I was hired to shoot and edit a series of educational videos. Post-production had become a bit of a nightmare: endless revisions, unclear responsibilities, and constantly changing scope. I was growing weary of the project.
Eventually, another production company was brought in and agreed to take over the remaining editing.
There was one technical complication: I had edited the project in Avid Media Composer. Their editor used Premiere and didn’t know Avid.
I agreed to convert the project for them. Anyone who has moved a complicated long-form project between NLEs knows this isn’t necessarily a simple export-and-open operation. The picture transferred reasonably well, but the audio didn’t translate properly.
I tried several workflows. I even brought in another experienced Avid editor to help troubleshoot it.
As the conversion dragged on, I suggested the obvious Plan B:
Me: “Can you find someone who can continue the project in Avid? That would bypass the conversion entirely and let them work directly from the existing project and media you already have.”
They didn’t.
Eventually, I found another conversion method that worked on my system. I sent their editor a test Premiere project. All I needed her to do was open it, check whether the media linked correctly, and compare the timeline against my screener. If it worked on her system, I’d finally cracked the conversion.
She refused to test it and said she no longer wanted to pursue the conversion.
After some additional unpleasantness, I’d had enough and withdrew from the project.
A few days later, an editor I know received an email from the production company.
They had a project originally edited in Avid and were looking for an Avid editor.
The person they contacted?
The same Avid editor I’d brought in months earlier to help troubleshoot their conversion.
Apparently, nobody recognized his name.