Roles · role

Editor

Also known as Film Editor, Picture Editor, Video Editor.

A Film Editor selects and arranges picture and sound to build the finished story. Working closely with the Director, the Editor shapes performance, structure, pace, point of view, transitions, and emotional rhythm while coordinating versions, feedback, turnovers, and the path from dailies to locked picture.

Editing is not only removing unwanted footage. The Editor evaluates performances and coverage, finds relationships between shots, controls what the audience knows and feels, and rebuilds scenes when the material suggests a stronger form.

The Editor usually works with one or more Assistant Editors who organize media, sync sound, maintain project structure, prepare outputs, and support turnovers. Final picture also moves through sound, music, visual effects, color, titles, and mastering teams.

Pre-production responsibilities

Discuss story, format, workflow, staffing, media, review, and delivery needs with the Director and post team.
Review scripts or boards and flag editorial or coverage considerations when brought on early.
Establish project organization and communication expectations with Assistant Editors.

Production responsibilities

Receive and review dailies while production is shooting.
Build assemblies and report coverage, continuity, technical, or story concerns promptly.
Use Script Supervisor notes and camera or sound reports to understand captured material.

Post-production responsibilities

Refine scenes, sequences, and the full cut through reviews and notes.
Lock picture and supervise accurate turnovers to downstream departments.
Review returned sound, music, effects, titles, color, and final outputs as required.

Common questions

What software does a Film Editor use?

Avid Media Composer, Adobe Premiere, and DaVinci Resolve are common. The production chooses software based on collaboration, media, delivery, security, and post-pipeline needs.

Does the Editor work during filming?

Often, yes. Editors may assemble scenes while production continues, allowing the team to identify missing coverage or story problems before sets and cast become unavailable.

Who has final cut?

Final approval depends on contract and production structure. The Editor executes and advises, while the Director, Producers, studio, network, platform, or client may hold different approval rights.

What does an Editor do day to day?

Day to day, Editor work commonly includes Review dailies and select performances, shots, reactions, and sound for each sequence., Assemble scenes and refine structure, pace, continuity, tone, and point of view with the Director., and Identify missing, weak, or unclear material and communicate pickup or problem areas.. The exact balance changes with the production schedule, crew size, and the point at which the role joins the project.

What skills matter most for an Editor?

The most useful skills are Story structure, Performance judgment, Rhythm and pacing, Visual and sound continuity, and Collaborative note handling. Together, they help the role make dependable decisions, communicate a clear handoff, and respond to notes or changing conditions.

Which tools and documents does an Editor use?

Common tools include Avid Media Composer, Adobe Premiere, DaVinci Resolve, and Shared storage, review platforms, and calibrated monitoring. The role also relies on Lined scripts and Script Supervisor notes, Camera and sound reports, Edit decision and change lists, and Visual-effects turnovers so decisions, approvals, continuity, and delivery requirements remain traceable.

How does someone build experience for an Editor?

A common professional path moves through post-production assistant and Assistant Editor work, building media-management, technical, storytelling, and client-session experience before taking on full sequences or smaller projects.

How does an Editor vary by production?

The scope changes with format, budget, location, crew structure, and the production's technical method. Editors work for long periods in editing rooms, offices, or secure remote systems. The work alternates between solitary concentration and detailed sessions with Directors, Producers, assistants, sound, music, effects, and finishing teams.

Production variations

Feature film: The Editor may stay with one project through a long production and post schedule, moving from dailies to Director and Producer cuts, previews, and final delivery.
Episodic television: Multiple Editors may rotate across episodes while a post team maintains show structure, shared assets, deadlines, and network or platform delivery.
Documentary: Editorial often discovers the final structure from interviews, observational footage, archive material, and evolving access rather than following a locked script.

Often compared with

Editor vs. Assistant Editor: Editor leads story and picture decisions. Assistant Editor builds and protects the technical workflow: ingest, sync, organization, exports, versions, turnovers, and project health, while sometimes handling delegated edits.

Union and local practice notes

Motion Picture Editors Guild Local 700 represents editorial crafts on covered U.S. productions. Coverage, classification, membership, and contract terms depend on employer, agreement, geography, and production.

Sources

Educational reference only. Requirements vary by jurisdiction, employer, venue, and production context.