![]() ![]() And she marks down on each facing page with lines to denote which cameras were rolling. There’s a continuity supervisor, who provides you with a line script and a facing page. ![]() You get a lot of paperwork, like from the camera assistant’s reports. There’s a lot of parts to that, it’s not just the footage. if you have one), and then you get the dailies from the post house. Once the shooting starts, you make your coffee (or your P.A. You talk to all the vendors, say hi, say send me your spec sheets and stuff like that. Talk to the editor, see where he wants the couch, where he wants the Avid - all the little things. On the first day, you set up the editorial, make sure the equipment works. NFS: Can you describe your typical workday as an AE on a feature?Ĭarsten Kurpanek: Features have a very linear approach. Your job is to be on top of that, and to be the support for your editor in any way possible. You have to figure that out, to communicate to the proper departments, to anticipate problems before they happen. It’s a global world, and that goes for filmmaking too. You have to be a little bit nerdy - pixel aspect ratios, or the different formats and frame rates. Especially nowadays, there’s a new camera every week - there are upgrades. It’s a very technical job, a lot of troubleshooting. It’s all about organization and communication. I often say the job of an assistant is to figure s%#* out (please bleep me). You build trust with your editor over time, and they will also give you other tasks over time - and in the best case scenario they will give you mentorship, even letting you cut a scene first, giving you advice. ![]() ![]() You are there to support your editor so he or she can make their best edit possible. NFS: You worked as Assistant Editor on World War Z and The Girl with the Dragon Tattoo. Can you first describe the role of an Assistant Editor on a feature?Ĭarsten Kurpanek: The idea is that you take care of everything that comes into the cutting room, and you take care of everything that goes out of the cutting room. And after the internship was over, Alpha Dogs hired me on as a night assistant, and that was the beginning of it! It gave me a glimpse into the real Hollywood. Later, I was hired as the American Cinema Editor’s intern in 2008, and that taught me what to do next, how to get into the union. I worked there for free for over three months as a runner, and learned as much as I could from the assistants there. So I posted, “Listen guys, I just came to town, and I would love to be an unpaid intern at any of your facilities if you need someone as a P.A.” And a company called Alpha Dogs in Burbank wrote me back. It occurred to me that it couldn’t be possible that none of these users had Avids, so they must be in a facility that has Avid. There was a Yahoo! Internet Avid user group. I had no contacts, so I literally turned to the internet. So I researched everything - that there’s a guild, and that there’s the American Cinema Editors. I Googled and messaged everyone I could, trying to find an in. The thing that gave me the most pleasure was luckily the most viable career option, editing. We wanted to be together, she wanted to be (and presently works as) an actress, and I wanted to be in Los Angeles as well working in film. I wasn’t thinking of becoming an editor in Germany - I thought I’d be a journalist. I met my wife in school, and without her I wouldn’t even be in America. ![]()
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