You're racing against the clock in video post-production. How do you ensure quality doesn't get compromised?

One sureshot way to ensure that you don't discover any last-minute errors is to fix the errors on the trot, fix it when you see it. There are times when one notices the errors, makes a note of them and then comes back to fix them when the final edit is locked. But when you are running against time, perhaps that's not the best strategy. If there's a lot of written text in the video, always makes sense to get another pair of eyes who's good with grammar and language, to check it; because you don't want that spelling error to stick out during the broadcast. Avoiding over-shooting can also ensure there's no unnecessary time lost in post-production just to find that right shot or pondering over which shot to use.

Don't try to be perfect on everything. Focus on the key elements that will make or break the video. Is it the visuals, the sound, or the story? Know what matters most and allocate your time accordingly

When time is less planning is the best To avoid the overwhelming effect of lest time the team or the individual must take some span to plan and strategize how to distribute the tasks. This helps identify which tasks are important, which to delegate, which to schedule, and which to avoid. I recommend using the Eisenhower Matrix, to help you with the planning exercise. It is a task management tool that helps you organize and prioritize tasks by urgency and importance. Again, I highly recommend checking it out!

Try to create an environment in which it's okay to point out when things are wrong. Sometimes, people can be worried of being a burden by speaking up. It's important to stress why these things help rather than hinder

To maintain quality in rushed video post-production: Prioritize essential tasks Master keyboard shortcuts Organize assets efficiently Use presets and templates Render in sections Communicate clearly with team/client Schedule brief quality checks Optimize your workstation Take short, strategic breaks Have a backup plan Focus on critical elements like color correction and major edits. Use efficient file organization and pre-made effects when possible. Keep open communication, render completed sections as you go, and conduct regular quality checks. Optimize your system and take brief breaks to maintain focus and catch errors.

Break down the project into smaller, manageable tasks. Use a timeline or a shot list to stay organized. And don't be afraid to say no to additional requests if it's going to compromise the overall quality.

Rely on the skillset that you have and don't get fancy. We as editors can got down some serious rabbit holes trying to implement a look or style that we are unfamiliar with. We can spend hours on YouTube trying to track down a workflow when most likely going back to your core skills will get the job done faster. You can always add some light leaks and slick transition on the 2nd round of editing, but you need to tell the story first.

Have your bumpers, lower 3rds, transitions, and any other graphic packages completed well in advance so you can focus on getting the story right.

When I'm editing under a tight deadline, I follow a specific process: 1. First, I fill the timeline with the correct shots, focusing on getting the sequence right without worrying about fine-tuning or syncing with the music. 2. Next, I add all the graphics and visual effects elements, again without syncing them just yet. 3. I then select and organize all the music tracks I plan to use in the edit. Once everything is in place on the timeline, I dive into fine-tuning, working continuously without breaks—and I never check the clock. This methodical approach has always been a lifesaver when time is of the essence.

For me, first cut goes in mostly always with final music used. It helps me pace the journey according to the narrative and would know if it works or not in the first cut itself

Effective communication is key for the entire process but it's especially true if you're racing against the clock. I may be on the younger side but what sets me apart from my peers is believing that a person-to-person meeting is still the best form of communication. And THEN following it up with a brief with instructions. That meeting could come in the form of an in-person meeting, a zoom call, and then a phone call. This ensures everyone gets on the same page and any and all questions can be answered right then and there!

The biggest challenge we've come across when dealing with creative talents in our team was to help them stay motivated while aligning with project goals and deliverables. We figured that they are only as motivated as you are, a strong vision of the project, a clear breakdown of what we plan to accomplish and making sure the team is well fed and well rested helps them focus well with the task at hand.

Une chose que j ai trouvé utile est de travailler par étapes précises, ordonnées et sur lesquelles je n'ai pas à revenir sans arrêts. Cependant je ne recherche pas la perfection d un coup, ou contraire. Un peu à la manière d un peintre aquarelliste, je superpose les étapes pour obtenir le résultat final. Cela implique toutefois une intention précise dès l'origine du projet. Cette intention doit être clairement formulée suite au brief. Les sources doivent être identifiées, sélectionnées. Et le plus important, il faut savoir ce que veut comme résultat le client. Il faut se mettre dans la tête du client. C est certainement le plus dur pour un créa, cette empathie créative s acquiert avec le temps et l expérience client.

Get a pair of extra eyes for quality control. Try to explain how each is set to be played out, as its getting played, you will be surprised at how you find mistakes that u missed out on yourself.

Review as you go, fix any errors, delays, anything you see broke resolve it right then and there do not say I'm coming back to that later, fix it. Start right the things you notice that were easy to do first get that out the way because you could use the rest of the time to attack the bigger issues.

I call it the "mom" review. Or the wife review. Find a friend or relative whose opinion you trust to help review your cuts. I can't tell you how many times they found a glitch or a disconnect in the narrative and saved my tail!

I recommend keeping source files on portable HD, in the cloud, and locally on a machine. I know it can be a hassle saving large files to 3 different locations but it's worth it. Build it into your production plan.

I always backup my work by making sure that I duplicate my project file every time I open my project. When I save it, I make sure to date the project file so that I can easily recognize the latest version. I do this in different drive locations just in case the built-in autosave feature in the editing software fails.

For backups I always duplicate the files in my external hard disk, sometimes I backup it on my google drives or simply on a pendrive.

The toughest thing is reviewing with stakeholders. Everyone has an opinion. You have to start with an agreed-upon storyboard and/or script to get a good outcome. We've all seen these things go off the rails and have had to work through the night because someone changed their mind after the final cut. If you have that initial point of reference (storyboard, script, plan) that was agreed to you can leverage that to stay out of the muck.

The sure way to make sure you do not lose the quality of the production is using the script as a reference guide for your edit so you can achieve the need of the production, by so doing you can cut to the chase and get the point of what the production is expected to look like in the end.