FILM EDITORS California Occupational Guide Number 323 Interest Area 1 1995
THE JOB
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. They record needed sounds, or obtain them from sound effects libraries. They then piece together sound tracks to coincide with the films. Sound effects editors also assemble sound tracks recorded after action is filmed.
Film Editors also work with music editors, who discuss the film's music requirements with directors and composers before they select music for a film. Music editors describe each scene and note the required length of time for composers. After the music is composed and recorded, music editors synchronize music tracks with the picture, using the same techniques as sound effects editors. Editors use music libraries to find the proper music for productions that do not use original scores.
Feature films are traditionally edited on viewing devices known as Moviolas or flat-bed editing machines. Increasingly, however, films and television productions are edited on computer editing equipment. 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, however, 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.
WORKING CONDITIONS
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.
Most Film Editors belong to the Motion Picture and Video-tape 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. Film Editors are eligible for membership in the American Cinema Editors, a professional society encouraging communication and interchange of new techniques and developments.
EMPLOYMENT OUTLOOK
The California Projections of Employment, published by the Labor Market Information Division, shows that the number of Film Editors will grow at an average rate through 2005.
Estimated number of workers in 1990 1,640 Estimated number of workers in 2005 2,030 Projected Growth 1990-2005 24% Estimated openings due to separations by 2005 340
(These figures do not include self-employment nor openings due to turnover.)
The Film Editors (Motion Picture and Videotape) occupation is expected to grow at the same rate as the average 24 percent projected for all California occupations through the year 2005.
Job opportunities for Film Editors are expected to remain limited and very competitive over the near term, with a continued oversupply of qualified applicants and little turnover. Electronic editing systems will reduce the number of editors needed, particularly in television. Some additional job opportunities will continue to result from the need to replace Film Editors who retire or leave the labor market for other reasons. 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.
WAGES, HOURS, AND FRINGE BENEFITS
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. Apprentices currently start at the basic $808 weekly and Assistant Editors start at $1,088 weekly. After at least five year's experience, Assistant Editors can fill available Film Editor job openings starting at $1,871 weekly. Picture and sound editors earn $1,364 per week. Although the above are basic union minimum rates, workers can use their experience and expertise in the trade to negotiate higher rates with specific film companies. Such rates have been known to range from $2,500 to exceed $6,400 a week. However, 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. In addition, editors receive extra pay for night work. 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 non-union Film Editors may have pay scales similar to union rates, but generally do not receive all of the union fringe benefits.
ENTRANCE REQUIREMENTS AND TRAINING
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. They 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.
ADVANCEMENT
Promotions depend upon length of service and demonstrated competency and ability. 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.
Film Editors are given credit in productions along with other key personnel. An Oscar is given each year by the Academy of Motion Picture Arts and Sciences to the top film, sound, and music editors of a theatrical film. The Academy of Television Arts and Sciences also gives an award, the Emmy, in the same categories.
FINDING THE JOB
Film Editors usually find work through registration with the union, by direct application to employers, and through the California Employment Development Department Job Service. Graduates of universities that offer courses in film production may apply at their placement offices.
ADDITIONAL SOURCES OF INFORMATION
Motion Picture and Videotape Editors Guild Local 776 7715 Sunset Boulevard, Suite 200 Hollywood, CA 90046 (213) 876-4770
Academy of Motion Picture Arts and Sciences 8949 Wilshire Boulevard Beverly Hills, CA 90211 (310) 247-3000
RELATED OCCUPATIONAL GUIDES
Broadcast Technicians No. 359 Motion Picture Photographers No. 519
OCCUPATIONAL CODE REFERENCES
DOT (Dictionary of Occupational Titles, 4h Ed., Rev. 1 ) Editor, Film 962.262-010
OES (Occupational Employment Statistics) System Film Editors 340320
Source: State of California, Employment Development Department,
Labor Market Information Division, Information Services Group,
(916) 262-2162.
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