Motion picture and television films are shot following a schedule without regard for story continuity. Scenes are often filmed several times and from different angles. FILM EDITORS select the most effective shot of each scene, and combine them in sequence to form a logical and smoothly running story. 

They may discard scenes that do not help in plot development. When selecting and assembling scenes, editors try to achieve the best combination of photography, performance, consistency, and timing. Comedies, for example, require a specific type of timing. Editors must estimate how long audiences will laugh at each gag line or situation in order to space scenes so that one funny incident is not lost in the laughter of the previous one.

Film Editors:

• Work with sound effects editors who view films with editors, directors, and other technicians, and discuss the picture's sound requirements.
• Record needed sounds, or obtain them from sound effects libraries.
• Piece together sound tracks to coincide with the films.
• Work with sound effects editors.

Film Editors also work with music editors. Music editors:

• Discuss the film's music requirements with directors and composers before they select music for a film.
• Describe each scene and note the required length of time for composers.
• Synchronize music tracks with the picture, after the music is composed and recorded, using the same techniques as sound effects editors.
• Use music libraries to find the proper music for productions that do not use original scores.

Film Editors also work with sound effects editors. Sound effects editors:

• Assemble sound tracks recorded after action is filmed.

Increasingly, films and television productions are edited on computer editing equipment, although feature films are still edited in the traditional way on viewing devices known as Moviolas or flat-bed editing machines. In the traditional method of editing, editors run strips of film through these machines at various speeds. They mark frames where a particular shot or piece of sound is to begin or end. After the scenes are edited, assistant editors join separate strips of film on a splicer. The sequences are then ready for viewing. Computer editing uses personal computers and special software to rearrange film sequences.

Assistant editors do more than splice film. They are responsible for preparing the work for editors, ordering whatever is needed, maintaining schedules, arranging screenings for the directors and producers, supervising apprentices, and providing all necessary general support for Film Editors.

In the television industry almost all work is done on videotape rather than film. Videotape editing requires some additional special training on the various electronic equipment used in the editing process.

Film Editors frequently use the following skills and abilities:

• Synthesis/Reorganization -- Reorganizing information to get a better approach to problems or tasks.
• Monitoring -- Assessing how well one is doing when learning or doing something.
• Information Organization -- Finding ways to structure or classify multiple pieces of information.
• Product Inspection -- Inspecting and evaluating the quality of products.

Film Editors work in cutting rooms, projection rooms, and on shooting stages. The newer cutting rooms usually have space for three or four editing benches, viewing machines, and film bins. These rooms are adequately ventilated and lighted, and have readily accessible telephones. Deadlines and high production costs can create considerable pressure for Film Editors. Film Editors are eligible for membership in the American Cinema Editors, a professional society encouraging communication and interchange of new techniques and developments.

Most Film Editors belong to the Motion Picture and Videotape Editors Guild of the International Alliance of Theatrical Stage Employees (IATSE), while others in the television industry are affiliated with the National Association of Broadcast Employees and Technicians (NABET), the International Brotherhood of Electrical Workers (IBEW), or are covered by an industrial union agreement.

The following information is from the 1996-2006 California Projections and Planning Information published by the Labor Market Information Division.

(These figures do not include self-employment.)

The estimated number of job opportunities from 1996 through 2006 is expected to total 2,420.

The Film Editor (Motion Picture and Videotape) occupation is expected to grow at a faster rate than the average 25% projected for all California occupations through the year 2006.

Most jobs are in Los Angeles, with a smaller number in the San Francisco Bay area and in larger metropolitan areas. In Los Angeles, where major television and motion picture films are produced, employment is often seasonal. The peak hiring period in television runs from July through February, while employment in the motion picture industry varies considerably because of actor commitments, release dates, and weather conditions. There are no regular peak periods.

Editors who work in educational or industrial films do not usually experience seasonal fluctuations.

California Film Editors earned an average of $23.48 per hour and a median wage of $22.98 per hour in 1997, according to the U.S. Department of Labor’s Occupational Employment Statistics (OES) Survey.  Local area OES wages are also available.

Pay rates in the motion picture industry tend to be somewhat higher than rates in television because of the type of editing and the degree of skill involved. The pay scale is contractual and subject to a percentage increase each year; contract negotiations occur every three years.

Since motion picture work has seasonal fluctuations, Film Editors may work only a few weeks a year. Much of the work in the industry is freelance, which often pays a high salary because of the short-term nature of employment.

The normal workweek for editors varies from 40-60 hours. Overtime is usually paid at time and a half or double time. Editors receive up to four times their hourly rate when they work over 12 consecutive hours on weekends and holidays.

Film Editors receive paid vacations, sick leave, pension plan, and group health and life insurance coverage. A substantial number of editors are not union affiliated. Some nonunion Film Editors may have pay scales similar to union rates, but generally do not receive all of the union fringe benefits.

HOW DO I PREPARE FOR THE JOB?

A bachelor's degree with courses in all phases of film-making is often helpful for Apprentice Film Editors. Although film school is useful, it is not a strict educational requirement for editors. Work experience in a university or college film department is also helpful. Film Editors should be creative, communicate effectively, and have good judgment. Normal or corrected vision is essential. Beginners receive on-the-job training in all basic editorial skills.

Film Editors may also be required to take formal courses to keep abreast of changes in the profession. To further increase their employment opportunities, editors on all levels are encouraged to learn more about the various electronic editing systems in use. Increasingly, these devices will replace traditional techniques.

HOW DO I FIND THE JOB?

Film Editors usually find work through registration with the union, but direct application to employers remains one of the most effective job search methods. Private firms are listed in the Yellow Pages under Motion Picture Producers, Production Companies & Studios. California job openings can be found at CalJOBS at http://www.caljobs.ca.gov or at America’s Job Bank at http://www.ajb.org.

For more information, see your local employment and training provider and visit the Employment Development Department Labor Market Information web page at http://www.calmis.ca.gov.

Apprentice Film Editors may be promoted to Assistant Editors in fewer than three years of union membership. Five years on the union's list are necessary for assistants to be promoted to full editorships. Highly skilled Film Editors sometimes advance into motion picture production or direction.

Motion Picture and Videotape Editors Guild Local 776
7715 Sunset Boulevard, Suite 200
Hollywood, CA 90046
(323) 876-4770
http://www.editorsguild.com

National Association of Broadcast Employees and Technicians (NABET)
433 Natoma Street, Second Floor
San Francisco, CA 94103
(415) 398-3160
http://www.nabet51.org

National Association of Broadcasters
1771 N Street, NW
Washington, DC 20036
(202)749-5300
http://www.nab.org

Academy of Motion Picture Arts and Sciences
8949 Wilshire Boulevard
Beverly Hills, CA 90211
(310) 247-3000
http://www.oscars.org

International Brotherhood of Electrical Workers (IBEW)
1125 15^th Street, NW
Washington, DC 2005
(202) 833-7000
http://www.ibew.org

Information from: http://www.calmis.cahwnet.gov/file/occguide/filmedtr.htm