Editor
This job belongs to job family > Media, Print and Publishing
What is the work like?
Editors turn raw footage into finished TV programmes and films. They select the best shots and assemble them into a satisfying finished product.
The choices made by the editor determine what will appear on screen and shape the viewer's experience. This process takes place in post-production, which can take longer than the filming itself.
Editors use their creative and technical skills to combine:
* camera footage
* dialogue or narration
* sound effects
* music
* graphics and special effects.
Besides movies and TV shows of all kinds, they may also work on corporate and training films, advertisements or music videos.
An editor may:
* take a brief for the film or programme and discuss the overall vision with the director
* assemble all the footage and store it securely on computer
* select the best material for each scene, to achieve the desired drama, impact and continuity
* digitally cut the files into sequence
* create a complete rough cut of the film
* revise the content to ensure a smooth, coherent flow.
Editors use digital technology and specialist software. Only at the highest levels of feature film making will editors use the traditional method of cutting film strips manually, since the vast majority of work in now digital.
Depending on the project, editors may work alone or with a team. In some cases, the director works alongside the editor. This work relationship can be crucial, with the director explaining the look and feel they want and the editor suggesting useful options. On large projects, editors may be aided by an assistant editor and sometimes other colleagues specialising in music and sound effects.
On feature films, editing can take place alongside the filming, with each day's rushes delivered to the edit suite. Editors may work on scenes out of their final sequence, so they need to have a clear picture of the overall structure.
The job can be highly pressured. Editors often have to work to tight deadlines. They may need to come up with creative solutions to rescue poor material.
Hours and environment
Editors' hours vary. Those working in-house may work Monday to Friday, 9.00am to 5.00pm. However, long and unpredictable hours are common to meet post-production deadlines.
Many editors work freelance and are employed on a contract basis for specific projects.
The work is based in edit studios. It often involves intensive work on computers for long periods.
Freelance editors with their own equipment may work from home.
Salary and other benefits
These figures are only a guide, as actual rates of pay may vary, depending on the employer and where people live.
* Salaries may start at around £18,000 a year.
* With some experience, earnings can rise to around £30,000.
Senior editors working on prestigious projects can earn up to £70,000 or more.
Skills and personal qualities
A TV/film editor needs:
* creativity
* a strong visual sense
* an understanding of story-telling techniques and how to suggest different moods, emotions or themes through the use of different shots
* confidence with computers and mastery of common software packages used in editing
* attention to detail
* to work well under pressure
* excellent communication skills
* patience to re-edit material again and again
* self-motivation
* the ability to build good relationships with industry colleagues
* a balance of self-confidence and tact, to handle creative differences within the team.
* a knowledge of different computer files and their characteristics
* organisational ability.
Interests
It is important to have:
* a passion for film and broadcasting
* an understanding of the craft that lies behind the success of impressive shows or films
* a desire to experiment with new techniques.
Getting in
Around 11,000 people are employed in UK post-production roles. The main employers are:
* independent production companies
* companies providing post-production services
* broadcast companies
* computer software manufacturers
* film companies.
Many jobs are in London, but there are employers in most cities.
Competition for posts is fierce. Jobs often go unadvertised, so it is important to establish contacts in the industry and to be able to demonstrate enthusiasm and some work experience, often unpaid. A showreel of work is usually essential.
Some vacancies can be found in national and trade press, such as Broadcast and The Guardian (Mondays), and on employers' websites. Freelance staff can advertise their services through specialist websites such as www.film-tv.co.uk.
Entry routes
Editors generally enter the industry at a more junior level, often as runners. After some experience, they may seek edit assistant posts and start to develop their editing skills.
No specific qualifications are required. Some TV/film editors hold a foundation degree, an honours degree or a Higher National Diploma (HND). This may be in a relevant field, such as film, media studies or IT, or in an unrelated subject.
As a guide, minimum requirements for entry on to a foundation degree or HND course are normally one A level and three to four GCSEs (A*-C), or equivalent and, for a degree course, the minimum requirements are normally two A levels and five GCSEs (A*-C), usually to include English and maths, or equivalent.
The Diploma in creative and media may be relevant for this area of work.
