Career information on film editing

The following is in reply to requests for information, which might be helpful to persons who are contemplating a career as a film editor in either motion pictures or television. AMERICAN CINEMA EDITORS is an honorary society of film editors, apart from union and management, and can offer only limited advice on furthering a career. Additionally, we can not be of assistance in obtaining positions for either professional editors or apprentices, nor do we have access to any workshops or other programs. Our members have all met specific standards of qualification both in years served as an accredited editor as well as in personal capability. Membership is by invitation only. The following suggestions may be of some assistance in becoming associated with the motion picture and/or television industries.

1. All major motion picture studios, at least in the local California area, are bound by union contracts in film editing which presents a difficulty in getting started. As an introduction, consideration might be given to submitting to post-production managers and editorial heads a resume of education and experience, and indicating a desire to enter a career of film editing. In addition, the resume might be sent to independent and commercial producers, and independent editorial services in the field. Major production studios do hire apprentices; however, all usually have lists of personnel waiting to get into the editorial departments. These are mailroom personnel and other crafts already employed by the studios. In other words, submit a resume and application in as many places as possible. It is not an easy industry to penetrate, so persistence must be the key word. As a primary requisite for job information, it would be wise to consult with independent production companies, commercial houses, television stations, the local union, etc., to determine contract obligations.

2. For persons who have not received a formal education in cinema, a listing of colleges with film courses is contained in "The American Film Institute's Guide to College Courses in Film and Television." Also, for more general information, A.F,I. has "Fact file 2 - Careers in Film and Television," and a resource listing of organizations, publications and services in the motion picture industry. For further information on these reference materials, contact: Information Services, The American Film institute, John F. Kennedy Center, Washington, D.G., 20566. Also, there are several books available, which are concerned with making films. Of these, some may have a greater emphasis on editing, such as:

• Making Movies from Script to Screen
  Lee R. Bobker
  
• Special Effects in Motion Pictures
  Frank T. Clark
  
• The Film editing Room Handbook
  Normal Hollyn
  
• The Focal Encyclopedia of Film & TV Techniques
  Hastings House
  
• The Language of the Cutting Room
  Bernard Balmuth A.C.E.
  
• The Technique of Editing 16mm Films, Revised
  John Burder
  
• The Technique of Film Editing (Enlarged Edition)
  Karel Reisz and Gavin Millar
  
• The Technique of the Film Gutting Room (Revised)
  Ernest Walter
  
• When the Shooting Stops... The Cutting Begins
  Ralph Rosenblum and Robert Karen

3. ACE offers a film entitled "Film Editing: Interpretation and Values" to film schools, colleges and universities. This twenty-eight minute film is currently available in 1/2" VHS through American Cinema Editors.

4. ACE has a Visiting Editor Program, which provides a professional editor to lecture on a wide variety of post-production topics, including the current state-of-the-art electronic editing devices. For information, contact American Cinema Editors.

5. ACE sponsors a once-yearly internship program. Two people are selected in January for a three- week intensive program in February. The cut-off for applications is November 1. For information, contact American Cinema Editors.

What does a film editor do?

The following is cited as a more frequent series of activities. However, there may well be exceptions. When the script is first obtained, usually the producer and director agree on a specific interpretation. The film is then shot and when the dailies (sometimes called rushes) are processed, the editor begins his/her job. Ideally, the editor has previously consulted with both the producer and director so that all three persons are aware of the concept, which is desired. The editor then assembles the dailies into a continuity of story as envisioned in the beginning, creating drama and pacing suitable to the type of picture involved. The editor works sequence by sequence, eventually putting the sequences together for the final product. He/she then determines the specific audio and visual effects and music necessary to complete the film. Working closely with persons in each of these departments as well as optical and/or special effects houses, he/she finalizes the film for viewing and approval by the director or producer. This brief information summary is in no way meant to be considered a comprehensive report on either the schedule for job opportunities in the motion picture/television fields or the overall job requirements of a film editor. Instead, it is merely a summary which ace hopes will be of some assistance to those persons requesting information.