O.K., so you've done what you can -- indicated what you wanted on the visuals side, crafted your sentences carefully and suggested music type and breaks, specified colors and logos. Now you have to work with an unknown collaborator who will use intimidating equipment and mysterious computer programs. And you must try to communicate with someone who speaks in terms as specialized as any scientist's.
On the other hand, you may say, "Hey, I can program my VCR. Even did some production myself a few years ago. How difficult can this be?" The answer may lie somewhere between the two attitudes and in what you expect.
Any technician with the appropriate familiarity with his particular tools can do simple editing or post-production tasks. However, there are several hundred programs, equipment suites, etc. available to a multimedia/video producers who may buy one, two or more and use them in combination. If this is what you have "bought" -- someone who can operate the equipment to your specifications -- you can expect hours (2-4 for each finished minute) of mutual instruction ahead, as you learn the limits of their hardware/software abilities. As you do, all too often you will discover that what is possible and clear in your head may not "work" in the reality.
For those already familiar with editing techniques from prior video projects,you may find yourself overwhelmed by the many choices and requirements of new computer-driven methods. However, this is not the time for frustration or panic. Given some preparation and mutual trust, your production can be everything you expected it to be.
If you're working with a technician (in truth, most of these are artists in their own right -- something to keep in mind), have a sit-down meeting where your script can be diced, sliced, and put back together again. Again, listening is the key. If you don't want an "MTV" look, say so. Be sure to clarify your characterization to make sure your editor knows what that means to you -- impressions vary. If he or she says something "can't be done," ask "why?", but also ask for suggestions for what can be done. Then -- here's the hard part -- let your preconceived notions go and agree to a substitution. Experienced editors have a pretty good idea of what will "flow" and what will not.
Go To Page: 1 2
