| Topic Name: |
Freelance Editing |
| Message Name: |
Sorry, I disagree |
| Date Posted: |
06/03/2005 |
| In Reply To: |
You couldn't be futher from the truth my friend! I'm not sure where you're getting your info, but it's not correct.
For the record, Avid editing can be either online or offline. Most shows are cut in a low resolution format because of media space issues and revisions. That is what is known as "offline". It's not a finished, or ready to air...it's simply a work in progress.
To take it a step further, the offline process is where ALL the creativity takes place in editing. An editor who "offlines" is your creative force when cutting together a show. When the show is to time and finished it is then "up-rezed" to full resolution...that is the onlining of the show. My mother could online a show...it's simply re-digitizing the footage. To say that a "offline editor" makes nothing is simply not the case.
Now, if you're referring to a linear editor versus a non-linear editor, you'll find that most folks who can operate a linear room command a pretty hefty rate. These folks have deep technical know how and are becoming harder and harder to find. I'm not taking about your basic cuts systems you find in most newsrooms. I'm talking the high-end linear rooms with swithcers and DME's.
As far as newsrooms are concerned, money is always an issue. The delay in switching to a nonlinear Avid-type system is only a matter of time. The costs aren't NEAR what you'd think they are. They have become (and are) affordable to most news ops. The bottom line is...the bottom line. Corporate is always slow on the draw when it comes to replacing equipment that "still works fine" from their vantage point.
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| Message: |
With over 15 years of avid experience and working on movies in LA, I have to say that you're wrong. Creative process is done by the ONLINE LINE EDITOR. Hence they're PAID MORE. I cant seen an assistant editor doing half the effects that I do. That just doesnt happen, in LA my dear.
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