Tight budgets and even tighter edit schedules mean opportunities for directors and self shooters to be in the edit with their own work are often limited. But as many will tell you, being in the edit is by far the best place to learn how the construction of a programme works.
So if you’re rarely offered time in the edit, how are you ever expected to learn? How can you give your editor the very best shots available if you’ve never seen them in action?
Following on from our #CopWorkshop Twitter Q&A, tips include having a plan before you shoot, note taking, keeping a log of material and providing still and movement shots.
"Fail to plan, plan to fail." – Ian Hider
Ian Hider is a trainer at the BBC Academy. He joined the BBC in 1984 and trained as a full time camera operator. Over the last twenty years Ian has worked on almost every genre of programming.
Zeb Chadfield is a freelance online editor and colourist, with years of experience in end to end production and working with self shooters. He specialises in finishing with recent credits including The Voice, Rolf on Welsh Art, Steve Jobs: iChanged the World and Fry’s Planet Word.