How to Be a Good Director, According to an Editor

Julien Chichignoud explains what is good production from an editor’s standpoint.

Peter Jackson


I tend to think that my role is important on a film. Regardless of how well you know Final Cut, Avid, Premiere or iMovie, get someone else to edit. After several days on set trying to get the imagery and the performances you had planned in your head, and after reviewing the dailies each night, beating yourself up for what you could have done better, you can be assured that you will hate your footage – or even worse, you will be in love with it. You need someone with no emotional attachment to what they are cutting. You need to keep your distance and start looking at the film the way the audience would, which is not going to happen if you spend weeks looking back through every take, and trimming every cut.

Remember that shot you spent 10 hours setting up, for which you had to hire a helicopter? Well, it’s crap. Or maybe it’s great, but if it’s not, you need someone to tell you it’s crap without caring about how much or how long you spent on it. You love that shot where the actor looks through the window thinking about his dead sister. The performance is great, right? Except nobody aside from you and the actor knows that he’s thinking about his dead sister. Having an editor on board gives you someone to take the audience’s fresh point of view.

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Digital Rev pits the Canon 5D MkIII against the 7D MkII

If you’re looking to buy a more advanced DSLR from Canon, you’d probably consider the EOS 7D Mark II or 5D Mark III. Although they’re different cameras, they both a good set of features for the budding amateur enthusiast photographer or professionals. But which one should you get? Kai takes both out for a spot of bird photography to test the two cameras out.


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