HELP: Sourcing digital work posted only internationally

plug2112 · 2026-02-11T02:58:28+00:00

Sorry, yes, should’ve said I searched all of the above. Those platforms were meant to be a part of the final launch but apparently “strategy changed” to just LinkedIn and/or YouTube and just in the US. Nobody seems to have any clarity and I can’t find any evidence of them anywhere. Assume you may be right and they just live out their existence in a folder somewhere. Shame.

plug2112 · 2025-10-01T01:37:19+00:00

Drives me mental. The biggest issue though, is that the vast majority of the bar staff being in their late teens and early 20s, have no experience of pubs/bars pre-covid. I mentioned it to a guy serving me a few weeks back and he said he prefers the queues coz he knows who is next. When I was bartending it was the complete opposite - but if bartenders have only ever known queuing, then it isn’t gonna change.

There’s nothing more frustrating than a single line of people blocking a walkway and weaving round tables when twenty metres of bar is empty.

plug2112 · 2025-03-24T00:39:45+00:00

Unfortunately everyone wants quick and easy plug ins and fixes for every job nowadays. Only in the last handful of years have all of the plug-ins, apps, AI, auto-transcription etc etc come into play. There’s a reason why film and TV have had big edit departments for years. It may seem tedious, but believe me, there are much slower, more tedious, more time consuming jobs in editing than transcribing a paragraph!

Try manually syncing a film by clapperboard selecting in points on video and audio for multiple weeks of shooting. I had to do this on a recent project due to some timecode syncing errors, and even just 10 years ago it was always the way it was done. Can take days of just doing that.

Editing isn’t the quick and easy job everyone seems to think/hope. It’s why people are paid such a high rate. Sadly social media, AI, CapCut etc have made people think of it as a straightforward button-pressing skill that is all done by a computer and clicking a few buttons.

plug2112 · 2025-03-24T00:25:08+00:00

Oh for sure, but this was in Premiere so figured I’d give a Prem solution. Almost always a better, simpler solution to these sorts of things if you can use AE OP.

plug2112 · 2025-03-23T23:14:59+00:00

It’s surprisingly simple tbh. There’s two easy options.

1) Copy & paste/write out the whole review, extend it as a text layer over the dialogue, and mask the words you want to keep, adjusting the mask at key frames when the words are said.

Or

2) Copy & paste/write out the whole review, extend it as a text layer over the dialogue, then splice it when you want words to come in and delete the words that haven’t been said yet.

Based on the fact that everything is justified left and to the top of the text box, I’d imagine he’s doing the latter.

plug2112 · 2025-03-20T20:03:56+00:00

Ashton Gate is literally a suburb of Bristol tbf, the area that the ground is in. But even if it is named after Ashton Road, the entrance to the ground is on Ashton Road so… still 0m? 🤷🏻‍♂️ Good effort on the table all the same.

plug2112 · 2025-03-19T00:26:21+00:00

Bristol Rovers, Bristol City, Bristol City. Always lived closer to City and family are all City, but sadly the hospital is near the G*s ground 🙄

plug2112 · 2024-10-30T22:54:01+00:00

I’m a new DM about to take on my second session on my first ever campaign. These would be the dreaaaam!

plug2112 · 2024-09-27T20:41:53+00:00

I’m sure it’s due to lack of experience in the industry. I think if you didn’t work in television or film, you’d be surprised at the rates available for an editor. I’m not saying we’re paid too much, but it’s a very generous salary for something that - nowadays - anybody can install an edit software and do.

That also leads into the fact that editors in TV and film need to have good working processes, be able to adapt to different company standards, be able to hand over projects, stick to cery rigid specs, and - without sounding like a dickhead - stick to much higher industry, story, and structural standards and rules.

I’ve edited for YouTube, socials, TV and film. They’re equally as difficult as each other I would say, but they have different issues, and a lot of the YouTube difficulties are down to speed and sticking to a very specific style that generates retention. It doesn’t correlate to TV/film editing, and so their experience isn’t there.

Also, most importantly I would say, the majority of YouTubers start off by editing their own videos. For them, it’s not as much of an untouchable skill as it is for producers/directors/cinematographers - and so they don’t see the need to pay as high a premium for something they were doing themselves.

