"As one ends, the other begins..."

The past weeks have been a flurry with trying to book my next gig. Being freelance, you go from job to job with healthy points of unemployment between. After returning from China, I booked anything I could get. I did two nights on "Carmeggedon" for Film Garden/Spike TV, then a story pass on "Eminem A.K.A." for Xenon Entertainment. The next 14 days found me at Route 66 productions, editing a catalog 'sizzle' reel for New Line. That went well, but tired me out.

During all of this I was held in wait by the prospects of working on a Union feature again. My good friend Greg is the 1st Assistant for "Annapolis", an upcoming Disney pic starring James Franco of Spider-man fame. Greg and I had been trying to work together since I assisted him on "The Sweet Spot", a short film by Victoria Foyt and Jagtoria Films. 'Annapolis' had a spot for an apprentice editor that was mine if they could swing it.

Now in the grand scheme of things, Apprentice Editor is the starting point on the career ladder of an editor. Going from Editor back to Apprentice would mean halving my pay and really starting over. Why would I do such a thing? Because the entertainment business is really a bunch of sandboxes. No matter how high you climb in one, you're an unknown to another. When offered a chance to play in the feature film sandbox, I expected to take a step back in order to pay my dues and prove my worth. As it was, taking a step back on 'Annapolis' would involve a big step back. The benefits would be new networking opportunities, and after a good show of work, future employment- i.e. Welcome to this Sandbox. Also, working guild means full medical and pension benefits. Something I have not enjoyed in the non-union world.

At the same time Greg offered 'Annapolis', 'Trace Evidence' called and asked for me back. Now this is an entirely different situation. 'Annapolis' I would start at the bottom, and strive to prove my worth by working hard doing thankless organizational work, one step above a grunt, and most likely that because of my relationship to the 1st. 'Trace Evidence' was where I cut two episodes that were wonderfully receieved, pulled ratings highest in its time slot (basic cable), and now they were asking if would come back - offering 3 more episodes at my full editors rate.

Interestingly, the schedules would coincide. My usual freelance gigs run 2 to 6 weeks at a time. 'Annapolis' would be from October to June. 8 Months. 'Trace' would be from November to June. 7 Months. This is huge. To book most of a year is monumental. Not only in the financial stability that affords you, but in the careful political maintaining of relationships with all your other clients. If you're going to be out of the game for 8 months, you need to be cool with everyone so they're there when you get back.

Now I was ready to do 'Annapolis'. Give up $$$ in the five figure amount to start at the bottom of the big sandbox. One catch: The crew situation had not been finalized. If it was up to Greg, the job is mine. But it's not up to him, not %100 at least.

'Annapolis' is shooting film, and there were three scenarios proposed on how to handle the film in post.

1. Print film Dallies and sound dailles separately on Magnetic tape stock 'Mag'. This is how it was done in the old days and it rock solid works. It allows for the most comprehensive organization and control as all elements go through the editing room first. I would sync the mag to the film dailles, build daille rolls by breaking down the lab roll order into scene roll order, then send the synched, built rolls to the lab to be telecined onto video tape. Then I or the assistant would digitize the daillies into the Avid for the editor to edit. During this time, a codebook would be built and maintained by myself and the crew. This allows the director and producer to screen film daillies on a big screen. ( All you film buffs know that an eye guesture is more powerful when it's 20 feet tall than 20 inches. Grand decisions are made on that.)
But this method is also time consuming, expensive, and really out of date.


2. Print Magless daillies. This means the audio is sent on DAT tapes or other digital media (depends on the sound mixer). Sometimes this is delivered on DVDs that I simply copy onto the Avid. The film is telecined separately and I digitize into the avid. Then I sync the audio in the avid. It's now ready for the editor to edit with. For screenings, I build audio sequences that match the daillie rolls, and export to Protools onto a removable harddrive. This harddrive is sent to the projection room where it is synched to the projector. Screening ensues. Everyone happy. This scenario keeps me on an Avid- my strength, not film- and gives me the job.


3. They do this locally in Philadephia where they are shooting. I do not have the job.

(Yes, 90% of editing is bookkeeping. I say this sincerely. Because when I started editing I hated it, and now that I'm older when I don't see it done properly - I hate that.)

Greg and the editor proposed these scenarios and were awaiting the word from the executive producer. Being prudent, I delayed my acceptance of 'Trace' until I heard. This is the golden rule of freelancing that I was testing: "Go for the Job on the table, not in the air". Keep in mind that if neither happened, I'd have a nice gaping 8 month hole to fill.

Days turned into a week. A week turned into two. I had at this time pushed back 'Trace' three times. I was very unhappy. The length this was taking forebodes ill, and I like the people at 'Trace', I did not want to give them the run around. Greg is also unhappy because we like each other, and the start date was nearing - decisions needed to be made based on this.

Finally, after some more frantic calling, the execs returned an answer. They will take neither scenario, but will set up a separate crew at the lab in new york to handle everything. The job was not mine.

Disappointed, yes. But mostly relieved. Now I could go on with my life! I told Greg not to worry about it, if this one didn't work, we'll try again next time. After all, I don't mind working with good people on a top-rated Tv show after all.

So now I start on November the 14th. I'm to work on a variety of shows throughout the period. I'm happy. And for now, I pack!