Do video editors make good money? – Independent Contractor Tips

It depends on the film. If a well-done film makes $2m per week for 10 days, you can do well enough to get off of your butts and find a job. If the film makes $10m per week, your editor probably makes $100k in the first 12 weeks and gets to leave for good. It’s hard to get out of Hollywood on “sane” money if you are not making $10m per week. But it can go the other way, too if you work with a group who pay you more than you are earning for your work on the film. My editor pays me about $2,500 per week, if he has a project going on, and the studio is okay with the deal, but a film that doesn’t go above $500 per day or so is going to do okay, and my editor doesn’t get as much.

Psychology - Research Labs | Manchester University
3. How often do editors use color correction? I have never seen anyone use color correction for commercials. I’ve seen people say once a day. My editor, who is also a colorist, only does it a couple of times a week. He would be surprised if it was more than once every day. My editor loves color correction. He uses everything we do for a film and I would never do it again for any other part of my career.

4. What is your editorial philosophy? I’m an editor, but I’m happy to let others tell you their editorial philosophies. A good editor has their own style. Our style is to keep as pure as possible when editing. There is nothing that should get edited outside of quality. This doesn’t mean that we don’t edit any particular piece of footage, but there should be no cutting back and forth from one angle to the next. When we are looking at a scene or a sequence we keep it as pure as we want. We don’t have to care what’s onscreen before us and after us. We are a clean house.

5. What would you say is the biggest challenge you guys face trying to compete with commercial companies? What is your biggest competitive advantage? Our biggest competitive advantage is our ability to put our hands up when things aren’t doing well. We put a camera in their faces and then we let them work it from that point on. We don’t do interviews and then tell them how to look or how to talk. Our biggest advantage is that we are in a position where we can turn our cameras and show them what they’re

digital computer definition wikipedia, best filmmaking camera 2020, best dslr cameras for filmmaking course announcement, heathkit digital techniques, filmmaking tips from directors desk llc