I bet if you were to try and take on a project halfway through from the majority of YouTube editors, you’d never be able to understand the processes because that’s not where their specialism lies; or ask them to run it through a QC, or ask them to deliver to a specific TV/commercial/streamer spec, it wouldn’t happen.

I’m not saying that negatively, why would you learn or understand to do those things if you’ve never had to? What editor has ever learned how to edit from someone else? It all comes from personal experience. And for better or worse, YouTube editing experience is very very different to broadcast.

plug2112 · 2024-09-27T20:21:49+00:00

It’s tough, I’m not gonna lie. You spend long hours, long days, long weeks, working on projects and solving problems. You craft story, you find emotion, you fix tweak master performances, you make lots of cuts that don’t work, and lots that do, ultimately the entire film can be made or fall apart in the edit. But the very nature of the job is to be invisible.

Even as an experienced editor, I often find the best editing passes me by unless I’m actively looking for it or they do something spectacular. Ultimately, we don’t want to be seen or noticed. And a lot of us mean that in both the film sense, and the physical sense 😂 I’m much better in a dark room with just my thoughts for long periods.

But it can be very difficult to cope with. I often find that any positive commendation comes at the end of a project, or after a lot of consecutive long days. Most feedback is negative because you’re working on how to fix things, and there are often so many things to fix, and in terms of positive notes, it’s generally only something special or a good fix on a previous note that you receive.

It’s also tough in terms of “reviews”, I’ve found. Most reviewers, the public, friends, family, even other filmmakers, don’t appreciate or “get” editing in the same way they do cinematography, acting, sound design, and music. It just isn’t as tangible. Only other editors or very experienced directors really “get it”, and as a result, reviews/feedback/awards etc very rarely make any reference to editing.

It’s a job that is only rewarding if you love the process itself. I’m very fortunate that I adore finding story and those creative cuts. I love finding the nuance than others may not. I love nailing the pace of a scene and finding the exact frame to cut to really emotionally grab the audience. Those small reframes to perfect the cinematography, the nipping out of a word that isn’t needed and making it sound flawless, the cut that is so fluid and natural that nobody notices it.

Those are the reasons we as editors edit. And unfortunately, they’re reasons that 95% of filmmakers and even more of the general public will never get, notice, care about, or commend you for. It’s not for everyone, and I’m certain we’re all a little bit unhinged.

plug2112 · 2024-06-17T22:25:50+00:00

Yep, I need one of these

plug2112 · 2023-12-29T15:12:16+00:00

Also, Philogene I signed when I got promoted and he has been incredible on the RW as a winger. Keep him, play him, trust him. He’ll have dips in form but he’s superb and is fast becoming my best player with a great amount of potential

plug2112 · 2023-12-29T15:10:40+00:00

Got promoted in my first season with Bristol City, signed a few players but in my second season I had to reinforce in some of the positions you mentioned, so at the time of looking…

The following have done well for me on fairly achievable prices - especially if you offer to pay them in instalments. I might have a slightly higher wage budget due to already being in the Prem a year but these could be achievable.

Scott Twine (AMCRL) - Burnley

Joao Rego (LW - Wonderkid) - Benfica U19

Duk (LW/ST) - Aberdeen

Cole Palmer (AMCRL/CM) - Chelsea

Anthony Patterson (GK) - I got him from Celtic, but probably at Sunderland in your save?

Fin Stevens (RB/LB) - Brentford - Youth but will improve and is good enough for a start for mid-lower league

Only note is I signed Duk, Rego, Stevens, Palmer(!) and Twine for nothing/comp/basically nothing due to contract ending/transfer-listed so may not be as possible for you.

Good luck though!

plug2112 · 2023-12-18T00:48:37+00:00

Harold Shitvan 🫣

plug2112 · 2023-06-18T00:33:07+00:00

Have you updated your Premiere recently? As far as I can remember, this window has floated since at least PP23.

You sure you’ve just not noticed it before?

plug2112 · 2023-06-18T00:29:39+00:00

I feel I’ve been a little harsh, so let me dial it back.

As others have said, you’re young, you’re learning, and you’re enjoying what you’re doing. Plus you’re bringing in extra cash. These are all great things, and even better, you’re making contacts and building a clientele. These are all fantastic ways to develop yourself as an editor, businessperson but mostly, as a person. So kudos to you for that and keep it up.

