Being a big NASCAR fan and a long-time remote television production warrior, I really enjoyed the article, “All Revved Up” (October 2001, page 38).
I attended the fall race in Charlotte this year and bought a scanner so I could listen to the drivers and their teams. Much to my surprise, I found the TV director had a channel on the scanner as well. Needless to say, I listened to that for a big part of the race.
I have been directing entertainment programs for many years and have shied away from sports productions because of the tendency for a lot of the producers and directors to become “screamers.” I was very impressed with Mike Wells. Not just for his ability, but also for his command of the situation and the way in which he treated his crew. I have a lot of respect for someone that can handle the pressure of production the way he did.
Jeff Nene
Jeff Nene Production and Design
Springfield, Mo.
Commonsense approach a plus
As a “real” video professional (as opposed to a real computer geek), I appreciate the commonsense approach of Video Systems magazine. Don't get me wrong — my company already owns two NLE systems, and has since 1994. We plan to buy another one this year. But I've always been an advocate of the “don't outrun the customer's willingness to support your technology” approach.
That you seem to be alone in your realistic view, and that it's taken you this long to come to this philosophy, are (for me) the real mysteries. Was there a recent change at the executive editor level? However you came to this new stance, keep it up. I will continue to subscribe because of the content, instead of just for the ads.
Steve Guidry
Video Works, Inc.
Just starting out
I read Bob Turner's article in the October Video Systems magazine (“How I spent my summer vacation,” page 28). I was glad he allowed the Quantel iQ to show what it had to offer. Too many of us stay closed-minded about new ideas.
I am a struggling individual interested in getting my foot in the door to gather exposure as a video/film editor. I have technical training as my background and have only done editing in school. I am eager to freelance as an editor, but am having some trouble getting started.
Turner's article indicated that he has experience working with a lot of systems. What would he recommend as a starter system (for someone who is quite computer literate) to get some freelancing work off the ground?
Dawn Adams
Bob Turner responds:
Before I answer your starter system question, I want to make a comment or two on getting your foot in the door.
Generally, there are two successful ways to enter this business: as an employee or as a self-employed person. You first need to evaluate yourself and decide which you want to be. Self-employment usually only works for a certain type of person. Rarely does someone succeed as a freelancer when their goal is to find a full-time gig.
If you think you have the right stuff to go off on your own with an editing system, you have to first think about your editing style and the type of client you intend to attract. If you intend to offer heavy effects compositing, you want a system that is different from one designed for someone whose edit style is more “art of the cut” oriented. Long-form requirements are different from short-form needs (commercials). Do you want to edit for film? Are you skilled in interactive video? Will your potential clients all bring 3/4in. or Digital Betacam with them? Do you want this system to offline and then bring the client with you to an online or finishing facility?
Let's start looking at systems by considering the type of editing you may want to do. My first inclination would be to go with an Avid or Final Cut Pro low-end system because these skills are probably the most marketable. There are jobs being advertised today on professional employment boards looking for Avid or FCP operators more than any other — with Avid having the clear advantage in numbers.
If you would rather become a Discreet Fire editor, then the entry-level solution could easily be a Discreet Combustion (a similar interface but a low-cost software package) or even a combination Edit/Combustion system. There is a major trend toward Linux-based systems, such as Nothing Real Shake, if you want to get into higher-end compositing. This is pricier, but you could easily earn more from this system — even part-time.
You might be better off purchasing an older, used Media Composer for general purpose editing than you would be with either an XpressDV or FCP. If you cannot afford these options, manufacturers that are very underrated and offer excellent tools include AIST, DPS, and Canopus.
I offer these as examples of good decisions based upon budget; editing style; business plan, including potential customer base; potential projects/source materials; and whether you plan to enter the film, corporate/educational, short-form, documentary, interactive, effects/compositing, or finishing market sub-segments.
The easiest way to break into the business may be to set up shop on your own and start working. It may be easier to get work by finding customers than by finding an employer, but I believe that with enough persistence, either is possible — even in today's economy.
