My methodology to media editing is to maintain a “beginner’s mentality.” I never assume that the last way something had been done is still the best way, so I always rethink my tactics and try to learn something new. I edit everything in my project jar like it demands the most unique approach ever.
This is because, if there’s one thing I’ve learned in my 21+ years as a TV/Film editor, is that the tools and the workflow we use can never be cutting-edge enough.
• Even if you think that your media pipeline is up-to-date, the fact is that it’s probably anything but optimal.
• The sad truth in the video production business is that the telecine-based workflows being used- the very way of thinking about how media can and should happen – is old-and-busted.
By keeping myself in a constant state of learning, I help my people find better media creation pathways. This frees them from repetitive and technical complications. The menial tasks that editors/artists are currently burdened with, goes away.
Yes, smarter, more modern and efficient workflows are becoming available. The big players in Hollywood are just beginning to see what’s possible, and we’ll be seeing less telecine-based pipelines take over.
If you were around for the DV revolution in the late ’90s, my fellow LinkedIn friend, then you know how disruptive new democratizing technology can be. If you thought the industry took a hit when cheap digital video cameras and NLEs swept into the market, you haven’t seen anything yet!
10 years ago, clients were cahrged $500/hr to watch me operate an Inferno/Smoke editing system. Those $500 seats are becoming way more rare, wouldn’t you say?
My advise is to start adopting a little “beginner curiosity”, put the pick-whip down for a second, and look around. When you’re ready to open your mind to today’s possibilities, I’m right here.