The Editor, working closely with the Director, responds to the “jigsaw” of images shot. However, unlike a jigsaw, where there is only one possible outcome, the film images have the potential to be put together in many ways to create pace, rhythm, mood – an apparently seamless ambience - thus manipulating the film to direct the audience.
The craft of editing is very much subject to personal interpretation; it is also a collaboration with a number of people: the Director, the Writer; the Sound Editor; the Composer and others. Like all the film crafts, the work is never the same twice; there is always something new to discover within the raw original material presented for the editor’s consideration.
Members of the Editing Department include:
The editor is responsible for the ‘artistic’ assembly of the film, working with the director to construct the story in a way the audience can follow and that makes them believe it is happening there and then.
If there is more than one editor on a production – such as a television series - the Supervising Editor accepts overall responsibility for editorial control.
On larger feature films, this person assembles the film in its first ‘rough cut’ form to present to the editor; this work needs to be done with extreme care and is a way of learning the art of film editing.
The Assistant Editor is responsible for the organization and smooth running of the cutting room, electronically and physically.
A Sound Editor creates the sound track by cutting and synchronising to the picture sound elements, such as production wild tracks, dialogue tracks, library material and Foley and presents these to the Re-recording mixer for final sound balance.
A Dialogue Editor assesses original production sound tracks for the clearest reading of dialogue and corrects imperfections. Assesses which dialogue and effects lines must be replaced, arranges the ADR (Automatic Dialogue Replacement) sessions, may direct the artistes if the Director is not available, and fits the resulting sound tracks to ensure perfect sync with the picture.
The Foley Editor assesses the amount of sound synchronisation required after shooting. Prepares the picture for the Foley session, directs the footsteps artistes and fits the resulting sound tracks in sync with the picture; also facilitates the production of a Music and Effects track for international versions
This person is responsible for the music content of the film, liaising with the composer, director and editor. If the film has visual musical content the music editor is responsible for pre-recorded playback material on the shooting floor and synchronisation.
The following Editors are available to provide CineMasters classes. For a list of credits, courtesy of IMDb, please click on the link.
This will create a link to IMDb. The Cine Guilds is not responsible for the content of external links
|Derek Bain||Midsomer Murders; Bouquet of Barbed Wire||IMDb Credits|
|Reva Childs||China Dolls, My Mother India, Metamorphosis||IMDb Credits|
|Jim Clark||War of the Buttons, The Innocents, Vera Drake||IMDb Credits|
|Michael Connell||Hotel Rwanda, Heat, Interview with a Vampire||IMDb Credits|
|John Grover||Forest of the Gods; For Your Eyes Only||IMDb Credits|
|Michael Johns||A Feast at Midnight; Framed||IMDb Credits|
|Eddy Joseph||Casino Royale (2006); Batman||IMDb Credits|
|Andy Kemp||Hell's Pavement, Balderdash and Piffle, Child Slavery with Rageh Omaar||IMDb Credits|
|Dave King||To Play the King; New Tricks*||IMDb Credits|
|Howard Lanning||Harbour Lights; The BFG||IMDb Credits|
|Mike Mulliner||Peak Practice, Holby City, Doctors||IMDb Credits|
|Brian Sinclair||A Countess from Hong Kong; A Clockwork Orange(asst); Ryan's Daughter (asst)||IMDb Credits|
|Graham Walker||Shoestring, Doctor Who (2005), Lewis||IMDb Credits|
|Martin Walsh||The Wolves of Willoughby Chase, Mansfield Park (1999), Chicago||IMDb Credits|
*some episodes only
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