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December 2015

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Page 33 of 51 32 POST DECEMBER 2015 easier to make shot changes with tape. We always need to be prepared to make last-minute changes or improvements before the show is finally out the door, and exporting files for the show isn't the most flexible method of mastering with possible, last-minute changes in mind. "But we've been working with Cined- eck to be able to write ProRes HQ files directly to their machine in realtime like a tape deck. We spent about a month with Cinedeck to get their system run- ning the way we want it, and we start- ed using it for mastering at the end of Season 9. It makes a huge difference. We can write to a file and insert edit into that file, do multiple deliverables in file formats quickly and there are no QC issues." THREATS: "Time and money are the usual bandits. I've been editing about 25 years and they've always been the big threats. You never really finish a cut, you surrender it. And that gets more precarious as you work on bigger shows. You still have to deliver close to perfection despite time and budget. But you need time to be creative: There's a story being told on top of all the bells and whistles." OUTLOOK FOR 2016: "There will contin- ue to be more diversification of creative. It comes from all directions now and can be delivered in all kinds of ways. That content may have lower budgets but its creative is really high. It will be a chal- lenge for the conventional networks to match it." PETER SABATINO Editor Fluid New York City Fluid is an editorial studio, which is com- plemented by a community of innovative artists offering a complete spectrum of post production services. Its credits include projects for Coca-Cola, Pepsi, Ca- dillac, Red Stripe, Land Rover, Samsung, Sony, Dell, Verizon, Ford and Toyota. STRENGTHS: "Strengths come from learning new skills and doing more than just editing. The business, the need to do more with less, has forced us into new creative directions. "There's no set way of working any- more. We're exploring new ways to tell stories and create content that are more streamlined. The downside is that technol- ogy is so cheap that everyone thinks they can be an editor, graphic artist or mixer." WEAKNESSES: "Shrinking budgets affect every aspect of the business: production, graphics, color correction, edit and mix. We're working just as much as in previous years but budgets are a lot less. That presents the challenge of how to make money with less income. Post production companies need to diversify. We're doing more in-house: color correc- tion, mixing, partnering with production companies — anything to bundle the income stream." OPPORTUNITIES: "In the past there was a strict view of editors as editors; you did one specific thing. Now, with weak budgets, you need to present yourself as being able to do more. And that's really fun — I'm doing color correction, graph- ics and sound design on spots. That's exciting and exhilarating." THREATS: "The biggest threat to adver- tising is the new way people are watch- ing television. TV as we know it is going away: People are watching and buying content a la carte and on-demand, which diminishes the role of traditional broad- cast advertising. Because of this, there are new outlets like sponsored content and online content. There will always be a need for advertising media; you just have to adapt and survive in that chang- ing environment." OUTLOOK FOR 2016: "I feel we're on the frontier of real change. The newness of it all excites me: new content, new venues to show it. Advertising is still figuring out new ways to get its messages out to people, and I'm eager to see what they're going to be." OUTLOOK EDITING O Strengths come from LEARNING NEW SKILLS and doing more than just editing." — Sabatino Fluid's project for the Empire Relief Fund.

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