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If you’ve ever wondered what a professional edit suite looks like then this round up of photos, videos and edit suite design tips should give you a great insiders look! Here, the first few photos come from Ron Howard’s edit suite on his current film In The Heart of The Sea. PBS Frontline documentary editor Steve Audette, kindly took the time to email a detailed breakdown of the gear in his suite. Above the laptop is a plasma client monitor – I have two in my room this one is for me, the other is down way out of picture.
Editor Shane Ross has also helpfully written up a detailed description of how he transformed his suite from one based around at 2008 Mac Pro to one based around a 2012 non-retina Macbook Pro – making the most of all those Thunderbolt peripherals to expand his edit suite. In this last video, which I previously posted in this Avid Media Composer 7 post, you can check out all the gear that editor Leo Mahoney uses in his suite.
Over the past 10 years or so I’ve edited in a multitude of places including, pubs, airplanes, the back of a truck, church crypts, bedrooms, hotel rooms and many other places besides around the world. The current trend in small suite design is to build a room that’s very client-friendly and not intimidating. Editor Noam Kroll has also written up a lengthy description of his edit suite re-build after moving from Toronto to Los Angeles, and offers some really useful tips. Let’s start at the back of the room where one of the most important elements to the room is installed – the Curtains.

If you’re looking for some inspiration from some seriously swanky edit suites then you could check out the portfolio of AKA Design, an edit and grading suite design and construction company based here in London. And if you want to be able to look even closer, check out this popular round up of editor’s timelines. Also you can see the “ten commandments of typography”and a motivational graphic of the 7 minute workout. Maybe I need to spend more time with that one. Then my bin monitor and my composer monitor these are old NEC 24 inch that need replacing as they have ghost images. Again, I hardly use that now as I do all initial mixing in the Avid Media Composer for both rough cuts and fine cuts.
Homage to telling the straight line of a story and not wavering to the pull of some sequence off the narrative.
Walt has also written up an post on designing a suite around an iMac, which is worth a look too.
Usually this involves a workstation with one or two displays, near field audio monitors, a small mixer (mainly for volume control) and one or two video monitors.
The bass trap on the wall behind me is matched with a few others in the room, but I am not sure they really work – still has too much bass. The IoXT has Thunderbolt loop through, so I am able to then connect a Thunderbolt to DVI adapter and have a second monitor.

I like to work with dual displays (like two Apple 20” LCDs), but a single, larger monitor, like a 27” or 30” is also quite functional. For example I like to have a light, bright space with a view, but that would be terrible for colour grading! Back in the day I would work with 8 direct outs of audio and compress the narration channel and main interview channel on the O1v, now I do that in the Media Composer using RTAS tools. That leaves me with a Firewire 800 port and a USB 3 port for connecting hard drives (I use one USB port for a keyboard and mouse).
If there are only two things you ABSOLUTELY need in an editing room (besides a computer) they are: a door on the room and light control. So all that is left for this board is to record  narration – soon I will move to a USB solution and the board is gone. Even if you aren’t a colorist or VFX artist, the light control is a must as glares on your screen can affect your ability to work properly. So make sure to get some blackout blinds or curtains that will kill any light spilling through the windows.

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