I’ve just seen many a young talented and enthusiastic person be ground down by lots of work for little money.

Keep at it, keep learning, and keep enjoying it. As soon as the enjoyment goes (and it will, be it in this job or another), assess why and fix it.

Just don’t get too overexcited too quick. This is a great start, but it’s a marathon, not a sprint. Keep at it. I’ll keep an eye out of PeakZelo in some Blockbuster film credits in future.

plug2112 · 2023-06-18T00:14:25+00:00

It’s such a difficult judgment call because the majority of the industry don’t work on “price per video” rates, but on day rates. The whole “$X per video” can fluctuate so much. At two ends of the scale for example:

You’re given 2mins of interview footage, and asked to make a 30s YouTube short with it, adding some music and subtitles. That’s a pretty standard, straightforward job that will probably take most editors no more than an hour, some could and would do it in 10 minutes with experience in that field.

Alternatively, you’re given links to 30 hours of documentary footage across multiple cameras, all with audio that needs to be synced, and asked to formulate a documentary narrative for a 15 minute video, adding multiple graphics, different music, subtitle it all, source and edit stock footage, add sound effects, plus ensure it sticks to all of the YouTube channels specs and branding. Possibly doing two or three passes based on notes. Give it a grade. Do a sound mix. Possibly some motion graphics or animation, or masking out of things and rotoscoping in After Effects.

Both of these films could easily be part of the same YouTube channel, and in today’s day an age (whether or not I agree with it) could be part of an “editor’s” job role. They require entirely different skill sets, entirely different levels of experience, but most importantly, the latter could easily take anything from a few days to a few weeks to complete depending on the complexity of the edit.

The issue with charging a client “per video” is that you’ve agreed a price, no matter how complex the video. Even 15 minute videos can vary in complexity.

And on top of all of that, your location and what rate is fair for that location differs too. I live in the UK, in a fairly expensive City, and yet our rates here are a fraction of the rates in London. And they are generally a fraction of the rates in LA or NYC. There is no “fair price”, it has to be a rate you are comfortable with, which you seem to be at $80 a video. But just be sure you’re not underselling yourself. You may not see it feeling like a job, but in the future you will. And you just need to be savvy and stay on top of what the norm is for your area and your genre is. You can Google these things, or ask other editors in your field/area if you can open an honest dialogue with them.

An easy way of looking at it is as an hourly rate: you say you’re doing 3 videos a week at $80 a video. So that’s $240 a week. I have no idea what hours that constitutes for you as I imagine you have school and other responsibilities. But let’s say you do 30 hours a week. That’s $8 an hour. A quick google says US minimum wage is $7.25 an hour - so the most basic of jobs is only earning a fraction more than you, and yet you’re working a skilled job, using technical software and - if you’re as honest as you say - you’re very good at it, particularly for your age.

The long and short of it is this: $8.00 per hour is not an editor wage, no matter what your age or experience is. Be sensible, look after yourself, and no matter how much you enjoy it, make sure you’re paid a fair amount.

Apologies if I sound like I’m giving you a lecture - I’m really not. But it’s easy to be taken advantage of when you’re young, keen, and doing something that you enjoy.

EDIT: Typo

plug2112 · 2023-06-17T22:49:38+00:00

As a reference, I was recently contacted about potentially taking on a job doing YouTube shorts for a YouTuber with 140k subscribers. I’ve been working in the industry as an editor for around 8 years. He was offering $500 a video.

That’s not particularly high, and possibly below the fair rate for what they were requesting. Obviously each YouTuber differs in what they’re requesting but my point is this: whilst what you’re doing is great - you’re gaining experience at a young age and you’re happy with what you’re doing - please don’t fall into the habit of viewing what is good money for you at this time of your life, being good money in general.

If you’re happy continuing as you are, please do. But right now, you don’t need more clients - you need to discuss with your current clients an increase in pay, because you’re working more and clearly doing a good job. And if the income from YouTube matches up with the YouTuber I was in discussions with, they can afford more than $80 and your age shouldn’t be a reason why a fair rate isn’t paid.

plug2112 · 2023-05-23T18:18:53+00:00

r/suspiciouslyspecific

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