Film Editing Room Handbook, 3rd Edition
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The Film Editing Room Handbook, 3rd Edition: The Nuts and Bolts of the Assistant Editor’s Job by Norman Hollyn Includes Working With Lightworks And Avid ISBN 1-58065-006-6 Film/Cinema Editing room procedures have been developed over many years to expedite the editing process. Norman Hollyn’s book is written primarily for those who have an active interest in how a professional cutting room operates. To help those thinking of making it their career, this book is quite detailed. As you read about how to make a cutting room work, you will also get a tour of the filmmaking process itself as seen through the editor’s eyes. "A majority of moviegoers have no idea what a film editor does, so this book will be invaluable to them, as well as to film students and independent filmmakers. Well-written, semi-technical and profusely illustrated, this work covers the editing process from pre-production image and sound, opticals, mixing, and music editing through post-production answer print and previews. Perhaps most important, it tells how to get an editing job." -Library Journal "...a pragmatic and detailed text that fills a definite need." -Backstage Magazine "Norman Hollyn has written a fine book for assistant editors and film students alike called The Film Editing Room Handbook. [Hollyn] adopts a friendly, big brother style to convey a remarkable range of information, including how to look for work and the importance of establishing personal relationships with lab contacts." -Motion Picture and Videotape Editors Guild Newsletter "This informative book provides an in-depth view of the film editor’s cutting room, detailing picture, sound, and music editing. Loaded with helpful advice and anecdotes, the book is a boon to both novice film editors and a reference book for experienced editors." -Concise Book Reviews TABLE OF CONTENTS Acknowledgments Introduction To The Third Edition Introduction Cast Of Characters Editing Within The Filmmaking Process Editing In A Digital World Preliminaries Non-Linear Preliminaries Before The Film Begins Working Digitally Before Shooting Shooting Shooting The Digitally Edited Film Preparing For Editing Preparing For Digital Editing The Editor Edits The Editor Edits Digitally Special Cases Digital Special Cases Cutting Away Digitally Cutting Away Recutting Away Recutting Digitally Opticals Opticals In A Non-Linear World Preparing For Sound Digitally Preparing For Sound Sound Editing Special Sound Considerations On A Digital Picture Dialog And Looping Editing Dialog And Looping On A Digital Picture Music Editing Music On The Digital Film The Mix Mixing On A Digital Picture To The Answer Print-Ho! Answer Printing Digitally Odds And Sods Digital Odds And Sods The Hardest Job Of All - Finding A Job Appendix I Appendix II Appendix III Glossary Bibliography Index INTRODUCTION TO THE THIRD EDITION Eight years ago, in the introduction to the last edition of this book, I wrote: "...it is now possible to see the day when editors and directors will be able to make the choice as to whether they would like to cut on film or video." The reality today, at the begining of the twenty-first century, is that there is almost no choice to be made. Unless budget dictates otherwise, almost all film and television is now cut on digital electronic editing machines (and I now use that term, rather than "video"). Once the digital editing transition hit the industry, the changes happened fast. Sound editing transformed first, quickly followed by television post-production. Now, feature films have moved almost completely over to electronic editing. Almost no part of the editing world has remained untouched by technology. Editors have had to learn new technology, adapt to new job demands, and grapple with reduced staffs. Assistant editors have had to learn new techniques to go with this technology. But, just as I wrote in the introduction to the last edition, the basic skills needed to make an assistant editor a good assistant editor have changed very little. There is still the need for organization, planning and a pleasant personality. The changes have been so wide-ranging that the second edition of this book seemed increasingly, hopelessly, out of date. Not only had editing changed, but electronic editing was changing nearly monthly. Still, feature films are shot on film and made to be released on film. Many of the tasks a good assistant needed to know remain the same, there is just a lot more to learn and know in addition to all the old skills. Now, it is just as important to know a computer operating system as it is to know how an optical is created. As a result, parts of this book were required to remain the same as its second edition. There are additions and changes, of course, but like the job description of the assistant editor, this book hasn’t completely changed so much as it has grown more complex. Not only are the old film skills important and documented here, but computer editing skills also need to be developed and written about. As I said in the last edition, at its core film editing is still film editing. All of the skills and systems developed over many decades to make the putting together of thousands of little pieces of celluloid go smoothly, are just as applicable today as they were eight years ago. On second thought, make that "twenty-five years ago." On third thought, make that "when assistant editors first started assistant editing." About the Author Veteran film editor Norman Hollyn has worked with directors such as Francis Ford Coppola, Arthur Penn, and Alan Parker. His film credits include The Cotton Club, Hair, Fame, Sophie’s Choice, Four Friends, Mr. Destiny, Heathers, and Network. Hollyn has taught at UCLA, USC and the American Film Institute. He is a member of The Academy of Motion Picture Arts and Sciences. You can also order by phone or fax. Call our main office at: Sales: 323-308-3490/800-815-0503 (M-F 8:00-5:00 PST) Customer Service: 323-308-3606 (M-F 9:00-5:30 PST) Print out your completed shopping cart list, and fax it to: 323-308-3493 We ship UPS Please note: No refunds or exchanges on any products.