The BBC, some independent companies and Regional Screen Agencies of the UK Film Council run training schemes for new entrants.
Several training providers offer short courses in editing for all grades. Postgraduate courses are also available. Entry requirements vary and competition for places can be keen. Candidates should check that courses offer opportunities for using the most advanced equipment, and for gaining work experience and contacts in the industry.
Courses are listed in the Media Courses Directory and on the British Film Institute (BFI) and Skillset websites. Skillset also lists the Media and Screen Academies across the UK which offer a range of courses, summer schools, work placements, master classes, online learning resources and a talent scout programme.
Training
Editors train on the job. In large companies they generally start as assistants and learn by observing skilled professionals while developing their own work.
Several training providers offer short courses in different editing grades.
Getting on
Progression depends on establishing a strong track record and good contacts. This is particularly true for freelance editors, who advance by taking on more ambitious or prestigious projects, through making good contacts and getting credits on film and video programmes.
With experience and further training, editors may become directors. In larger companies they may move into management roles.
Further information
BBC Recruitment HR Direct, PO Box 1133, Belfast BT1 9GP. Website: www.bbc.co.uk/jobs
BKSTS The Moving Image Society, Pinewood Studios, Iver Heath SL0 0NH. 01753 656656. Website: www.bksts.com
British Film Institute (BFI), 21 Stephen Street, London W1T 1LN. 020 7255 1444. Website: www.bfi.org.uk
Broadcasting Entertainment Cinematographic and Theatre Union (BECTU), 373-377 Clapham Road, London SW9 9BT. 020 7346 0900. Website: www.bectu.org.uk
Film and Television Freelance Training (FT2), 3rd Floor, 18-20 Southwark Street, London SE1 1TJ. 020 7407 0344. Website: www.ft2.org.uk
Guild of British Film & TV Editors, 72 Pembroke Road, London W8 6NX. 020 7602 8319. Website: www.gbfte.org
ITV, ITV Network Centre, 200 Gray's Inn Road, London WC1X 8HF. 0844 881 8000. Website: www.itvjobs.com
The Production Guild, N & P Complex, Pinewood Studios, Iver Heath SL0 0NH. 01753 651767. Website: www.productionguild.com
Shooting People, PO Box 51350, London N1 6XS. Website: www.shootingpeople.org
Skillset, Focus Point, 21 Caledonian Road, London N1 9GB. 020 7713 9800. Careers helpline 080 8030 0900. Website: www.skillset.org
UK Film Council, 10 Little Portland Street, London W1W 7JG. 020 7861 7861. Website: www.ukfilmcouncil.org.uk
Further reading
The Conversations: Walter Murch and the Art of Film Editing - Bloomsbury
Getting into Films and Television - How To Books Ltd
Media Uncovered - Trotman
Working in creative & media - VT Lifeskills
Magazines/journals
American Cinematographer
Broadcast
Media Guardian (Mondays)
Screen International
Variety
TV/Film Runner
This job belongs to job family > Media, Print and Publishing
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What is the work like?
Runners provide essential support in the production of films and TV programmes.
The runner role itself, while varied, is often demanding and unglamorous. Runners are likely to spend a lot of time making tea and running errands. The job provides the chance to gain experience and make contacts and is often seen as the main entry point into a career in the film or TV industry.
The work can vary hugely. Runners may be called on to do almost any unskilled task required to help the production go smoothly. This could include:
* keeping studios, editing suites and other areas tidy
* transporting crews between locations
* making teas and lunches for colleagues and clients
* greeting visitors
* ensuring that all team members have up-to-date scripts
* fetching and delivering equipment, tapes or other items
* answering the telephone
* hiring props
* carrying out basic research
* general administration work, such as checking invoices and job sheets
* opening the building in the morning and locking up at the end of the day
* standing in for other junior colleagues in their absence.
Runners report to a producer, director or editor. They may respond to requests from all members of the team, including the cast and technical crews.
On the set of a big budget movie there may be several runners each assigned to a different area, such as production office, sound, camera and editing. A runner on a smaller production may work across all these areas.
As well as working on the filming of movies and shows, runners are also found in post-production. Here they assist in the editing process.
