{"id":757,"date":"2015-11-12T07:53:23","date_gmt":"2015-11-12T07:53:23","guid":{"rendered":"http:\/\/www.richardleverton.co.uk\/index.php\/2015\/11\/12\/whose-edit-is-it-anyway\/"},"modified":"2015-11-12T07:53:23","modified_gmt":"2015-11-12T07:53:23","slug":"whose-edit-is-it-anyway","status":"publish","type":"post","link":"http:\/\/www.richardleverton.co.uk\/index.php\/2015\/11\/12\/whose-edit-is-it-anyway\/","title":{"rendered":"Whose Edit Is It Anyway"},"content":{"rendered":"<p>A real conversation from my office;<br \/>\nMy colleague Jess, on seeing a rough cut of an episode of our latest series; &#8220;That&#8217;s really good&#8221;<\/p>\n<p>Me: &#8220;Sarah (my assistant) cut that one&#8221;.<\/p>\n<p>Sarah: &#8220;Yeah, but you told me what to do&#8221;.<\/p>\n<p>Me: &#8220;That doesn&#8217;t matter, you still edited it&#8221;.<br \/>\nThis got me thinking about ownership of an edit. How closely should we tie an edit to the editor?<\/p>\n<p>It seems to me that there are always at least three parties involved in an edit that I work on, often many more. Fundamentally for me it breaks down to three;<\/p>\n<p>Me &#8211; I get the footage, a script and some guidance from the director, and then I&#8217;m left alone to create something. The first cut therefore is pretty definitively mine, because there aren&#8217;t many other people involved. I might show it to Sarah before sending it on to Jim (my director) for a second opinion and fresh pair of eyes, but it&#8217;s mine.<\/p>\n<p>The Director &#8211; Jim and Rob (as my directors) for some reason think they can tell me how they think it should be different from what I&#8217;ve done. What nerve, right? I kid, obviously, and over time I&#8217;ve come to learn how they like things to such an extent that my first cuts tend to be pretty close to the intention. But they always have notes and they&#8217;re usually right. So I make those changes or we argue over it and I make my case for why we shouldn&#8217;t. And so is the second cut is still mine? Less so than the first cut?&nbsp;<\/p>\n<p>The Client &#8211; this is where things get tricky. We&#8217;ve all had clients who trust us and appreciate us and give great notes, and I&#8217;m sure we&#8217;ve all had clients who perhaps don&#8217;t trust us quite as much. That&#8217;s charitable enough, I think&#8230; And sometimes you make changes you really don&#8217;t want to make. You use a different piece of music that you aren&#8217;t as keen on. You compromise. And you start feeling that the cut isn&#8217;t yours at all anymore. There might be layers of approval even within a client company, so you&#8217;re the servant of many masters.<\/p>\n<p>So there are a lot of voices that go into a cut. But in the end, they all go through you as the editor. If you disagree with a change, you have to make your case for not changing it. The skill of negotiation is a huge part of the process. If you aren&#8217;t convincing enough to keep your version in-tact, was it ever yours to begin with?<\/p>\n<p>My point is that you own it as long as you want to take the responsibility for it. If you&#8217;re blindly following direction, and client notes, maybe you don&#8217;t own it because someone else cares about it more. You can still own it when taking notes, you can still own it if you co-edit with someone else.&nbsp;<\/p>\n<p>You may not physically click the button on every in and out point, but that doesn&#8217;t mean it&#8217;s not yours. Own it!<\/p>\n","protected":false},"excerpt":{"rendered":"<p>A real conversation from my office; My colleague Jess, on seeing a rough cut of an episode of our latest series; &#8220;That&#8217;s really good&#8221; Me: &#8220;Sarah (my assistant) cut that one&#8221;. Sarah: &#8220;Yeah, but you told me what to do&#8221;. Me: &#8220;That doesn&#8217;t matter, you still edited it&#8221;. This got me thinking about ownership of<a class=\"more-link\" href=\"http:\/\/www.richardleverton.co.uk\/index.php\/2015\/11\/12\/whose-edit-is-it-anyway\/\">Continue reading <span class=\"screen-reader-text\">&#8220;Whose Edit Is It Anyway&#8221;<\/span><\/a><\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"footnotes":"","_jetpack_memberships_contains_paid_content":false,"jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false}}},"categories":[28],"tags":[],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p31sgK-cd","jetpack_likes_enabled":true,"_links":{"self":[{"href":"http:\/\/www.richardleverton.co.uk\/index.php\/wp-json\/wp\/v2\/posts\/757"}],"collection":[{"href":"http:\/\/www.richardleverton.co.uk\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/www.richardleverton.co.uk\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/www.richardleverton.co.uk\/index.php\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"http:\/\/www.richardleverton.co.uk\/index.php\/wp-json\/wp\/v2\/comments?post=757"}],"version-history":[{"count":0,"href":"http:\/\/www.richardleverton.co.uk\/index.php\/wp-json\/wp\/v2\/posts\/757\/revisions"}],"wp:attachment":[{"href":"http:\/\/www.richardleverton.co.uk\/index.php\/wp-json\/wp\/v2\/media?parent=757"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.richardleverton.co.uk\/index.php\/wp-json\/wp\/v2\/categories?post=757"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.richardleverton.co.uk\/index.php\/wp-json\/wp\/v2\/tags?post=757"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}