Moja Love is looking for new quality and experienced editors.

Ability to offline and online.

Offline and Online Editor: Duties & Responsibilities

Editors are responsible for creating a visual product by combining the raw visuals and sound in order to create a narrative. An editor is expected to know the software, as well as to have an understanding of visual language, rhythm, pace, dialogue and music and it is vital that the editor is organised and attentive to detail. Apart from the various genres, editors are also divided between the offline and online categories, each with different tasks and responsibilities. In recent years, because of software development and budget constraints, many editors have started to fulfil both tasks like at Moja TV, but the processes are still distinct and happen consecutively.

Offline Editing: 

1.   During the offline process, the editor selects material in order to construct the narrative. Sequences are selected and combined to form a rough cut or assembly edit. It is the responsibility of the offline editor to create the cut and once approved, this will be the final prepared edit.

2.   The editor will work from a script to create a first cut for features and TV drama. This is not always the case for documentaries, reality shows and other factual programming. However, some producers may provide an outline while the narration will be constructed in the edit suite.

3.    The rough cut may have been transformed through many versions in which the overall narrative was restructured, scenes dropped or re-edited ?" sometimes going so far as to create entirely new character perspectives. Eventually, after the producer and director are happy with the cut, the editor will fine tune the rough cut to produce a fine cut. After the fine cut is approved, the timeline will be picture locked. This means that no further changes will be made in terms of shot selection, dialogue edits and duration ?" no matter how small, a change after picture lock has serious consequences for all the following steps in post-production.

4.   The editor must be available for Director, Producer and client viewings, in order to implement changes to episodes and promos.

5.    All Episodes must be saved in the proper format and on the correct external hard drive before deleting the episode from the editing systems. 

6.   Responsible for the edit of 30' promos of each episode, as per Channel requirements.

7.   Ensure running time specifications of the program and restrictions set from the client or broadcaster are met including broadcasters' specs in terms of frequency and duration of commercial breaks if any

8.   The Offline Editor is to be aware of differing formats within the edit. If working on an HD project and have utilized some SD footage (from library/archive etc) field dominance issues can occur - this must be checked using a broadcast monitor (NOT the Mac displays). If necessary a report must be given to the producers for use in the Online process

9.   All exports will be the responsibility of the offline editor; this includes DVD viewing copies throughout the process on the request of Directors/Producers. OMF and audio reference videos will also need to be exported once picture lock has been confirmed.

10. All viewings, Exec Producers and Client must be viewed on a broadcast monitor or a fully calibrated Cinema display screen

Online Editing:

1.     The online editor is responsible for delivering the final product according to the correct technical specifications required.

2.   Online editing often refers to the process of adding the final titles, graphical elements and visual effects, as well as preparation for colour grading and audio mixing. Grading and colour correction will also happen during this process.

3.   If the offline cut comprises of proxies or low resolution visuals, the shots will now be replaced with the relevant high resolution footage, which is known as conforming. Conforming can also happen when moving between different systems, such as from an editing software to a colour grading specific software. XMLs are the most commonly used file formats to move between systems.

4.   If required, the online editor will do compositing, which involves the combining of separate visual elements into a single image. Chroma keying (blue/green screen) falls into this category.

5.   The online editor is also responsible for ensuring that the technical specifications for broadcast delivery are met. It is during this stage that colour bars, countdown clocks and slates are added, as per the broadcaster/client's requirements.

6.   The online editor will receive the mixed audio tracks to put them into the project and prepare this for play-out or export.

7.   The online process can be as short as a day, or take a few weeks, depending on the number of tasks to be performed and the duration of the final programme.

Other requirements:

1.        Editors work closely with directors, producers and camera operators to make sure they know exactly what is expected and what the final product should look like.

2.   Editors use a wide variety of digital technology, and are always finding new ways to incorporate the latest technology into their work to improve the product.

3.   Need an extreme eye for detail and ability to keep constant communication with a director to develop exactly what they need for a final product.

4.   Film editors need to know various techniques on how to most effectively edit a film. They must be willing to experiment and make changes from several different angles and using several different types of editing software or programs. Editors are responsible for choosing and adding in music to specific scenes, piecing together clips to make sure the story flows together, and adding in voiceovers or commentary.

5.   Editors must have excellent communication skills so they can understand exactly what the client needs. Editors cannot be afraid to ask questions or speak with several different members of a film crew to make sure they have each piece of footage.

6.   If an editor does not believe they have quality footage or enough to fit the needs of the client, they need to speak with directors and offer their input on what could be done

Experience: Minimum of 3 years

Please send your CV to eketa.masuko@siyayatv.com