“The job of a Film Editor (also known as Picture Editor) is to figure out how to tell a story using a bunch of video footage. Sometimes it’s a commercial, sometimes it’s branded content, sometimes it’s a feature film. There’s never really a typical day as an Editor regarding content, unless it’s a long job,” says bicoastal Film Editor Daniel McDonald.

Editors generally work for eight to 10 hours a day – often with the regular input of the Director – when cutting a project. They help craft the story before it’s sent off to a Colorist or Post Sound Team.

The actual process of editing involves spending time with the footage shot in principal photography and determining what the story will be. Though that story is initially told in the script, and again during the production phase, the Film Editor has significant say over what the final narrative is.

The Editor offers a fresh pair of eyes able to refine the cinematic grammar of a film. They shape character and perspective in the storytelling to convey a new meaning from each shot. To do this work, it’s important for all of the footage to be organized and constantly reviewed.

Here’s a quick breakdown of the editing process:

1. All of the footage is imported.
2. The media is transcoded into a workable codec.
3. Shots are organized by scenes and takes.
4. All footage is viewed at least once.
5. An assembly cut is created.
6. A rough cut is put together.
7. The fine cut is tweaked.
8. Picture lock is set.

For stages five through seven, notes are given on the project by Producers, the Director, and other trustworthy people. This can result in major changes for the film. The more organized a project’s media is, the faster they’ll be able to implement the adjustments.

When a project reaches its final stages, much of the Editor’s job is to think about taking out cuts and making sure the flow of the film is correct before picture lock. Any changes after picture lock are called conforms and are expensive. After picture lock, the Editor might attend to other parts of the post-production process, but it’s usually as a consultant to the Director.

The average annual salary for Film Editors is approximately $52,100. The salary range for Film Editors runs from $35,000 to $79,000.

Freelance Editors must set their own day rate based on their level of expertise and the budget of the production seeking to hire them. Professionals who are members of the Editors Guild, also known as IATSE Local 700, work for scale or above as established by the union. Rates may vary from project-to-project.

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Editors typically work freelance but some are employed by post-production facilities. Each job is different, which means that some will have your average 9am to 6pm weekday schedule, whereas others may demand longer days and weekend work depending on the turnaround for it.

“If they’re ambitious, in the evenings they’ll take on another project to work on for a couple of hours. However, it’s easy to get burned out, not only mentally, but also physically. An Editor can hurt their eyes from staring at a screen for too long,” notes McDonald.

He adds, “They can damage their back due to sitting down for an extended period. Carpal tunnel syndrome will set into the wrist if it’s in the wrong position for too long. Overall, it’s important for each Editor to find their own work balance and pace themselves.”

The relationships that a Film Editor has with the Director, Producers, or other individuals giving notes will vary from one gig to the next. Some Directors want to be in the editing room with the Editor. Others allow greater independence and check in only periodically. Producers and Executives may give notes via only email. No two jobs will likely be the same. Film Editors also work with Graphic Designers, Visual Effects Artists, the Post Sound Team, and Composers.

If the budget is big enough, an Assistant Editor is hired to help clean up the timeline and handle exports. On many nights it’s just an Editor alone in a dark room toiling away. Of course, every project is different and has its own needs.

“Advancement within the Editor’s career field is frankly just becoming a better Editor. There’s a correlation between the paycheck and proficiency of the artist. There’s always a negotiation over rates and that takes experience to get good at because Producers will always try to hire for as cheap as possible. If the Editor is talented, they can walk away from the deal and find another job. Great Editors are always in high demand,” says McDonald.

At the start of an Editor’s career, the daily rate can be minimal, usually around $100 per day. That rate will increase, though, as that professional builds both experience and their network. With more connections, an Editor may receive more gig offers, which can allow them to negotiate more successfully for higher rates.

Some people may begin as an Assistant Editor or Production Assistant in the editing department of a post house or studio production, which is a good way to shadow more experienced professionals and observe their skillsets. But it never hurts to take on additional jobs if time, energy, and financial resources allow.

“One of the keys to growing as an Editor is working on lots of projects. Growing a network of employers and referrals provides job security and career advancement,” says McDonald.

In the beginning, it can be challenging to find jobs. That being said, with even a minimal amount of work under one’s belt comes more opportunities to develop and maintain professional relationships. An aspiring Editor can also do internships or free gigs. These are likewise good ways to get real-world experience and expand contacts.

During this time, it’s important to follow the advice below to further your career as quickly as possible:

• Make a website, make a website, make a website. (A simple one is okay.)
• Build a portfolio or demo reel of past work.
• Network with Directors, Producers, and fellow Editors.
• Do an internship with a post-production facility.
• Practice making movies. There is lots of stock footage online to download.

Obviously, filmmaking and editing skills are essential for this career. “My first experiences making films were some of the happiest memories of my life,” McDonald says. “My buddies and I would skate around town, get chased by cops and film all the nonsense we could. There were no grades, no teachers, and no clients to yell at us.”

He adds, “So when I got to film school I didn’t need to learn the software because I already had a lot of hours under my belt. I think that experience served as an important foundation — not just technically, but also kind of emotionally. Even on the worst projects, with the most difficult clients, deep down I know filmmaking is a lot of fun.”

His response demonstrates an attitude that is conducive to success. It’s important to learn the software, but what helps triumph over adversity is a passion to create. If people have the passion and initiative to make their own stories when it comes time to help shape someone else’s vision they can be a better asset.

“The people most likely to succeed at editing understand that it is a craft. They need to be the kind of person who can work every day improving their skill set. It’s the only way to be able to keep up with the competition,” McDonald notes.

That isn’t the only quality a person needs for success, though. Editors are constantly working with clients so interpersonal skills are crucial. Learning how to handle difficult situations, like convincing Producers and Directors to try new ideas, can be difficult. They’ve lived with a project for so long that often they can’t see the film in any other way.

The Editor should not overstep their bounds, but having the ability to eloquently and respectfully convey their thoughts – especially when they differ from those of the Director or Producers – can serve them well in convincing others to trust them as they create a better-told story.

“One of the best assets for an Editor is YouTube. It has the answer to all of the technical problems involving software. There’s usually some twelve-year-old on the internet who has made a tutorial video that walks through the issue. With the accessibility of digital cameras, it isn’t difficult to get practical experience with the software,” says McDonald.

However, learning how to tell a story is a refined skill that takes time to develop. Many people will take writing courses and enroll in film school to hone their storytelling skills. If people have access to the internet, they can solve most of the technical problems involved with editing but telling a good story requires practice.

In addition to using YouTube for technical assistance, this platform offers other useful educational and professional advice. On it are video essays that break down popular and classic cinema and teach shot progression and sound elements. The more an Editor knows about what the intention of a shot was, the easier it is for them to either use it correctly or redefine it.

Film Editors who are part of IATSE Local 700 can typically find educational and networking opportunities as well. Aspiring professionals who are not yet union members can still reference the site for general information and look into other online forums such as those found on Facebook and Instagram for networking and educational help.