My past articles on edit suite and facility design have focused on equipment and construction tips. For my last post of 2012, I’ll take a look at some layouts that might play into designing your next editing man (or woman) cave. In the linear days, suites used to follow the “bridge of the Enterprise” philosophy, with lots of lights, buttons, knobs, scopes and screens. Newer bays, centered around the nonlinear software world, are more homey and technologically minimalist. Here are six designs that might offer some inspiration.
These floor plans and renderings were generated in Autodesk Homestyler, a free, web-based, interior design application. You’ll have to excuse the fact that Homestyler is limited to generic sprites for furnishings, so I’ve used office desks for consoles and laptops for the editor’s station. Nevertheless, I think you’ll get the idea without too much imagining. (Click on the images for an expanded view.)
Edit Suite Design 1
In most of my sessions, it’s a rarity for the client to supervise the entire process. When they do show up, it’s to review and offer notes, but typically no more than an hour or two at a time. This layout is based on placing the editor at the front of the room, with clients in a comfortable, living room-style seating area towards the back. All are viewing the same centered screen on the front wall. There’s a work space to the side for printers, coffee service and writing.
Edit Suite Design 2
The second room is similar to the first, except that here, a producer’s desk replaces the sofa. This layout works in a smaller space, but is designed for projects where the client/producer is an active part of the editing session. So, the desk, rather than a sofa, is more appropriate.
Edit Suite Design 3
One alternative approach is to move the client seating area into the front of the room with the editor behind them. All face forward towards the same central screen. This layout works best when the editor’s station is elevated or the seating area is lower in a pit-like portion of the room. (I couldn’t figure out how to show that in the software.) I first saw this idea at Videotape Associates (Atlanta) years ago and the idea stuck. You could further theme the room with such touches as a fireplace and other living room accessories.
This layout works well for facilities that do a lot of ad agency work. The clients are there for the whole session, but not actively involved in everything the editor is doing. They have their own space and then can focus on a cut when the editor is ready for them to do so.
Edit Suite Design 4
This is similar to Design 3, except that the client seating is central, with the editor turned 90-degree to the side of the room. I’ve seen this layout a few times in film editing environments. The seating area functions as a mini-screening room for the director. Of course, the editor has to turn to view the screen. Most of the time during actual editing, the editor is watching the desktop monitors anyway, so this really isn’t much of a problem.
Edit Suite Design 5
This room combines space for an actively involved producer with additional client seating in the rear. All face forward, but the editor and producer work side-by-side on an angled console. This provides working space for the producer without encroaching into the editor’s space. By angling the console, you also encourage more face-to-face communication. There’s no need for the editor to constantly turn around to get input nor for the producer to have to watch the back of someone’s head.
In addition, I’ve designed the floor plan with non-parallel walls. This adds a design touch, as well as provides for a better audio monitoring environment.
Edit Suite Design 6
The last variation is an idea originally popularized by Optimus (Chicago). Back in the linear edit days, their suites featured consoles where the editor and producer sat on opposite sides for direct, face-to-face communication. Each had their own set of monitors, so it was possible for the producer to see what an editor might be referring to.
This floor plan is a take-off on that idea, with a larger seating area in the back. The screen is at the front – in the line-of-sight for the seated clients – but at 90-degrees for the editor and producer.
©2012 Oliver Peters