Evan Batten’s Post

When I worked at a music TV channel, one of my responsibilities was editing weekly concerts filmed with five or more cameras. It was during this time that I developed a love for multi-camera editing due to its dynamic nature and variety of shots. Although editing interviews doesn’t have the same level of dynamism, the technical aspect of switching between shots is similar. The skills I acquired while working in television now allow me to focus on the content and take on the role of both video editor and text editor. #multicamediting #podasct #interview #videoeditor #Youtube

🎬 It’s Not What’s Happened to You, It’s What You Do Next! ✨ Working in post production in the TV industry can sometimes feel like navigating a maze of unforeseen challenges. If you’ve been in this fast-paced world—whether as an editor, sound mixer, or post-production supervisor—you’ve likely faced moments that would make anyone raise an eyebrow. Lost footage? Check. Last-minute changes? Absolutely! A client who thinks “next Friday” means “yesterday”? You bet! 😅 But here’s the thing: it’s not about what happens to you; it’s about how you respond. In our world, setbacks are just plot twists waiting for a clever resolution. Every hiccup is a chance to think creatively! Lost that sound file? Time to get inventive with re-recording dialogue that adds even more depth. Struggling with pacing? Experiment with different narrative structures! Post production teaches us resilience and adaptability. Each challenge we face not only sharpens our skills but fuels our passion for storytelling. We are warriors of creativity, armed with deadlines and guided by a commitment to excellence. So, the next time you’re staring down a daunting task, remember: “It’s not what’s happened to you, it’s what you do next.” Let’s embrace the growth that comes from tackling challenges head-on. The chaos of our industry can lead to extraordinary outcomes if we approach it with humor, hope, and a willingness to innovate. What challenges have you faced this week, and how did you rise above them? Let’s share our stories and inspire one another! 💪 #PostProduction #Creativity #Resilience #GrowthMindset #TVIndustry #Inspiration

I was chatting with someone yesterday about how strange 'Audio Producer' is as a job title, in that it can mean massively different things depending on who you ask. That got me thinking about what a nightmare it must be for non-audio folks looking to hire a producer for their project... SO, here's a guide to the various tasks involved in the audio production process, and which skills your producer will need to take care of them. There are also tips on how to interview a beluga whale, samples of music I've written, and ever more Oscar the Grouch content. https://lnkd.in/eNa6XZdE

🎥 Avid Media Composer is an essential tool for anyone looking to make their mark in TV post-production, whether you're an Editor or Edit Assistant. Its advanced editing features and media management capabilities make it the industry standard for high-end productions. But beyond technical skills, having transferable skills like storytelling and understanding narrative structure is key. Knowing how to craft a compelling story, even in an edit, is what sets great editors apart. These skills allow you to shape content in a way that engages audiences, making your work stand out. Join The Disucssion: What transferable skills do you think are important in post-production TV space? Share your thoughts in the comments below! 👇 #AvidMediaComposer #PostProduction #EditAssistant #VideoProduction #TVIndustry #ContentCreation

‘What does a producer actually do?’ I often get asked this question. And it’s fair enough- it might seem a little mysterious to those not in TV. In a nutshell, I come up with ideas, I make them happen by leading my teams with care, and by collaborating with my incredible network. And, after a happy time at Woodcut, I’m becoming available and would appreciate my friendly LinkedIn-ers sharing this post. So, what can I do for you? I’ve got excellent relationships with commissioners, brands, agents, talent and distributors. I’m experienced in pitching, in developing fresh formats, and of course in producing, as I’ve done with many shows from Fiennes: Return To The Wild for National Geographic, to Strictly: It Takes Two for BBC2. I’ve also produced short-form content including a film for the charity Kick It Out. I’m interested in doing more work in the digital space, including audio. Broadcasters know me either through working directly with me, or from my campaigning work for freelancers. My values are important to me. I have great relationships with on-screen talent who often come to me directly with ideas. I’ve worked with everyone from Chris Packham to Maradona, King Charles to Claudia Winkleman, Alison Hammond to Joe Lycett. If your company is not in TV, I can help you with: 🎭Developing and producing compelling content - what are the stories you want your organisation to be telling? 🤝Working collaboratively with multiple stakeholders with conflicting interests 🤩Producing celebrities, experts, politicians and royalty with diplomacy and warmth 🛜Understanding your audience’s needs and pitching ideas to your network 🧑🧑🧒🧒Broadening your network and building your relationships 📈Thinking strategically about business growth  👏🏻Leading teams and multiple projects under pressure with care and consideration. My big passions are comedy, music and cinema and you’ll always find me at a comedy show, or watching live music. Or in my local park, enjoying this spectacular season. Let me know in the comments if you’d like to see my CV, have a cup of tea, or a zoom? Please share this post. I’m off to enjoy the glowing colours in the park. I love the quiet shift of autumn, it has that warm hint of new beginnings 🍂🍁

Plot thickens: Why production houses are thinking differently. The focus is now on compelling storytelling, innovation & adaptation without second-guessing what viewers want, say production heads. ✍Aditi Gupta #pitch #productionhouse #entertainment #viewers #writers #directors

