You are there to support your editor so he or she can make their best edit possible. You build trust with your editor over time, and they will also give you other tasks over time - and in the best case scenario they will give you mentorship, even letting you cut a scene first, giving you advice. I often say the job of an assistant is to figure s%#* out (please bleep me). It’s all about organization and communication. It’s a very technical job, a lot of troubleshooting. Especially nowadays, there’s a new camera every week - there are upgrades. You have to be a little bit nerdy - pixel aspect ratios, or the different formats and frame rates. It’s a global world, and that goes for filmmaking too. You have to figure that out, to communicate to the proper departments, to anticipate problems before they happen. Your job is to be on top of that, and to be the support for your editor in any way possible. NFS: Can you describe your typical workday as an AE on a feature?Ĭarsten Kurpanek: Features have a very linear approach. On the first day, you set up the editorial, make sure the equipment works.
Talk to the editor, see where he wants the couch, where he wants the Avid - all the little things. You talk to all the vendors, say hi, say send me your spec sheets and stuff like that. Once the shooting starts, you make your coffee (or your P.A. if you have one), and then you get the dailies from the post house. There’s a lot of parts to that, it’s not just the footage. You get a lot of paperwork, like from the camera assistant’s reports. There’s a continuity supervisor, who provides you with a line script and a facing page. And she marks down on each facing page with lines to denote which cameras were rolling.
0 kommentar(er)
