Although the cinematographer and editor work in different phases of projects, by collaborating early, their synched efforts will result in a better final film. The editor, on the other hand, mostly works during post-production by taking the shot footage and making decisions on how to best put the project together. Some low budget filmmakers prefer to do one or both of these jobs in addition to directing, as it saves money and resources and is often perceived as preserving the director’s vision. If the editor participates with developing the shot list, he or she will have a clear understanding of what to expect upon delivery of the footage.
Traditionally, the shots are planned by the director through developing a shot list and then commissioning storyboards to illustrate those shots.
One of the biggest problems facing filmmakers is whether or not the footage they shoot will actually cut well together. For instance, the camera crew has to adhere to the 180 degree rule, otherwise editing becomes much more difficult. Additionally, an editor can identify other potential editing problems ahead of time and suggest supplementary ideas for coverage.
The director of photography works hard to create a specific look for the film by choosing angles, lenses and lighting schemes. Another person, other than the picture editor, may be the one responsible for performing the color correction and grading after the picture lock is complete, but the editor will probably oversee this process (especially in lower budget projects). The director needs to act as a ringmaster in coordinating the efforts of all the various departments, especially cinematography and editorial.
In this post, we take a look back at the post production landscape of 2013 and ahead to the future of video editing and post in 2014. At the beginning of this year I wrote a post called 5 Ways To Become A Better Film Editor, in which I sketched out the ways in which I was looking to improve as a freelance film editor, and hopefully shared a few useful thoughts on how you might do the same.
I think the most striking change in 2013 has been the multiplication of applications on my system. In terms of actual work, Premiere Pro is the newest addition that has actually added money to my pocket, although I’ve definitely spend the majority of my time in FCP7. The most useful part of having an Adobe Creative Cloud subscription is quick and easy access to every single Adobe app, which is actually incredibly useful. The other problem is that I still don’t feel confident enough in the program to take paying gigs on it, which in turn, means getting adequate milage on Avid is difficult to acquire. As a final thought for editors looking to become more employable in 2014 I would say adding more NLE’s to your skill base, especially with FCPX or Adobe Creative Cloud being so affordable, is a sensible investment that will easily pay back dividends over the year. Some of my other goals for 2013 were to get more exercise and to create a healthier life at work. Another thing that really helped was hacking a standing desk together (read about it in this post) although at the end of 2013 I got a taste for the real deal with a few days in an edit suite with a very sweet standing desk.
Whatever you can do to input more exercise, healthy food and sleep into your life in 2014 will be well worth it. 2013 also saw me doing a bit more producing, particularly of animations, which has been a good exercise in terms of dealing with clients on a much more in-depth way. The key to success in business is almost always tied to good relationships with people, whether they be clients or fellow creatives. The most fun post production experience of 2013 was my time at the first ever Edit Fest London (check out the lessons I learned in this post) and my recommendation to anyone working in post production is to get out of the office and into a meet up like EditFest NY, London or LA or any of the great Supermeets.
Gear wise the best investment I made this year was upgrading the boot drive of my laptop to a solid state drive.
11- ?????? ??? : ??????? ??? ?? ????? ???? ????? ??? ?? ????? ??? ??? ???? ????? ?? ???? ??? ????.
12- ?????? ??? ??? : ????? ?????? ?? ??? ???? ? ?????? ?? ?????? ????????? ?? ?? ??? ?? ?? ???? ? ?? ???? ?? ????? ?? ?? ???? ?????? ????? ??? ????.
18- ???? ??? : ?? ?? ????? ????? ? ??? ?????? ? ?? ?????? ???? ?????? ?????? ??? ?? ??? ??? ??? ?????????? ??? ?? ???? ??? ?? ?????. 3- ????? : ?? ?????? ?? ???? ????? ????? ????? ???? ? ??? ????? ?? ?? ?? ?? ???? ?? ???? ?? ??????? ???? ???. In the wake of this success, Cross found himself set to attend more formal events than he’d ever had to in his life – let alone the mother of them all, the Oscars, whose ceremony is broadcast to millions worldwide.
Jaeger-LeCoultre is in fact one of the biggest supporters of filmmaking in the watchmaking world, as the longtime official partner of the Venice Film Festival, the founder of the New York Film Festival’s “Filmmaker In Residence” program, and a patron of prestigious film fests spanning San Sebastian and Toronto to Shanghai and Dubai.
Tom admired the Grand Feu, especially its artful sapphire crystal; it also looked great on his wrist, and would clearly hold its own with, and maybe even elevate, a tuxedo’s formality. Envelope, please: “And the winner for the watch that Tom Cross will wear to the Oscars goes to…” None other than the brand’s signature model, the Jaeger-LeCoultre Reverso.
