I like questions that indicate a level of humility and give the benefit of the doubt. Phrased correctly, questions can open up conversations without setting up the other party to be defensive. One of the best ways to move a collaboration forward is by asking questions instead of arguing points. It’ll also be about helping your collaborator to learn their craft better, and for them to become a more effective collaborator themselves. At the end of the project, your success will be defined by more than merely exporting a compelling video. “You’re really working to craft two projects at the same time the video on your screen, and the director at your side.”Ĭonsider that you’re really working to craft two projects at the same time the video on your screen, and the director at your side. Your mindset here, then, can be one of helping them to grow, regardless of who gets the credit. Your job is to help them become successful at theirs-even if you feel they aren’t competent at it. The concept of “ managing up” helps editors work with new directors. First in the writing of the script, once again in the shooting, and finally in the editing.” This helps the director to recognize that “everything is on the table”, and anything can hit the cutting room floor. I’ll often share the famous Robert Bresson quote “A film is born three times. Does the writing actually work? Did the performances read on camera? Do the sets add or distract from the message? Are there totally unnecessary shots, or a scarcity of usable b-roll?Įditors all know that this process often rewrites the material in significant ways, but it can come as a real shock to new directors. But any seasoned editor will tell you that it’s really the reconsideration of everything that has happened up to that point. Many new directors (and clients) assume that the only thing happening in the edit bay is lining up the good takes in the order of the storyboard. Once the cameras cut, there’s a temptation to think that the task of directing is over. New directors can benefit from the experience of veteran editors.įor new directors, it really helps to have an experienced DP and producer on set, as they can help guide them towards wise decisions. I’ve worked with writers, actors, motion graphics designers, shooters, and producers who have all tried their hand at directing web videos and product spots. New directors can come straight out of film school, but there are plenty of creatives who are making lateral moves into directing videos.
#Nextnow collaboratory how to
So let’s look at some of the challenges you can face in the cutting room, and how to become the kind of collaborator that inspires the growth of those around you. It’s not uncommon for an editor to become a gentle mentor to new directors while still giving them the room to lead. But there’s a real struggle when you are trying to balance the tension between giving ideas a fair shot, and doing what you “know” won’t work. Of course, everyone on the project is there for the purpose of creating great work and helping the director turn the script into a story on the screen. It can be even tougher when you’re a seasoned editor sitting next to a brand new director trying to crystalize their vision. It’s been said that there are two entry-level positions on a film set, production assistant and director.
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