![]() These are all valuable pieces of information that can help you craft a corresponding job description and ensure your potential candidates would be a fit at your organization – both culturally and professionally. Which areas of expertise do they lack that your candidate can provide?.What do they enjoy most about the company?.What are your current employees' career goals?.Use the information you find to make potent promises that your target candidate wants to hear and, more importantly, you know you can keep.Īre you hiring for a role in content marketing? Consider aspects of your existing marketing team that you want to see reflected in your new hire. ( Download these buyer persona templates to get started.) What are their professional goals and values? What makes them happy? ExampleĬreate a target candidate persona or a composite of your ideal employee. ![]() ![]() When writing your job ad, tap into those emotions by learning everything you can about your target candidate (i.e., the person you want to be interviewing). Pressing the "Apply Now" button is an emotionally charged decision. Many studies show that people buy on emotion first, and then rationalize their purchases using logic.Īpplying for a job, in that sense, is a lot like making a purchase. Use strong verbs to describe the job's responsibilities.Keep the job's requirements clear and realistic.The only times I've data wrangled since were student films I was being paid to edit and I wanted to make sure I actually had all the footage the way I wanted it. I ate lunch with the grips because the only member of camera who would really talk to me was the DIT guy who eventually realized they weren't willing to pay for a true DIT and it wasn't my fault. I was only making $300/day with kit rental.) The DP, and therefore the entire camera department, was completely disrespectful and talked shit about me for the entire shoot. (I guarantee the producers wouldn't have paid anything close to his rate. I haven't done it since because the camera crew had a true DIT working video village and they were all pissed that he hadn't been hired for it. It was my first data wrangling gig in town. I had just moved here and was trying to make connections. I am now gun shy of this because I got hired this way on a low budget feature and apparently no one told the LA DP that they didn't hire (and frankly didn't want to pay) a real DIT. Look at the new frame.io approach too.īeyond that it’s really just keeping all your drivers up to date and a wide selection of peripheral card readers (and spares) a UPS and charge points for phones etc on your desk.Īs you evolve upawards you’ll no doubt add a grading panel and scopes and broadcast monitor but buy those off the back of productions. Ideally you want it automated so as you transcode they just trickle up all day. O/dailies will automatically send to their platform but silverstack will do arri webgate and others. If you can take care of that as well people will love you. Lastly familiarise yourself with the various cloud based dailies platforms. Any clones of disks or folders you make you want them verified so no more copying using the finder. I also am a huge fan of parashoot - it makes you point at a copy of the media before you can reformat the camera cards.īeyond that get yourself a copy of carbon copy cloner. the developers a really nice guy too which is always a bonus. I also used o/dailies with it which gives you nice progress bars and a searchable shot list on your phone for free. It’s not unusual to get a phone call saying ‘hey we’re shooting plates for ep4 sc203 what lens did we use on the wide’ click type scene number and tell them :) One overlooked aspect is as it grabs all the metadata from the camera files and you sync the shot info you become more integrated into production. Worth noting here that there’s a lot of work going into ai slate reading to save that effort but a lot of times you can just grab the slate info from the audio files once you sync them:) To make life easy in avid you can also kick out an aaf which lets the editor load all the rushes really fast and a ale file which will let the editor import all the metadata - it doesn’t take long to just type in the slate info for each clip and it makes you look really good to production. As you get faster on set it’s trivial to start syncing rushes, adding a lut or quick grade with the dop, then transcoding for edit. I wouldn’t media wrangle or dit without it - plus you can grow into it. It just makes life easy, creates the folders, multiple copies, media hashing, production reports, cloud access and so on.
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