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Remote Future In The Making With Editor Noam Weissman 正在远程剪辑未来

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Working from home has become the big new movement in this age of COVID19.  Many companies are already saving a lot of time and money in adopting remote working arrangements and video conferencing.Commercial producers should consider adopting remote shoots and editing as a part of regular scheduling.

在这个新冠肺炎的时代,在家工作已经成为一场新的重要需求和现象。许多公司已经在采用远程工作安排和视频会议方面节省了大量的时间和金钱。广告制片人应该考虑将远程拍摄和剪辑作为常规日程安排的一部分。

Talented commercial editor Noam Weissman has been working successfully in Shanghai for the past few years.  Recently moving back home to his native Israel before COVID19 took hold, he continues to work remote.  “As a travelling editor, I had my kit on a trolley and could go anywhere, until now,” he says.  When he went back to Tel Aviv to be with his extended family, he found he could work just as much from there as he did in Shanghai.

才华横溢的广告剪辑师诺姆·韦斯曼(Noam Weissman)过去几年一直在上海工作。最近,在新冠病毒感染之前他回到了家乡以色列,继续远程工作。他说:“一直以来,作为一名旅行剪辑师,我可以用我的推车带着器械去任何地方。但是现在由于疫情不行了”当他回到特拉维夫和他的大家庭在一起时,他发现在那里也可以有同身在上海的一样的工作时间。

MCDONALDS : 2020 CNY
Director JB / A.K.A PRODUCTIONS

Back when Weissman first arrived in Shanghai, most of the commercial productions created in China were driven by foreign directors, and he found very few other English-speaking editors in town.  He could start working immediately, and accumulated an impressive portfolio of high-end work for Huawei, Mercedes, McDonalds and Oppo, among others. In recent years, Noam has extended his work and connection with local Chinese directors actually working more now with locals than with foreign directors.

韦斯曼刚到上海时,中国制作的大多数广告作品都是由外国导演执导的,他在上海几乎找不到其他会说英语的剪辑。他当时可以立即开始工作,并在华为、梅赛德斯·奔驰、麦当劳和Oppo等公司积累了优秀的高端工作经验。近年来,诺姆扩大了自己的工作合作圈,与中国本土导演的联系实际上比与外国导演合作更多。

In the time of COVID19, sometimes clients, agencies, directors and editors cannot be on set.  Certainly, there are no crewed productions shooting as freely as before.   Using Zoom or a virtual Classroom for teleconferencing, makes Noam feel, “more on the set than when I’m actually on the set, because I’m seeing everything I need to do my job efficiently, and nothing else,” says Weissman.

有时客户、代理公司、导演、剪辑都不能到现场拍摄,而且显然在新冠肺炎疫情期间没有哪个项目能像以前那样自由拍摄。使用Zoom或虚拟教室进行远程会议让诺姆觉得,“这比我实际在片场时感觉更强烈,因为我看到了高效工作所需的一切,没有任何多余成分。”韦斯曼说。

While ‘stuck’ at home in Tel Aviv, Weissman has completed editing a latest Chinese McDonalds spot (Storm Films, Shanghai) as well as a Huawei Global commercial (Jiminy Creative TLV), while the director, agency and client have also been in various other countries.

虽然韦斯曼在特拉维夫的家中“被困”了一段时间,但他在家也已经完成了在中国麦当劳的最新广告(Storm Films,上海) 和华为的全球商业广告(Jiminy Creative TLV)的剪辑工作,而导演、代理公司和客户也都身在其他多个国家进行远程工作。

For a long time, Noam had been suggesting studios make more use of the Internet, to make productions more efficient.  He noticed there had always been adjustments in schedules to postpone shoots when the script wasn’t ready.  But deadline would always stay where it was, never touched by production or client.  This would cascade the timelines, squeezing VFX, compositing and ultimately the editing of the production.

很长一段时间以来,诺姆一直建议电影公司更多地利用互联网,以提高制作效率。他注意到,当剧本还没有准备好时,拍摄计划总是会有所调整,导致推迟拍摄。但截止日期总是不变,制片或客户从未改动过。这将制约时间线,压缩视觉特效的效果、合成和最终的制片剪辑。

Noam would always suggest to productions and directors the editing process could start immediately, as soon as there is vision to work on.  “The initial part of the editing process can be uploaded and slotted into place and sequences already created in low res, and then can be played out in high res immediately, when high res rushes arrive” he explains.

诺姆总是建议制片公司和导演们,只要有概念描绘(vision)可以着手,剪辑过程就可以立即开始。他解释说:“剪辑过程的初始部分可以上传并插入到已经在低分辨率下创建的序列中,然后当高分辨率待剪片段到达时,可以在高分辨率下立即播放,”

He was working like this, more than two years ago in Los Angeles when the crew was shooting background plates in Iceland for the Huawei P20 TV commercial with Gal Gadot (Wonder Woman).  When the crew came to LA to shoot Gadot, the edit was already done, all that was left was to match camera angles while shooting the Gadot hero shots, to the already edited back plates.

他是这样工作的,两年多以前在洛杉矶,当时摄制组正在冰岛拍摄华为P20电视广告的背景,演员是盖尔·加朵 (Gal Gadot,《神奇女侠》)。当摄制组来到洛杉矶拍摄加朵的时候,剪辑工作已经完成了,剩下的就是在拍摄加朵英雄的镜头时,将相机的角度与已经剪辑过的背景条进行匹配。

HUAWEI : HP20 (GAL GADOT)
Director ELI SVERDLOV / Production JIMINY CREATIVE (Israel)

This time, working on a Huawei spot happend to be at around the same time as completing a McDonald’s commercial.  Editing from Shanghai or Tel Aviv, it didn’t matter at all where he was on the planet. “Even in normal days, I was sometimes doing 60-70% of the editing work alone at home,” explains Weissman, “sharing draft cuts with the ‘always occupied on the next project’ director, crafting the many hours of rushes into a rough cut that would later be discussed and edited in collaboration with the director and agency to the final cut.”

诺姆在完成麦当劳广告的同时,也在为华为广告剪辑。无论是在上海或特拉维夫,他身处何处工作都无关紧要。“即使在平时,我有时做60 – 70%的剪辑工作独自在家。”斯曼继续解释道,“与‘总是忙于下一个项目’的导演分享剪辑草稿,花很多时间制作一个粗略的剪辑,然后与导演和代理公司一起讨论和修剪最终版剪辑。”

With the understanding that remote work and collaborative video conferencing can save time and a lot of money in travel, while keeping the whole creative environment secure and encrypted, productions should get to know their options, and start practicing remote shoots and editing as a very normal procedure.  “The production world, especially post-production world post-COVID19,” states Weissman, “will be so very different to what we have been used to in the past.”

掌握远程工作和协作视频会议可以节省大量差旅所花费的时间和金钱,同时保持整个创作环境的安全性和加密性,制片应该了解他们的选择,并开始练习远程拍摄和剪辑作为一个非常正常的程序。韦斯曼说:“在制片世界中,特别是新冠肺炎之后的后期制作世界,将与我们过去所习惯的模式变得极为不同。”

HUAWEI : APPGALLERY
Director ELI SVERDLOV / Production JIMINY CREATIVE (Israel)

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