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The Essence of Editing: Much More Than Technical Aspects of a Program
By Staff
posted Oct 10, 2009, 17:40
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.
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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