Working from home has become the big new movement in this age of COVID19.  Many companies are already saving a lot of time and money in adopting remote working arrangements and video conferencing.Commercial producers should consider adopting remote shoots and editing as a part of regular scheduling.

在這個新冠肺炎的時代，在家工作已經成為一場新的重要需求和現象。許多公司已經在采用遠程工作安排和視頻會議方面節(jié)省了大量的時間和金錢。廣告制片人應該考慮將遠程拍攝和剪輯作為常規(guī)日程安排的一部分。

Talented commercial editor Noam Weissman has been working successfully in Shanghai for the past few years.  Recently moving back home to his native Israel before COVID19 took hold, he continues to work remote.  “As a travelling editor, I had my kit on a trolley and could go anywhere, until now,” he says.  When he went back to Tel Aviv to be with his extended family, he found he could work just as much from there as he did in Shanghai.

才華橫溢的廣告剪輯師諾姆·韋斯曼(Noam Weissman)過去幾年一直在上海工作。最近，在新冠病毒感染之前他回到了家鄉(xiāng)以色列，繼續(xù)遠程工作。他說:“一直以來，作為一名旅行剪輯師，我可以用我的推車帶著器械去任何地方。但是現在由于疫情不行了”當他回到特拉維夫和他的大家庭在一起時，他發(fā)現在那里也可以有同身在上海的一樣的工作時間。

MCDONALDS : 2020 CNY
Director JB / A.K.A PRODUCTIONS

Back when Weissman first arrived in Shanghai, most of the commercial productions created in China were driven by foreign directors, and he found very few other English-speaking editors in town.  He could start working immediately, and accumulated an impressive portfolio of high-end work for Huawei, Mercedes, McDonalds and Oppo, among others. In recent years, Noam has extended his work and connection with local Chinese directors actually working more now with locals than with foreign directors.

韋斯曼剛到上海時，中國制作的大多數廣告作品都是由外國導演執(zhí)導的，他在上海幾乎找不到其他會說英語的剪輯。他當時可以立即開始工作，并在華為、梅賽德斯·奔馳、麥當勞和Oppo等公司積累了優(yōu)秀的高端工作經驗。近年來，諾姆擴大了自己的工作合作圈，與中國本土導演的聯系實際上比與外國導演合作更多。

In the time of COVID19, sometimes clients, agencies, directors and editors cannot be on set.  Certainly, there are no crewed productions shooting as freely as before.   Using Zoom or a virtual Classroom for teleconferencing, makes Noam feel, “more on the set than when I’m actually on the set, because I’m seeing everything I need to do my job efficiently, and nothing else,” says Weissman.

有時客戶、代理公司、導演、剪輯都不能到現場拍攝，而且顯然在新冠肺炎疫情期間沒有哪個項目能像以前那樣自由拍攝。使用Zoom或虛擬教室進行遠程會議讓諾姆覺得，“這比我實際在片場時感覺更強烈，因為我看到了高效工作所需的一切，沒有任何多余成分。”韋斯曼說。

While ‘stuck’ at home in Tel Aviv, Weissman has completed editing a latest Chinese McDonalds spot (Storm Films, Shanghai) as well as a Huawei Global commercial (Jiminy Creative TLV), while the director, agency and client have also been in various other countries.

雖然韋斯曼在特拉維夫的家中“被困”了一段時間，但他在家也已經完成了在中國麥當勞的最新廣告(Storm Films，上海) 和華為的全球商業(yè)廣告(Jiminy Creative TLV)的剪輯工作，而導演、代理公司和客戶也都身在其他多個國家進行遠程工作。

For a long time, Noam had been suggesting studios make more use of the Internet, to make productions more efficient.  He noticed there had always been adjustments in schedules to postpone shoots when the script wasn’t ready.  But deadline would always stay where it was, never touched by production or client.  This would cascade the timelines, squeezing VFX, compositing and ultimately the editing of the production.

很長一段時間以來，諾姆一直建議電影公司更多地利用互聯網，以提高制作效率。他注意到，當劇本還沒有準備好時，拍攝計劃總是會有所調整，導致推遲拍攝。但截止日期總是不變，制片或客戶從未改動過。這將制約時間線，壓縮視覺特效的效果、合成和最終的制片剪輯。

Noam would always suggest to productions and directors the editing process could start immediately, as soon as there is vision to work on.  “The initial part of the editing process can be uploaded and slotted into place and sequences already created in low res, and then can be played out in high res immediately, when high res rushes arrive” he explains.

諾姆總是建議制片公司和導演們，只要有概念描繪（vision）可以著手，剪輯過程就可以立即開始。他解釋說：“剪輯過程的初始部分可以上傳并插入到已經在低分辨率下創(chuàng)建的序列中，然后當高分辨率待剪片段到達時，可以在高分辨率下立即播放，”

He was working like this, more than two years ago in Los Angeles when the crew was shooting background plates in Iceland for the Huawei P20 TV commercial with Gal Gadot (Wonder Woman).  When the crew came to LA to shoot Gadot, the edit was already done, all that was left was to match camera angles while shooting the Gadot hero shots, to the already edited back plates.

他是這樣工作的，兩年多以前在洛杉磯，當時攝制組正在冰島拍攝華為P20電視廣告的背景，演員是蓋爾·加朵 (Gal Gadot，《神奇女俠》)。當攝制組來到洛杉磯拍攝加朵的時候，剪輯工作已經完成了，剩下的就是在拍攝加朵英雄的鏡頭時，將相機的角度與已經剪輯過的背景條進行匹配。

HUAWEI : HP20 (GAL GADOT)
Director ELI SVERDLOV / Production JIMINY CREATIVE (Israel)

This time, working on a Huawei spot happend to be at around the same time as completing a McDonald’s commercial.  Editing from Shanghai or Tel Aviv, it didn’t matter at all where he was on the planet. “Even in normal days, I was sometimes doing 60-70% of the editing work alone at home,” explains Weissman, “sharing draft cuts with the ‘always occupied on the next project’ director, crafting the many hours of rushes into a rough cut that would later be discussed and edited in collaboration with the director and agency to the final cut.”

諾姆在完成麥當勞廣告的同時，也在為華為廣告剪輯。無論是在上?；蛱乩S夫，他身處何處工作都無關緊要?！凹词乖谄綍r，我有時做60 – 70%的剪輯工作獨自在家。”斯曼繼續(xù)解釋道，“與‘總是忙于下一個項目’的導演分享剪輯草稿，花很多時間制作一個粗略的剪輯，然后與導演和代理公司一起討論和修剪最終版剪輯?！?/p>

With the understanding that remote work and collaborative video conferencing can save time and a lot of money in travel, while keeping the whole creative environment secure and encrypted, productions should get to know their options, and start practicing remote shoots and editing as a very normal procedure.  “The production world, especially post-production world post-COVID19,” states Weissman, “will be so very different to what we have been used to in the past.”

掌握遠程工作和協作視頻會議可以節(jié)省大量差旅所花費的時間和金錢，同時保持整個創(chuàng)作環(huán)境的安全性和加密性，制片應該了解他們的選擇，并開始練習遠程拍攝和剪輯作為一個非常正常的程序。韋斯曼說：“在制片世界中，特別是新冠肺炎之后的后期制作世界，將與我們過去所習慣的模式變得極為不同?！?/p>

HUAWEI : APPGALLERY
Director ELI SVERDLOV / Production JIMINY CREATIVE (Israel)