The first Jaeger-LeCoultre Reverso Tom tried on was the Ultra Thin reference Q2788520 – ultimately choosing to wear it to the British Academy Film Awards ceremony on February 8th at the London Opera House, where he took the “Best Editing” honors. To attend the Oscar ceremony, which is broadcast this Sunday, February 22nd, however, Tom chose another masterful Jaeger-LeCoultre Reverso variation: the Grande Reverso Ultra Thin Tribute to 1931 with the black dial, patina hour markers, and, in a nod to the model’s Polo history, a strap crafted by elite Argentinean polo bootmakers Casa Fagliano. Again, Tom Cross found the balance between classic and modern ultimately what compelled him to this choice.

Flipping the watch back once again to its shiny steel case back, Cross notes how the blank canvas of the Jaeger-LeCoultre Reverso’s flipped case back would prove ideal to mark a personal milestone like, say, being nominated for your first Academy Award.
UPDATE: Congratulations to Tom Cross (and the Whiplash movie crew) for winning best Film Editing Awards in 2015 for his work on Whiplash at the BAFTAs, Independent Spirit Awards, and for getting an Oscar at the Academy Awards (we made sure he was well-wristed for each of them). Directors rely on their crew and must coordinate the efforts of each person, in particular the department heads, in order to see their vision to fruition. Let’s get the basics out of the way first, and look at what each of these positions does.
During principal photography, the editor’s main responsibility is to organize the dailies and sync the sound.
Oftentimes the editor sees the footage for the first time while watching the dailies and then must make sense of all the disparate images they receive. They know how the pieces fit together to effectively communicate dramatic and emotional expression to the audience, as well as determining proper pacing of the story. A lot rides on this, including consistent performance from the actors and continuity of props, costumes, hair and makeup, actor placement, etc. For instance, if the director is planning an extended take, an editor can see opportunities for alternate shots to cut to in case the extended take doesn’t work.
Not only does the lighting provide illumination for the actors, but it also creates a mood through brightness level, direction of the light and color—all of which, to varying degrees, can be altered in post-production.
These department heads need to be brought in as early as possible to prep the film and work out any potential problems, provide a unified effort toward the completion of the movie and to support each other with their duties and responsibilities. I thought it would be a fun idea to look back over 2013, as well as ahead to next year, with a few more thoughts on the year in review. I started the year with only Final Cut Studio 3 on my machine and have ended the year with Adobe Creative Cloud and Avid Media Composer 6.5 (yet to buy that upgrade!) fully installed.
It is interesting to note that in an industry that is purportedly all about change, the majority of people are still using FCP7 (according to this PBS survey). Be sure you’re keeping your digital life secure by using different passwords for every site.
Being able to raise and lower my desk at will on electric motors (something I can’t do with my hacked desk) will be a luxury I hope I can justify in 2014.
Standing has definitely increased my sense of energy and productivity in the mornings and I’d recommend it to anyone. An an editor I mostly only have to work with clients on an artistic basis, rather than negotiate, manage and coordinate with them as a producer would do.
This video from hedgefund manager Ray Dalio has been one of my favourites of the year, and I’ve come back to it time and time again.
If you missed out on seeing it in 3D and in the cinema you missed out on a spectacular cinematic experience that really proved how good 3D films could be. Physically meeting others who work in your industry is a brilliant way to expand your network and put faces to Twitter handles. Not only does everything boot, copy and load faster, but there are now no moving parts in my laptop to really fail. Admittedly, this was a new first-world problem for Tom Cross, who, as editor of the film Whiplash, recently received an Academy Award nomination for "Best Editing" - one of five Oscars Whiplash is up for this year. A renowned film editor, Cross is best known for his work on edgy indie-cinema productions like Crazy Heart and We Own the Night, as well as notable TV shows like The Bridge and Deadwood. Still, nothing in Tom’s watch box reached the level of formality demanded by a televised awards show like the Academy Awards. Beyond the cinematic connection, more than anything, Tom Cross has been a longtime fan of JLC’s epitome of modern classicism.
On an afternoon not long before the awards season commences for Tom, Cagliata is assisting Tom in his timepiece selection, and it’s stunning just how many JLC models could rise to the occasion for the job at hand.
He strapped onto Tom Cross’ wrist the Jaeger-LeCoultre Master Ultra Thin Grand Feu – which, with its exquisite white gold case, incredibly finished enamel dial, and sleek profile at 5mm thickness, is one of the most formal and elegant watch options available today (and appropriately expensive, at $40,900).
While the Grand Feu looked like a shoo-in for the win, though, there was another contender remaining among the finalists. With its Arabic numerals in a classical font, exquisite detail finishing on the dial, high-quality alligator strap, expertly blued hands, and iconic case, Tom found the Ultra Thin “perfect for the British atmosphere, and it worked for every occasions. On larger productions, you’ll have an entire team of people handling picture edit, sound and color grading, but on smaller films, you may have a single person responsible for all of the post-production. However, the one phase where they should collaborate is pre-production, which Alfred Hitchcock considered to be the most important stage of filmmaking. However, if the editor participates in pre-production, then he or she has a clear sense of what the director wants in the final film. All films will benefit if the editor is involved in the early stages of planning, working with the cinematographer so that both are on the same page about how the director wants the story to unfold visually. The director of photography needs to worry about camera placement and gathering appropriate footage that the editor can use. The editor can also point out places where insert shots and cutaways can be used for the best effect.