❓What does it look like for a video editor to be a great STORYTELLER? I've been writing these daily posts for over a week now about what it looks like for an editor to be great at various aspects of the job. I've saved storytelling for last this week because I think it's a pretty obvious topic. Some people may say that editors are just "button pushers." But those people are embarrassing themselves. 😬 ⭐ Here are a few things editors should know in order to be a great storyteller: ▶ Understanding arcs 🔎 What happened before this moment and what comes next? These are not just questions for the showrunner to ask. Having a clear handle on the story we're all trying to tell is essential. A good editor understands the scene arc. But a GREAT editor has a handle on the episode arc, the act arcs, the scene arc, the character arcs, and hopefully a general idea of the season arc. ▶ What are the stakes? ⚡ Stories without stakes are boring. Adding tension and conflict that makes sense (and doesn't feel fake or forced) and ultimately resolving it, is the key to a great story. ▶ Excellent pacing 🏃♀️ Great stories have ups and downs, fast moments and slow moments. Knowing when, where and how to pace the story can make or break moments like landing a joke, selling an idea, or living in the inner turmoil of a character. Pacing is a key tool in an editor's toolbox. 🔧 ▶ Being a creative collaborator ✂ The main goal of the television editor is to help the vision of the showrunner and EP's come alive! But that doesn't mean we don't have creative cups to fill. We can and should make creative story choices in the edit that align with the showrunner's vision. Being a creative collaborator with your producers prevents burnout and allows an editor to feel like they're a valued member of the team. 🙋♀️ One of my favorite personal examples of this was when I was supposed to cut this serious scene for a show. As I watched the string out, I thought the reactions of one of the characters was HILARIOUS. I thought to myself... I wonder how this scene would be as a FUNNY scene? So I gave it a try! The Supervising Story Producer laughed so hard watching it down and couldn't believe I was able to squeeze comedy out of the content. We ended up sending it to the network and they essentially said, "I want all the scenes to be more like that." The lesson I learned was to give things a try and let my creativity soar, and usually it pays off. 🤩 👋 Are you looking for a creative collaborator who understands how to effectively tell a story? Fantastic, then click on my website below, watch my reel, and connect with me on Linkedin! I'd love to share what I can bring to the table on your next project. ⬇

My experience landing commercial voiceover jobs on TV and radio advertising: Listen to what's selling on the radio. Boisterous vs. quiet, loud vs. serene, fast vs. slow....etc Tone and style appear to run in cycles. Record a commercial demo which highlights commercials you’ve mastered — Place the demos on your website for sampling Find voiceover auditions by networking or online sites. Practice by auditioning. When you have an audition, read the specifications. What does the client say they want to hear? Do several reads of the audition copy, maybe using the app Voice Demo. What’s the overall feel? Analyze where you want to emphasize or deemphasize something. Finally, actually record the audition EXACTLY as specified If possible, find out who won the audition and compare the winner to your read. PRACTICE, practice, PRACTICE !!!! Record, compare, re-do, compare, ask for constructive criticism from peers.

Small TV companies probably need to read this! ❤️ In light of all the uncertainty in TV at the moment, it's more crucial than ever to have in-house SENIOR production support in your company and across your productions. We speak to creatives all the time who have got lucky with commissions, but have been taking on EVERY role on the production (to try and save money) and are at burn out stage... Budgets end up being overspent, because the production is not being properly managed from a finance perspective and as a result freelancers will HATE working there because there is no systems in place, no one managing anyone and things just constantly go wrong... Freelancers deserve a lovely place to work! And remember, reputation is everything. At Nest, we wrap ourselves around you like a little blanket, give you a dedicated senior production team and are across all things production related including all the finance, legal and business affairs and just generally being LOVELY so that everyone returns again and again. To put it simply, Nest is an infrastructure company and now commissioners from broadcasters are pairing us up with small indies so that everything runs smoothly. This saves a traditional co-production approach as we don't take any IP, but still give you the support you need. Easy! *Nest has supported over 200 production companies since it's inception in 2020. 🎬💫 #TVProduction #ProductionSupport #Blanket

😂🤣🤣☠️ One thing you learn once you become A REAL EDITOR 🦸♀️🦸♂️ is that it's way more difficult to pick up somebody's 🤬 up edit than it is to start from scratch. The scrub did things you never would have done, so not only do you have to learn all the footage, you have to UNDO whatever he or she did to dig you into the hole you're trying to fill. Also, you have to know how long it might take you to go through this process. A month might not be long enough. You should either accept the job and tell the client it will be done when it's done and this is how much they're going to have to pay for you to focus on their project, or tell them they are on their own and you can't do a professional job for them within that deadline. As far as what the Poster is talking about, editing a documentary within a month is no big deal 🥱 because it's probably only 90 minutes long and I used to edit hour-long (44:30 plus commercials) television shows in 8 hours. 🦸♂️ So there's no reason it should take you 30 days to edit a documentary unless you have a day job. 👷♂️ #Business #VideoEditing #FirstWorldProblems