Graduating in 2021, Florent Gayet is now an Editor and Data Manager.
Cinema is the school of resourcefulness. These words from my image teacher, Joseph Barbereau, always guide me, whether in post-production or on location.”
You graduated last year in Lyon! Can you tell us which specialisation you chose and why?
I’ve had a passion for images ever since I was very young. It started with drawing, then I naturally turned to photography, particularly wildlife photography. When I started at CinéCréatis, it was almost a foregone conclusion that I wanted to be a cinematographer… The problem was, I didn’t expect to fall in love with editing in my first year. In my second year I decided to go into post-production, for a number of reasons. When you get involved in 3D animation, motion design, special effects and editing, the range of possibilities is limited only by your imagination. The main reason I chose editing was that it’s the final stage in the writing of a film: that magical moment when the rushes come together, intertwine and become one whole!
What job do you do today and what are your responsibilities?
My end-of-studies placement as a post-production assistant at ‘Soldats’ ended in February 2022. From then on, I started getting hired as an assistant editor or editor, under the intermittent system, mainly in the world of advertising. I’ve also worked on documentaries and short fiction films.
The assignments vary depending on the position and the project. As an assistant, I do a lot of project preparation for the editor, including managing rushes and data, synchronisation, de-rushing, conforming and exporting.
As an editor, I’m more in touch with the directors, clients and/or agencies I work with, and my job is to build the film with them. Depending on the project, my work will have a more or less artistic dimension, and I can be more or less proactive.
Sometimes I’m also hired as a Data Manager, where I’m responsible for managing the flow of data on set, and therefore for backing up rushes on a multitude of hard drives. It’s a highly responsible job, but it’s also a pleasure to be back on set.
Which project has particularly impressed you?
Every project is special in its own way. After my internship, I got to work on make-up tutorials for Dior, which were intended to be used in training courses. It was a very interesting project where I was able to do two jobs in one: first I was data manager on the shoot, and then editor/truquist.
As data manager, it was a very big project, to say the least, because in one week we collected no less than 15 TB of data, which is a colossal amount for such a short shoot. Then, when it came to editing, we had a very complex workflow involving several different software packages, with small steps requiring half an hour’s work. Fortunately I wasn’t alone on this project, with no less than 30 films of around 2 minutes to deliver… It was sporty, but rewarding!
I’d like to make special mention of the live shows produced by Brut et Soldats, on which I was data manager, and which gave me the chance to see a number of artists up close, including Angèle and Lujipeka.
Did your first steps in the professional world correspond to your expectations?
The first steps in the professional world are, I think, always a bit difficult. It’s sometimes complicated to assert your rights as a young worker, but that’s something that happens in every field too.
More than expectations, I was mainly uncertain, because it’s hard to get started when you don’t have a network. Fortunately for me, Soldats got back to me quickly, and I was subsequently able to work with other production companies. I also sometimes work on a few short films between two projects, as was the case with my former trainee master, whom I was able to assist on a film called ‘Cavale’.
If you had to sum up what you remember from your 3 years at CinéCréatis and what you find mostuseful today :
It’s difficult to sum up these three intense years… I’ll stick to the three qualities required by the course: being rigorous, curious and versatile.
Knowing how to keep an editing project organised and having the curiosity to try and explore new things are essential qualities for an editor, which were passed on to me by my editing teacher, Arnaud Tourangin.
Finally, cinema is the school of resourcefulness. These words from my image teacher, Joseph Barbereau, always guide me, whether in post-production or on location.
A few words for current and future CinéCréatis students?
First of all, keep your objectives in sight. They can change along the way, as was the case for me. A great ambition is always a source of motivation.
Secondly, try things out and be proactive. It’s thanks to this that I ended up with a screenplay selected and a job directing my graduation film. That will serve you well in the professional world.
Finally, stay humble. It’s something that brings a lot to the table, both humanly and professionally. It keeps you open-minded.
