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Check out this article in the print edition of StudentFilmmakers Magazine, June 2006. Click here to get a copy and to subscribe >>

The Essence of Editing
Much More Than Technical Aspects of a Program

by Paul Ewen

What does editing really mean? What does it mean to edit? Is it something that stems from within, or is it just pushing buttons and learning a program? I say it is a bit of both. What you really need to have is that observant part of your brain firing on all synapses. To be a good editor you need to be aware of all images around you. You need to watch movies and television, see art, watch people, listen to conversations, enjoy music and live life.

So, what do I mean by the essence of editing? Well, as I see it, to be a good editor, there are several important skills you must master. First of all, you must be proficient in whatever system you are using. You can never work with anyone if you are constantly looking things up or asking for help. A client needs to know that when they hire you, that they are getting an expert. Sure, there will always be things that stump you, but make sure you talk a good game and look things up when you have some downtime.

Secondly, it is equally important that you have a sense of what looks good. You have to be able to immerse yourself in a project. You have to bring all of your creativity and experimentation into every project that you come across. All those hours of watching movies, television and life pay off now. Be confident in your sense of style, which has been created from all your hours of living life. If you can bring a well-rounded creativity to the table, then your work will shine and your clients will be happy. When you work in a client-based situation, keeping them happy is so important.

A long time ago, my grandfather, who was a book salesman in his working life, told me his secret for creating good relationships with clients. He said the first thing you should do is ask them how they got started in the business. Showing an interest in your client helps build a sense of trust. I have always tried to do that with clients. It is never fake. It comes from a genuine interest. And sometimes, you develop real friendships, which is a nice benefit as well. In the edit room, this conversation can often lead to minitherapy sessions, so listen and do not judge. In doing this, you are showing a person that you can not only listen to them about their lives, but also hear them when it comes to discussing work.

If you work in a client-based environment, remember that the client is always right�most of the time. If they do not like something you are doing, then move on and give them something they do like. Still do it with your flair, but do not argue them silly. If you argue too much, you will lose their confidence and their business. Obviously, if their request is completely outrageous, explain to them why it doesn�t work creatively. Remember, you are the editing expert. They will listen to you if you explain yourself clearly and precisely.

When I first started cutting, I tended to get very emotionally attached to my work. I see that reaction in young editors a lot. Emotion is fine, but not when it gets in the way of work. Of course it can be tough when you have spent hours on a specific part of a cut and it gets shot down. Just take a deep breath and move on. It can be a hard thing to do, but it is necessary to keep the workflow going.

As you digitize materials, make sure you take a look at them. Make mental or physical notes about good shots and takes. On the AVID and Final Cut you can put locators down as something is being brought in. Locators are as important as any part of the cutting process. They help you to find things you liked as you were watching footage. They also keep your project well organized, which not only helps you out, but also enables other editors to make sense of your work in case someone else needs to take over.

When I cut, I rely mainly on a few basic tools: mark in/out, goto in/out. Play, stop, split edit, match frame, transition and overwrite/insert edit. If need be, I�ll use keyframeable effects, color correction and audio effects. I like to keep the tools I use down to a bare minimum. This method works best for my style and allows me to create and experiment. Depending on the system you are using, you can set up function keys to reflect these tools. I end up using the mappable function keys constantly. Find out which tools work best for you and go from there. There is no right or wrong way to set up the keyboard. It is personal choice, which is one of the things I love about AVID and Final Cut Pro.

People often ask me how I know when I am done with a cut. It is difficult to put my answer into words. The best way I can describe it is as a feeling in my gut that tells me what looks right and what tells the story best. Unfortunately, there is no mathematical formula that tells you when something is done. You must feel it and know that you have put your all into it. You have to trust your choices, and you�ll know when something is right. Also, if you are hoping a client or viewer doesn�t notice something, then you probably have more work to do.

Editing should be one of the final parts to any production. I hate leaving mistakes for audio engineers to fix. Therefore, giving the audio engineer everything they need to do their job is key. As an editor, you also have to make sure that you are aware of the technical aspects of the video you are laying to tape. Whites, blacks and colors have to be legal. Type must be readable and placed correctly. Learn as much as you can about the technical side of video. These days, anyone can learn an editing program. Knowing how to use it correctly, especially in TV, sets you apart from the amateurs. Always remember that you are not just putting shots together, but you are one of the last bastions of quality control.

But editing is more than just learning the technical aspects of a program. Whether you are cutting film, television programs, promos, commercials, student films, or just home movies, you will benefit from immersing yourself in the media culture around you. This culture will give you a foundation for creativity as well as useful extra knowledge beyond the mere ins-and-outs of an editing program. Make sure you watch old classics as well as new movies. One movie in particular that I recommend to every editor is The Conversation by Francis Ford Coppola. This film is about a sound editor and is cut by the great editor, Walter Murch. His use of sound and image editing is amazing. He leads you down many directions, which for an editor, is simply terrific. Also, Murch�s book, In the Blink of an Eye, is a great read for anyone who cuts.

In conclusion, editing is not just knowing a program, but also being aware of the world around you and bringing your personal flair to the editing process. So go out with friends, discuss politics, see films, go to museums, watch good and bad television, experience life and then experiment on your own. If you work for a living as an editor, make sure you also make your own films or programs. All the extra work you put into the craft of editing will pay off in high-quality finished products. You will not only learn your editing program better, but you will also get used to thinking like an editor. Lastly, remember that you should enjoy the process of editing. It is time-consuming and requires much attention to detail, and as an editor you should relish this process.

In Murch�s book, he says that sometimes the best edit is knowing when not to make an edit. To me, that is the true essence of editing. Getting to that point is hard and will take patience. Trust yourself and your instincts. Gather as much information as you can to enhance your skills, and always remember that editing is not just about cutting, but about shaping the viewer�s experience and your own.

Now get to work!

Paul Ewen is a freelance Creative Editor in New York City. Paul has been a part of three Emmy Award winning broadcasts for Live from Lincoln Center and won a Promax Silver Award for his American Voice Campaign for MTV Promos. He directed and edited, �When the World Runs Fast,� which was accepted into the 2004 Wisconsin Film Festival and will be shown later this year on Wisconsin Public Television.

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Check out this article in the June 2006 print edition of StudentFilmmakers magazine, page 46 .

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