I’ll almost certainly added FCPX to that mixer in 2014, once the December update finally appears. It also allows you to get into apps that you may otherwise never have spent any serious money on. Hours and hours of frustration, googling and head scratching made the barriers to entry just that bit too high for me to really get much traction with it.
The making of Gravity was also one of the most popular posts on my blog, as audiences sought to find out just how they pulled it off! 3- ???? ? ???? : ?? ????? ???? ??? ?????? ?? ??? ??? ?? ????? ?????? ??? ? ?? ?????? ????? ????? ??? ?? ???. UPDATE: Tom Cross received the Academy Award (as well as Independent Spirit Award) for Film Editing for the movie Whiplash. The film’s combination of intense drama and complex, dazzling musical sequences earned both the Jury Prize and Audience Award at Sundance, going on to earn multiple nominations and awards from all the most prestigious film critics’ societies, film festivals, and industry honors. Seeing the dynamic precision timing of his cutting on the silver screen, it’s not surprising to discover Cross is also a passionate watch enthusiast. For the less formal events and parties around the film awards season, Tom considered some of Jaeger’s sportier options. Indeed, as James Stacey wrote in his aBlogtoWatch review of the Grand Feu, “When I first laid eyes on the new Jaeger Le-Coultre Master Ultra Thin Grand Feu only one question formed in my mind – Does it come with a tuxedo? Of course, it was perfect to wear with a tux at the BAFTA ceremony; at the same time, I found it sporty enough that it felt completely appropriate for a cocktail party, or just walking around London. The cinematographer’s primary responsibility occurs during the principal photography stage of production, but they must also spend a great deal of effort during prep and may even oversee the color grading during post production. When I was laying out my new ebook, How To Be A Freelance Creative*, I was able to get up to speed with InDesign in no time at all. I still believe it is an absolutely essential piece of software to learn (most pros would say that), but they sure don’t make it easy.
This was a scenario Tom Cross did not anticipate when he started work on the labor-of-love indie drama. Recently, Whiplash took three awards – including a “Best Editing” statuette for Cross – at the British Academy Film Awards, the U.K. A fan of chronograph complications, he tried on the Jaeger-LeCoultre Deep Sea Chronograph Ref. I'm going to need a tux to pull that off.” Seeing the Grand Feu on Tom’s wrist, it brought home both the Grand Feu’s true elegance as well as its technical innovation. I have smaller-than-average wrists, so with contemporary watches, it’s difficult to find something I feel comfortable with. I was surprised at how addictive the actual Jaeger-LeCoultre Reverso complication is as well. One day of course FCP7 really will be untenable as an editing platform, but that day has yet to come.
As for Premiere Pro, it was incredibly easy to make the move from FCP7 (in part because there is a preset for the FCP7 keyboard shortcuts). *Look out for my ebook, early in 2014! Outfitted with Jaeger’s 849 calibre – a manual-wind single-barrel movement that’s astonishingly svelte at 1.85 mm – gives it ideal dimensions to wear under shirt cuffs. I found myself reversing the watch constantly, polishing the back, trying to imagine what I'd engrave on it if I had the opportunity to do so. And while the 1931 will of course go perfectly with a tuxedo, you can also wear it with a t-shirt, and it works.
An editor brings in objectivity to post-production and can “kill the darlings” — cutting shots and scenes that the director can’t bear to part with but need to go for the sake of the film. Next up was the Geophysic 1958, whose clean modernist lines, retro details, and feats of engineering contained a contemporary casing definitely appealed to Tom’s sensibility. It’s better to have the scene play out naturally without any distracting edits that pull the audience out of the story. Seeing it on the wrist, it’s clear why this is one of JLC’s most desirable recent creations. Check out our Electronic Press Kit Tutorial.PREVIEW EXCLUSIVEPress Release Checklist & TemplatesFilm productions have many potentially newsworthy moments, but how can you get through in the media?
Because on-set reality never quite follows the storyboard.PREVIEW DOWNLOADAdvanced Shot List TemplateAdvanced Shot List packs in more functionality and is available as PDF and customizable Google Sheet. Excel version is available for our subscribers .PREVIEW DOWNLOADCall Sheet TemplateIdeal for smaller productions. You may avoid some serious distribution issues and surprise costs with this document.PREVIEW DOWNLOADCrew Contact ListA contact list can be a life saver on set. From Filmsourcing you can find useful, original film industry related content from filmmaking tutorials to web's best filmmaking templates.

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