Do you have to put your feet there?

A long time ago, whilst editing a particularly easy collection of programme promos, the director decided to slip his shoes off and put his feet up on the desk. Normally I wouldn’t have a problem, apart from two things. Firstly, they smelt – bad. And then they were between me and the mixing desk, so I had to lean over them to get to do my job. A quick soft request later and the feet moved to the end of the desk but the shoes didn’t go back on until home time. Thank god for air conditioning!

I have been thinking for a long time about why producers demand to sit in the edit with an editor they know they can trust – and that with just a few swishes of the cane they can get to jump through hoops for them. Nowadays we have the technology, we have the ability, we can rebuild the editing process. But it would, at a stroke, remove one of the highest earning sections of the industry – the post production facility.

Imagine it. You have finished filming your latest baby, the files have all been copied to a hard drive, that has then been copied and FedEx’d to your favourite editor. He opens the package and gets started logging the footage, after a coffee and chat with daughter and/or wife about why the next clothes shopping trip has to be to the thrift shop – to deliver the remains of last months shopping. You see, this editor can work his own schedule – he’ll get the work done, he’ll get the product back to you, he can chat with you all day on Skype and he can make sure that exactly what you want is on-screen. And he can do this from the comfort of his own office. The producer needs time to arrange the script and tie up a few loose ends – well at least with a remote editor this process doesn’t mean I have to sit there with headphones on and my mouth shut all day.

So does this mean that you no longer have those moaning ‘but you can’t use that there because …..’ or the ‘your commentary is good but it could be better if …..’ conversations? No you still get them and you still get to explain why you are right and the editor is wrong – or vice versa depending on the reasoning. You still get the whole productive process but you no longer have to put up with the smelly feet, the caffeine addiction, the alcohol addiction or any addiction that could crinkle the nose of a pig at 50 feet! Plus if your editor is really class he’ll be living somewhere nice and warm, with easy access to a beach – I know seems like a big distraction but to be honest it is the easiest way to make sure someone turns up for you every time. When you live well, you work well. After all how many bankers would still be working today if it wasn’t for the financial return? To quote John McEnroe ‘You cannot be serious’ if you think they do it for the benefit of their fellow man.

With Microsoft buying Skype, and so many other instant messaging systems (including iChat which works with FCP to view the film remotely) pushing free internet conversations and downloads, why is not possible for editors and producers to be on two different continents? If you want to work with someone, you will move the clocks to suit them if it means you get to work with your favourite director a few times a year. I know I would if I could convince any of my favourite producers to give it a go.

Probably the biggest advantage would be the cost. After shipping the drive the editor would be able to offer the edit at a reduced rate compared to taking the edit to a facility in the city you are in. If he has his own equipment then that is part of the quote. The tea and/or coffee/sambuca that he drinks all day is not included in the bill. The skype chats and emailing are all free, unlike the international call you had to make last week at Post NamNam to just get that quote spot on for the graphics. Post production costs could drop dramatically.

Think about. You have the original copy of the rushes. What exactly do you need to get the film to air? A final master video – check. A copy of the final cut in edl form – check. A copy of the edit project with final cut easy to find – check. OMFI of the audios – check. Fine so now you can go and spend a few more days either cleaning the audio, retouching the grade, making some nice transitional graphics to cover the slates that you agreed earlier that now look old and dated. And guess what. Having used your favourite editor, the only one who understands what you want, the only one who doesn’t complain about the whooshing of the switch behind him, you have the money left in the budget for all of these little tweaks. AND. You have the film you could see when you started off on the project.

So, do you have to put your feet there? They’re blocking my camera’s view of you!