The film editor is not just like any other editors you know working on newspapers, radio stations and TV news desks, or other press.
The work of an editor during the movie production is quite different from any other editing work of other editors in the media. Even the editing tools are different.
However, it is somewhat like the work you see on the montage and execution of the schemes of papers during the negative slide and the prover of the pages with the sized places for images.
This is of course after the press has developed from the traditional queuing and assembling of letters and the cut and paste process of columns. Now everything is computerized.
So, such development helps the film editor too.
I said the work of the film editor is different from the work of newspapers editors, because the work of the movie editor is based primarily on the cine technical work.
The movie editor catalogues and assembles the produced takes after shooting and then continues to work with the film director to cut the footage together in a creative way.
Some people confuse the film editor with the screenwriter, though. That is because of the word "editor". The two jobs are too different, as the screenwriter prepares the story, or the play and write it to be shot as a movie.
That is part of the "editing" as connected to "writing". So, his or her work is screenwriting. The editor of the film does not do that.
Every film needs a film editor to work during the film production on a vast job. His or her job becomes vast, when each shot exists of several takes and the master shot contains much footage and shooting of the film runs out of continuity.
It often happens that, the film producer and the film director hire more than one movie editor to work on this job, because the film editing requires more editors, such as the assistant film editor and the sound editor.
That is because the film editor is concerned only of cataloguing and assembling "takes", so he or she should have an assistant film editor to synchronize sound and images and sort the takes by scenes. This happens when the technical crew process the footage (dailies, or rushes) and the movie editor receives it from the laboratory.
Then the editor of the film works with the film director to examine the footage and she or he should tell the director how the footage looks. The film editor checks the dailies to see whether there is any problem with the framing, focus, exposure and visual matters, or not.
When the footage is accumulated, the editor assembles it into a rough cut, which includes the shots that have strung in sequence and tends to be long.
These shots have not music and sound effects. Then the movie editor continues working with the director to make the fine or final cut. The editor arranges the shoots physically this way.
After this process, the unused shots would make outtakes. It is often that when the film editor works on the final cuts that a second unit works on shooting inserts to fill in the footage. The titles and more lab-works on special effects will be done at this step.
For commercial distribution to commercial films, the movies should be edited electronically using the dailies on videotapes and transferring them into computers. The movie editor uses notes on the takes and enters them into the computer database.
This kind of electronic editing, which is known as "nonlinear" is used to ease random access to the entire footage. Film editors use it to bring any shot they want and paste it alongside any other shot, junk it, or trim it.
At this step, the movie editor gets a print of the key scenes to check the color, other details and pacing.
The film sound editor builds and manages the sound track inside the footage, when the shots are arranged in their final forms. He or she works with the picture editor, the director and the composer at the spotting process and then gets a view of the movie and spots where the music and the effects should be placed.
Sometimes, the film sound editor has a staff to work on mixing dialogue, sound effects and music. He or she works during the dubbing or looping process to record actors inside the studio while they are speaking their lines.
Then she or he adds the babble lines of the crowd (walla), if any, to the accumulated dialogue replacement produced in the postproduction phase. The accumulated dialogue replacement is a process in this phase.
The film sound editor builds relies on the computer technology, just as the film picture editor. This is because much of the technical works requires this technology, as the quality of sounds could be modified digitally and other effects are easier to be produced.
The film editor stores recorded sounds on the database, then arranges this data and classifies it any way she or he wants.
The composer of the film works during the spotting of the sound track in the assembly phase to compile cue sheets to list where the music should be placed and how long it should run. She or he writes the score, but not probably orchestrate it.
The rough cut will be then synchronized with a "temp dub" which is prepared from recorded songs, or music. The musicians record the score using a "click track" and the metronome beats synchronize with the final cut.
The records of music, dialogue and effects are in different magnetic tapes and each sound recorded is on a track. The film editor works with the director and the sound editor to prepare and assemble many tracks together in a single master track.
The mixing process starts by putting the dialogue track and organize it first, then balancing the sound effects into that and finally adding the music. All this process involves adjustment, filtering and equalization of the track. The master track transfers onto sound recording film.
This one encodes the magnetic sound, whether it is optical or digital information on the film.
Most of the movie production until the 1904 didn't include film editing because many films have been shot only once for each film. The film produced after that date include between 1000 to 3000 shots or more.
So, the film editing was taken as a doable technique the film editor must do to coordinate a shot with the second, the second with the third and so forth to organize the movie and the effects it has on the audience, so as to make the watching experiences of the audience better and get into their minds and feelings.
During this process the film editor excludes many unwanted footages and cuts frames and then takes the wanted shots to connect the end of every shot to the beginning of the next shot through the cuts he or she makes.
While much of the editing in old films was carried on cameras, now most of the new films editing after shooting is a norm, according to David Bordwell and Kristin Thompson:
"Today much editing is done by means of video transfers stored on discs or a hard drive, so that the cuts or edits in video terminology can be made without touching film. Nevertheless, the final version of the film is prepared for printing by cutting and splicing the negative footage."
The film editing has four dimensions, which vary between a shot and the next shot as the given resource outlined in graphical relations, rhythmic relations, spatial relations and temporal relations.
I hope you have enjoyed the movie techniques, the film form and analyzing a film technique on this page and the other linked pages. Learn more about this, the continuity editing and its alternatives and the discontinuity editing from the included resource.
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