![]() ![]() If you don’t have a DIT or person on set ingesting footage, you’ll want to invest in a solid card reader or HUB. A proper monitor will give you the most accurate look. You will want a display that can be properly calibrated to review footage. Whether you’re cutting a serious project or a low-budget short film, invest in a professional monitor. Just use what’s best for you, and remember you’ll need to power everything on location. I’m not really going to dive into this, as every editor could start a war about their preferred setup. A desktop may be necessary, however, depending on the type of footage you are working with, as some formats are more labor intensive for your machine. Laptops are great for portability, and they can easily handle proxy workflows. Mobile Video Editing Computer (Laptop or Desktop) Just make sure it’s sturdy enough to hold the gear you put on top of the table, and make sure it’s secured so it doesn’t blow away in a strong wind. With a cart’s raised edge, you’ll find that your wrist will start to hurt if you don’t prop your computer up flush with the cart.įor a low-budget solution, consider something like a folding card table, which you can find online starting around $30. If you plan on working on this cart for extended amounts of time, consider a flattop or raised stand for you laptop or keyboard. Most of these specialty carts will certainly work as a mobile station, but look to spend upwards of $900. For example, an Inovativ cart will set you back about $3,000. Rubbermaid does make a specific Camera Cart with 8″ tires, but expect to spend around $750 for it.įor professional carts, there are specialty carts for sound departments, DITs, and camera assistants. Take your location into consideration. With a cheaper cart, consider investing in some heavy duty wheels that you can attach. ![]() These carts are certainly one of the cheaper options, but if your location doesn’t have paved walkways, this cart is a real pain. You can spend anywhere from $150 to $2,000 on a cart.įor a very low-budget production, you may want to get something like the popular Rubbermaid Commercial Utility Carts you often see used for everything from janitorial services to in-office mail delivery. ![]() If your budget won’t allow it, however, there are a variety of options. If you want a heavy duty cart, consider investing in something like a camera or DIT cart. One thing you need in a portable workspace is an actual workspace. The following on-set editing station suggestions are for a generalist editor or aspiring DIT who may not have a budget big enough to own or rent all of the gear of their dreams. Not only does the shot need to be precise, the product featured in the commercial must also look perfect. It’s most common on commercial sets, where productions have quick turnarounds and must be absolutely sure that they get the shot. Here’s my buddy and I editing in a junkyard with our latest mobile rigs. #CatchUpBabyDriver -Andrew Calvin Gust, EditorĬutting on location is certainly nothing new, but it rarely goes to the extremes Paul Machliss had to endure for the meticulous timing and cues in Baby Driver. Here’s one of my favorite posts, including a great hashtag:Įditors Andrew Gust and Nik Svab on set of Pupstar, courtesy Andrew Gust.įun fact: The Air Bud franchise has been on-set editing for the last 15 years. I was thrilled to see the response to the article on Baby Driver‘s editor Paul Machliss, ACE editing on location. It started conversations in many editing and filmmaking groups about editing on set. To cut footage on set, you’ll need some specific gear and video accessories.
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