves time and maintains focus.
Most of our projects are digitized simultaneously to a remote laptop system, as well as the fixed studio system. The advent of Final Cut Pro and/or Avid DV Express serves to make our craft more accessible for collaboration with directors or clients anywhere in the world. It is a nice advantage to be able to start a project even if it is only screening and selecting, and then transition to the home system when schedule allows.
Directors are always involved in the process. You must make it convenient and accommodate their scheduling needs. The process must not exclude your client either. The editor is just prepared to flex and be organized.
Grooming is getting people to trust their instincts. Once beyond the basics of organizational and technical skills, people need opportunities to test their innate abilities. I tend to have protégés in the room, watching and absorbing. Unless the situation precludes it, I’ll try to relate why I’m doing things a certain way, or what I’m looking at. Editing is exercising your opinion about what you choose to focus on at any given moment. After that and a lot of confidence building and seeing how to get out of many binds, [I’ll] try to convince colleagues and clients to give them assignments.
Bob Spector
Editor
Jigsaw, Los Angeles
The latest trends seem to have more to do with schedules and budgets than creative or technical advancements, though there are those as well. We are continuing to see relatively tight budgets and short editorial schedules, but we are also experiencing relatively large overages and changes to completed spots, as well as multiple versions of spots, so overall budgets are remaining stable. But as far as the technical/creative, certainly more animation (CG) is finding its way into spots, as well as interesting finishing demands, such as cinema, and (finally!) some HD.
Directors continue to be involved, generally, when they are not immediately booked on another project. Always welcome, by the way.
Keep the assistant busy as much as possible! And if possible, expose the clients to the assistant, get him/her used to working under pressure with people in the room. On the technical and creative side, of course, the answer is PRACTICE, PRACTICE, PRACTICE. Let your assistant play with footage on a current project, and give him/her assignments to learn the rules of film convention, and how and when to break them. And make them read Walter Murch’s In the Blink of An Eye about 20 times. And re-read it yourself!
[Will this year be better? My answer is] a cautious yes, bounded by politics and the economy, of course. There seems to be an increase in the volume of commercial work right now, which is encouraging, and some of the very conservative creative that we saw last year seems to be giving way, at least a bit, to some more adventurous work at the moment.
Frank Snider
Partner/editor
Ohio Edit, New York
I’ve collaborated with European directors for years, so I’m used to that method of working. The American directors are becoming a little more enthusiastic about getting involved with the edit. Part of an editor’s job is to try to make that a priority. American directors are often too busy to spend much time in the edit, but with high-resolution postings and high-speed data transmission, it is pretty easy to keep directors involved in the goings on. It’s ironic, but after using a director for a shoot, agencies are often relieved when they don’t have to share an editor’s time.
Editors should be involved in outside projects. I feel that every bit of creative work a person does, no matter the discipline, helps his or her editing.
What’s the best way to groom an up-and-coming editor? There are a couple of different methods to bring along a young editor. The "throw ’em into the fire" method works for some. …. Most young editors, however, need to work with a communicative editor—an editor willing and able to explain each decision he or she makes. And because of the nature of our jobs, that involves more than just editing. A young editor needs to learn how to manage a presentation, deal with assistants, and guide his clients, among many other things.
As goes business, so goes creative. I feel that when the economy is better, you tend to see more exciting, riskier creative in general. One always hopes that the next year is better than the previous—we’ll see.
John Zieman
Co-owner/editor
PS 260, New York
This could be a trend: My first cuts got approved in four out of five campaigns in a row! Ad people are so busy—they’re counting on the editor to carry the ball all the way. We’re seeing maybe two people at the edit. We’re posting cuts on the Web, and getting approvals fast. Agencies [are] cutting staff; clients [are] cutting budgets—it’s all about getting good work out quick.
The director can sometimes be Vishnu the Preserver, and persuade the agency to fight for something special, but sometimes the director can be Shiva the Destroyer, and only want shots he likes, that add nothing to story, only to visuals. Mostly it’s no director at all after the pre-pro. Maybe directors just trust us more.
Some editors are passionate about film, and sharpen their skill set outside the :30/:15 box. Music videos and features can be fun and trendy, but sometimes it’s all about the shortform. Who will punch their bright idea through inside :30? Spots can be modern art—cooler than music videos, funnier than movies, more stylish than fashion.
The fireplace is full of résumés of people that can run an Avid, have cut independent films, music videos and documentaries, and think they’re ready to edit spots. Where do you learn to read the client’s mind and give them what they need, along with what they’re asking for? That comes with assisting: years in the trenches, seeing what works and doesn’t work, watching how quietly the big idea can enter the room.
Great spots don’t follow the Dow. Good creative can come anytime. Business-wise, it’s really about getting good or getting out.
