Assistant Editor Jobs Los Angeles – The question is dreaded by anyone who wants to work in the film industry. We hate to ask because we’re afraid we already know the answer.
We are living in the age of remote working, we hope. In many ways, the Internet has revolutionized the way things work. You can be located anywhere. After all, I’m writing this article from Alabama, with my editor living in Seattle (only traveling the world 8 months a year) and the company we work for is based in New York.
Assistant Editor Jobs Los Angeles
Certain types of work function seamlessly under these new conditions. However, others should never be outsourced. Travel agents in Dubai can do a lot to help clients who live in Massachusetts. But a plumber from Dubai…? Less helpful.
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What jobs edit movies and videos? Can an editor with a fast internet connection work anywhere, or does he or she have to live in the right place? Do you need to pack your bags and move to Los Angeles ASAP?
We asked this question to several professional editors, and on one they all agreed: If you want to cut corners on movies and television, you need to move. Given the amount of production in Los Angeles and New York (from producers, reps and directors), that’s where the most action is. If you live in Europe, London is probably the place to be. While an editor can find different types of work in almost every major city, the coveted job of editing major “Hollywood” movies and television almost always goes to editors in one of the “Big Three.”
This may be difficult advice, but it is true. For starters, your best strategy is to make connections and be instead of the action. There’s no denying that. Once you’ve built a reputation, you may be able to leave town and work from the comfort of your log cabin style home in the Adirondacks.
Without further ado, here are five reasons an aspiring television feature or editor should move on.
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If your goal is to get into the movie and TV editing business, making connections should be your top priority. To quote UK-based editor Chris Frith (part of the editorial board at
), “The movie business runs through word of mouth. People like to work with people they like, and face-to-face interactions are the main way we know who we like. Regardless of technology, it’s still about dealing with people, finding projects you want to work on, and people willing to hire you to work on those projects,” said Frith.
And longtime collaborator Edgar Wright, the editor reminded, “You can be judged on your people skills as much as your editing skills.” Think about other jobs: the personal connections you make are always more important than the skills you have. The only exception is when, as Paul says, you’ve built such a reputation that you’re confident that you’re doing a good job yourself. Established editors may have more freedom, but passionate aspirants should plan to “go along and try to stand out.” For those starting out, get yours from here.
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“While I’d like to believe that moving to LA, NY, Toronto, London, etc. isn’t a necessary step, I really think it’s very important, at least for a short time, to an editor’s career. The world is capitalizing on the increasingly popular idea of working remotely, but face-to-face relationships are still at the top of the totem pole. For me, moving to a bigger city isn’t just about learning new techniques (you can do it from home thanks to the many tutorials). It was about creating connections with people, cultivating long-term relationships and learning about work from pre-production to completion.”
Training on the job is invaluable. And it puts you in a good position to find work in the future. Many editors get jobs because they happen to be in the right place at the right time. Maybe you meet a producer in the room or you meet the director at a party, you start a conversation and find a new job. It has happened.
You can increase your chances of being in the right place at the right time by making the right place your base of operations. Chance encounters happen more in NYC and LA than in Boring, Oregon (That’s no judgment in Oregon. There’s a town that’s actually called Boring.)
Co-editor Sabrina Plisco has these words of advice for any editor hoping to get involved: “To break through takes perseverance and networking. Looking for an internship or offering free work is a way to meet people. I recommend all young people interested in editing to start with an editing assistant to read
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Several editors we spoke to said that established editors with a long string of credits to their name could also work outside of New York or LA. However, even the above editors risk something when based outside the main production hub.
Sabrina Plisco says that even established editors usually work in LA, even if they live in a different city for the rest of the year. The setup is only for those who have already built a network around them and are thus confident that it will continue to work. “It is not until someone is successful and has built a solid network of work that they may be able to spend some time elsewhere in between projects,” says Sabrina. Even the most established editors have agents in Los Angeles who always work hard to find new job openings.
) has lived in LA for thirty years and absolutely hates traffic. But he’s still there, because that’s where the action happens. “Many editors eager to get hired in LA and NYC want to leave. And everyone I know who has moved on for a better, quieter life has this nagging feeling that they’re no longer going with the flow, and I’m sorry to say, but they really aren’t.”
Correct. The trade-off is real: Living outside of LA or NYC means you’ll have a calmer, (probably less stressful) life, but you might miss out on some exciting opportunities. Make your choice. There is of course only one correct answer for the candidate.
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In an age of email and file sharing, why do editors still have to be in the same location as the director? One of the reasons is that the nature of the machining process means that a lot of material is moved all the time, very quickly and continuously, and we still haven’t developed the technology to keep up. Email, file sharing and, yes, even Frame.io are valuable tools that keep getting better, but there are limits.
, Chris Frith assisted Eddie Hamilton in setting up a cutting room and screening room in a lake house in Queenstown, New Zealand. Cozy place to polish foil, right? No, actually they had their operations in Queenstown, because that’s where the movie was shot. As Chris puts it, “The production kept up during the filming of the nearby cutting room.” There’s a short period of time where directors and editors can self-isolate and cut, but once the project is in its final stages, where sound and VFX and whatnot are no longer mixed, they should be close to the rest of the team’s post-production .
“VFX and we are pumping more than a terabyte of material in and out of the cutting room almost daily at this stage,” Chris says. “So it has its limitations too – you need really fast internet or close enough to drive around. The director’s cut can and will be done remotely, but the shoot and finish dictates that the cut room is in one of the hot spots!
Speaking of that short time frame, Paul Machliss points out that technological advancements have a significant impact on how and where editing takes place. Technology, in particular, has enabled directors to choose locations. “I’ve been offered a potential job where the shoot will take place in the UK, but the director’s cut will take place in Iceland, with the exclusion in LA!” said Paul. “Technology has made that possible.”
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But note that the new tool that gives freedom to directors, not editors. Paul continues: “In other words, you have to be in the room with the director, wherever the room is. Technology has given directors more freedom, but of course editors follow the directors.”
Our handy tools still don’t allow us to transfer very large files fast enough for external editors to work at an effective pace. But for some editors, it’s not all that bad, which brings us to point four.
Nearly all the editors we spoke to commented on the chemistry
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