Issue link: https://digital.copcomm.com/i/335006
37 JUL-AUG 14 / CINEMONTAGE is trending toward two assistants for three editors, Smith Holley insists it's better to keep the work in the cutting room rather than send it off-site. "We have more control over it, and it's more jobs for editorial," she says. Robertson maintains that they're moving in the right direction, but haven't yet achieved the most productive work environment possible. "I think the ideal compromise would be a fourth assistant dedicated to just taking care of the dailies. This would still save money by doing dailies in-house, and it would free up the other assistants to focus on assisting the editors throughout the creative process, which is what we're here to do." Indeed, the job of the assistant editors includes technical tasks such as prepping dailies so editors can begin cutting, but assistants also engage in more creative/intuitive undertakings, not least of which is supporting their editor so she or he can fully focus on the work of telling great stories. In that vein, Silverman comments, "This workflow is very workable. I get my dailies in a timely manner, and Meghan is able to lay color in before I cut dailies. She is a very strong assistant and we're a really good team." She said she likes to mentor assistants if they're receptive and interested in editing. Robertson, who aspires to edit, has practiced cutting scenes here and there but recently cut an act to be able to show the editors what she is capable of doing. Silverman says she tries to help Robertson in the area of storytelling. "A lot of assistants approach editing early on from a technical standpoint," the editor explains. "While the technical is necessary, I like to help Meghan pull the story out. Sometimes, I'll show her the more complex scenes and ask her opinion; if anything is missing from the story — and if so what and why? We'll brainstorm that way. It's good for both of us and it's a really good learning tool." Jablow reflects upon how much things have changed in post-production: "There used to be a much closer relationship between the assistant and the editor. Since things went digital, it's actually become more difficult for assistants because they're not sitting in with the editor. They are so busy working in their own room managing everything." That said, like Silverman, Jablow makes it a priority to instruct his assistants. "I go out of my way to mentor all of my assistants and keep them very much in the loop to make them feel that they're part of the creative process," he says. "It's what was done for me when I was an assistant, and it's the way that I learned to become an editor. To me, mentoring an assistant is one of the most important things that an editor can do." LOVE OF THE STORY — AND THE JOB It is no secret that days can be long in television post-production, with grueling schedules, unforgiving deadlines and gruff executives. But The Fosters is different. Love of the story and the characters infuses the workplace — and the post-production crew — with an inspiring, supportive atmosphere respectful of everyone's time. "It was really important to create an environment where people feel heard, feel validated and feel some ownership of the work because we are firm believers that is where the best work happens," sums up Paige. "Everyone who has been drawn to this show comes at it from a really amazing place. We're doing a show about a family, but we really are a de facto family ourselves." All of which makes for a very nurtured family unit. f Sharon Smith Holley and Michael Jablow. "It was really important to create an environment where people feel heard, feel validated and feel some ownership of the work." – Peter Paige CineMontage_Jul-Aug_14-4.indd 37 6/18/14 7:04 PM