Remote Future With Editor Noam Weissman 正在遠(yuǎn)程剪輯未來(lái)

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舉報(bào) 2020-06-17

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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.

在這個(gè)新冠肺炎的時(shí)代，在家工作已經(jīng)成為一場(chǎng)新的重要需求和現(xiàn)象。許多公司已經(jīng)在采用遠(yuǎn)程工作安排和視頻會(huì)議方面節(jié)省了大量的時(shí)間和金錢(qián)。廣告制片人應(yīng)該考慮將遠(yuǎn)程拍攝和剪輯作為常規(guī)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.

才華橫溢的廣告剪輯師諾姆·韋斯曼(Noam Weissman)過(guò)去幾年一直在上海工作。最近，在新冠病毒感染之前他回到了家鄉(xiāng)以色列，繼續(xù)遠(yuǎn)程工作。他說(shuō):“一直以來(lái)，作為一名旅行剪輯師，我可以用我的推車(chē)帶著器械去任何地方。但是現(xiàn)在由于疫情不行了”當(dāng)他回到特拉維夫和他的大家庭在一起時(shí)，他發(fā)現(xiàn)在那里也可以有同身在上海的一樣的工作時(shí)間。

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.

韋斯曼剛到上海時(shí)，中國(guó)制作的大多數(shù)廣告作品都是由外國(guó)導(dǎo)演執(zhí)導(dǎo)的，他在上海幾乎找不到其他會(huì)說(shuō)英語(yǔ)的剪輯。他當(dāng)時(shí)可以立即開(kāi)始工作，并在華為、梅賽德斯·奔馳、麥當(dāng)勞和Oppo等公司積累了優(yōu)秀的高端工作經(jīng)驗(yàn)。近年來(lái)，諾姆擴(kuò)大了自己的工作合作圈，與中國(guó)本土導(dǎo)演的聯(lián)系實(shí)際上比與外國(guó)導(dǎo)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.

有時(shí)客戶、代理公司、導(dǎo)演、剪輯都不能到現(xiàn)場(chǎng)拍攝，而且顯然在新冠肺炎疫情期間沒(méi)有哪個(gè)項(xiàng)目能像以前那樣自由拍攝。使用Zoom或虛擬教室進(jìn)行遠(yuǎn)程會(huì)議讓諾姆覺(jué)得，“這比我實(shí)際在片場(chǎng)時(shí)感覺(jué)更強(qiáng)烈，因?yàn)槲铱吹搅烁咝Чぷ魉璧囊磺校瑳](méi)有任何多余成分。”韋斯曼說(shuō)。

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.

雖然韋斯曼在特拉維夫的家中“被困”了一段時(shí)間，但他在家也已經(jīng)完成了在中國(guó)麥當(dāng)勞的最新廣告(Storm Films，上海) 和華為的全球商業(yè)廣告(Jiminy Creative TLV)的剪輯工作，而導(dǎo)演、代理公司和客戶也都身在其他多個(gè)國(guó)家進(jìn)行遠(yuǎn)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.

很長(zhǎng)一段時(shí)間以來(lái)，諾姆一直建議電影公司更多地利用互聯(lián)網(wǎng)，以提高制作效率。他注意到，當(dāng)劇本還沒(méi)有準(zhǔn)備好時(shí)，拍攝計(jì)劃總是會(huì)有所調(diào)整，導(dǎo)致推遲拍攝。但截止日期總是不變，制片或客戶從未改動(dòng)過(guò)。這將制約時(shí)間線，壓縮視覺(jué)特效的效果、合成和最終的制片剪輯。

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.

諾姆總是建議制片公司和導(dǎo)演們，只要有概念描繪（vision）可以著手，剪輯過(guò)程就可以立即開(kāi)始。他解釋說(shuō)：“剪輯過(guò)程的初始部分可以上傳并插入到已經(jīng)在低分辨率下創(chuàng)建的序列中，然后當(dāng)高分辨率待剪片段到達(dá)時(shí)，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.

他是這樣工作的，兩年多以前在洛杉磯，當(dāng)時(shí)攝制組正在冰島拍攝華為P20電視廣告的背景，演員是蓋爾·加朵 (Gal Gadot，《神奇女俠》)。當(dāng)攝制組來(lái)到洛杉磯拍攝加朵的時(shí)候，剪輯工作已經(jīng)完成了，剩下的就是在拍攝加朵英雄的鏡頭時(shí)，將相機(jī)的角度與已經(jīng)剪輯過(guò)的背景條進(jìn)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 ‘a(chǎn)lways 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.”

諾姆在完成麥當(dāng)勞廣告的同時(shí)，也在為華為廣告剪輯。無(wú)論是在上海或特拉維夫，他身處何處工作都無(wú)關(guān)緊要。“即使在平時(shí)，我有時(shí)做60 - 70%的剪輯工作獨(dú)自在家。”斯曼繼續(xù)解釋道，“與‘總是忙于下一個(gè)項(xiàng)目’的導(dǎo)演分享剪輯草稿，花很多時(shí)間制作一個(gè)粗略的剪輯，然后與導(dǎo)演和代理公司一起討論和修剪最終版剪輯。”

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.”

掌握遠(yuǎn)程工作和協(xié)作視頻會(huì)議可以節(jié)省大量差旅所花費(fèi)的時(shí)間和金錢(qián)，同時(shí)保持整個(gè)創(chuàng)作環(huán)境的安全性和加密性，制片應(yīng)該了解他們的選擇，并開(kāi)始練習(xí)遠(yuǎn)程拍攝和剪輯作為一個(gè)非常正常的程序。韋斯曼說(shuō)：“在制片世界中，特別是新冠肺炎之后的后期制作世界，將與我們過(guò)去所習(xí)慣的模式變得極為不同。”

HUAWEI : APPGALLERY

Director ELI SVERDLOV / Production JIMINY CREATIVE (Israel)

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