April Fools Jokes for Editors

Whenever I see a producer freaking out about a piece of missing footage or an editor stressing about a deadline, I always remind myself that in the grand scheme of things what we do for a living is ultimately of little importance in the world as a whole.  We’re not curing cancer, we’re not feeding homeless children, we’re not lobbying for legislation that will transform the health care system for millions of Americans.  We simply make entertainment, and sometimes it’s easy to forget that.

That being said, I think it’s important to let loose every once in a while and not take our jobs too seriously.  With April Fools Day coming up tomorrow, here are a few practical jokes to bring smiles to the faces of your coworkers.  Just make sure they don’t have an impending producer screening or network output, or you may find that the joke’s on you.  Without further ado, I present to you – April Fools Jokes for Editors.

 

Real-World Editing Situations: Applying Your Knowledge

I don’t usually write about the individual projects I work on, but I thought I’d take a page from Shane Ross’s playbook and do a little first-person story-telling for once.  I wanted to share a real-world challenge that I faced recently on my current show and how I used my knowledge of Avid software to pinpoint the root of the problem and fix it.  It’s situations like these where you really have to think on your feet; because of the unique nature of the problem, no manual or editing class can prepare you for what course of action to take.  You simply have to extrapolate your knowledge of the program and use all of the tools at your disposal.  Imagine an artist with a giant rectangular block of granite in front of him – somewhere in there lies the beautiful statue that is pictured in his head, and it’s his job to find it.  Sure, it’s possible to use a single chisel and hammer to hack away until something resembling a human figure appears, but with careful planning, a variety of specialized tools, and a delicate hand, the goal he strives for is much more likely to be attained.

 

The option key is your friend

Most non-linear editors know that the secret to an efficient workflow is to use keyboard shortcuts for your most frequently used editing functions, as opposed to mouse clicks.  What many intermediate Avid editors do not know, however, is that one extra keystroke gives you access to a slew of commands that you won’t see in any menus or on any buttons.  Try holding down the “Option” key (“Alt” in Windows) while you do various functions and see what happens.  You can drop the “Add Option Key” command from the command palette onto any of your composer or timeline buttons so that when clicked it will always perform the function as if you’re simultaneously pressing the option key.  I use this all the time with the “Copy” command.  Here are a few shortcuts that I’ve discovered.

 

Post production lingo quiz!

Ladies and gentlemen, dust off your keyboard and calibrate your mouse. It’s time for a “View from the Cutting Room Floor” pop quiz.

Like the Native American windtalkers in World War II, post production professionals often speak in code only intelligible to other members of our “tribe.” To evaluate your level of submersion into television post culture, define the following terms by picking the multiple choice answer that is most appropriate to the profession.

1. Supertease

1. The flashy montage at the beginning of a reality show (usually in the first episode) that informs the viewer of the premise of the show and what to expect from the rest of the season
2. A men’s hair product that was forced out of business by Vitalis in the 1950’s
3. The guy or girl in high school that flirted with you all the time but always had “other plans” on Friday and Saturday night

 

“Stacking” commands in Avid Media Composer

Once you’ve been working on Avid for awhile, you begin to internalize the steps needed to perform a certain series of actions. Eventually, you will find yourself thinking faster than the Avid can keep up, especially when working on a slow machine. It can be frustrating to hit a button, wait several seconds, and then press the next button.

Fortunately, Avid is designed to remember a series of commands, even as it is performing another function. This allows you to press keys as fast as you can think of them while the computer does something else.

For example, when I’m tweaking an effect in Effect Mode, once I start the render, I immediately hit the “Source/Record Editing” key, click on a spot prior to the effect in my timeline, and hit “Play”. While I’m checking my e-mail, Avid will finish rendering the effect, jump back to the appropriate place in the timeline, and begin playing, which cues me to start paying attention to make sure the effect plays correctly.

Test out your own keystroke combinations, and save yourself some valuable e-mailing/texting/reading time!

 

Create your own real-time Avid timecode effect

One of the most talked-about features of the new Avid Media Composer 3.0 is its ability to create real-time timecode burn-ins with no rendering necessary. For those of you still dealing with outrageous render times on an ancient Meridien system, I feel your pain. One of my fellow assistants recently introduced me to a nifty way to create a real-time timecode effect that takes a little while to set up but can save you countless hours of time down the road. It is most useful for tracking the running time of a sequence (as opposed to source timecode), since it relies on re-using the same timecode each time. As my example, I will be working in a 30i NTSC project with drop-frame timecode, but the steps can be modified easily based on the needs of your project. Ready? Here we go.

 

Thinking like an editor

I’m a realist. Long ago I abandoned my dream of becoming a writer/director. It was around the time I realized I couldn’t pen a single sentence of meaningful dialogue or instruct an actor with any degree of confidence. Sometimes it’s best to be honest with yourself. But one thing I found myself drawn to in editing was how you could manipulate images and sounds to construct a perceived reality that was almost totally different from the conditions in which the material was recorded.

Any hack can string a bunch of images together; but as anyone with a real filmmaking sense knows, it takes a skilled artist to be able to control the numerous unseen factors that come into play when telling a story through images. Aside from the photographic decisions of camera placement and frame size that the editor takes into account, there are certain elements – emotion, tone, rhythm, pacing – that are more intangible and flexible when it comes to storytelling.

 

Improving Avid’s Capture Tool

I’ve recently been working part-time uprezzing an hour-long series for Animal Planet, which involves a ton of batch digitizing. When you’re staring at a computer screen for hours on end, waiting for the Capture Tool to do its thing, it’s very easy to get annoyed at little deficiencies in the software that would make my job easier and maybe even save a lot of time. I have no idea if the Capture Tool is undergoing any changes in the new version of MC, but here is my list of gripes that seem like they could be fixed without too much effort.

1. For the love of God, please allow me to abort the capture at any stage of the process, rather than just when it’s in the middle of digitizing a clip. Whenever the deck keeps searching and searching for a timecode I know it won’t find, I have to switch the deck into Local mode to confuse the Avid into asking for the next tape. Nothing else seems to work.

 

Organization is key! (Part 3)

This post is part 3 of a series. For part 1, click here, or for part 2, click here.

Here are some more organizational tips to improve your assistant editing workflow.

7. Color code your clips and sequences.

Select the items you want colored in your bin, and choose “Set Clip Color” from the “Edit” menu. In general, avoid red (save it for indicating offline clips), but you can assign virtually any color to your clips and sequences (there are more options available than just the primary colors by selecting “Pick…”). There’s a lot of room for creativity here. You can use different colors for source clips, acquired footage, clips that need aspect ratio formatting, sound effects, music, sequences to output, or however else you see fit. If you select “Source” under “Clip Color” in the Timeline hamburger menu, the clips will show their colors within your sequence.

 

Organization is key! (Part 2)

This post is part 2 of a series. For part 1, click here.

Here are some more organizational tips to improve your assistant editing workflow.

4. Store all imported files in a folder on your desktop.

Usually all of the graphics and logos I’m given are on their own CD, and the stack piles up pretty quickly. When it comes time to re-import everything at full resolution for your uprez, you’ve got to hunt through all of the CD’s to find each file. If you copy all of the files to a folder on your desktop first and import them from there, not only will they all be in one convenient place; Media Composer should remember their location and automatically re-link from the Batch Import main window. How convenient! Putting everything in one folder will also help you avoid the mistake of accidentally naming two files the same thing, leading to confusion down the line. If you’re conforming the show on a different system, you can easily burn a CD or DVD of the files in your desktop folder to take with you.