Runners may be required to use some production equipment. For example, they may be expected to connect up tape equipment or help digitise material before editing.
Hours and environment
Working hours are long and unpredictable. During production, runners may work six days a week. They may also be required to work some nights, weekends and holidays, depending on production deadlines.
Shift work is possible and some runners need to be on call at all times. Freelance work and short-term contracts are common. This means runners may experience periods of intensive work, followed by spells of inactivity.
Runners work in offices, studios and editing suites. They also work on location, which can include outdoor work. They spend a lot of time on their feet and may have to carry or lift props or equipment.
Travel within the working day is frequent and a driving licence is often essential.
Salary and other benefits
These figures are only a guide, as actual rates of pay may vary, depending on the employer and where people live.
Most runners are employed on a freelance basis. See the website of the Broadcasting Entertainment Cinematographic and Theatre Union (BECTU) for recommended freelance rates.
* Salaries for full-time runners may start at around £10,000 to £12,000 a year.
* With experience and further responsibility, earnings may rise to around £14,000 to £16,000 a year.
Skills and personal qualities
A runner needs:
* enthusiasm and energy
* initiative
* excellent communication skills
* to be well organised
* a flair for building good relationships with all kinds of people
* a willingness to learn
* to be resourceful and good at solving problems
* to be effective in a team
* to work well under pressure
* physical stamina
* basic IT skills
* an awareness of food hygiene and health and safety issues.
Interests
It is important to have:
* a genuine passion for TV and film production
* a knowledge of current trends and developments in the industry, and especially the employer's previous productions
* an interest in all production and technical aspects of the field.
Getting in
Runners are employed by:
* independent film and TV production companies
* the BBC
* the ITV network of companies
* cable and satellite TV companies.
Companies are based mostly in major cities, such as London, Cardiff, Birmingham, Manchester and Glasgow.
As the runner role is seen as the key point of entry to a film or TV career, competition is intense. Some vacancies may be found on www.productionbase.co.uk or www.mandy.com. Vacancies often go unadvertised, so networking and personal contacts are important.
Direct approaches to employers, with a CV, can be a way in, but it is important to find out what kind of programmes or films the employer makes before approaching them. It is important to demonstrate a positive attitude, an enthusiasm for the industry and a track record of holding responsibility. Relevant work experience, paid or unpaid, is essential.
Entry routes
There are no set entry qualifications, but a degree, foundation degree or HND in TV or film production may be an advantage. Degrees in media skills, drama and theatre or related subjects or a BTEC National qualification in media production or film and TV may also be useful. However, this is not essential, as employers are often more interested in enthusiasm and experience than academic qualifications.
The Diploma in creative and media may be relevant for this area of work.
For some posts, catering experience is useful. A first aid qualification may also be an advantage.
Some larger companies operate occasional schemes that offer new runners six to nine months of experience in different parts of the business. These schemes are seldom advertised. Selection often takes place from those who have previously contacted the company.
Training
Training is likely to be on the job and runners are expected to learn quickly.
The job offers an insight into all aspects of production. In some companies there may be opportunities to gain experience in particular areas of interest, for example, by taking on some camera work or editing.
Skillset supports a number of short courses for freelances already working in the industry.
Getting on
Runners advance by earning a good reputation and establishing strong contacts. The role gives them the experience and insight that could ultimately lead to more senior production, direction or technical roles.
In television, the next step up from runner is a researcher role. Sometimes, the two jobs are combined.
Runners in the film industry may move up to the position of head runner. They may then progress to third, second and first assistant director roles.
After experience in the production office, runners may take on further responsibility and move into production assistant roles. In post-production, a runner may progress to edit assistant and then editor.
In smaller companies, progression is by taking on more responsibility rather than formal promotion.
Further information
BBC Recruitment HR Direct, PO Box 1133, Belfast BT1 9GP. Website: www.bbc.co.uk/jobs
British Film Institute (BFI), 21 Stephen Street, London W1T 1LN. 020 7255 1444. Website: www.bfi.org.uk
Broadcasting Entertainment Cinematograph and Theatre Union (BECTU), 373-377 Clapham Road, London SW9 9BT. 020 7346 0900. Website: www.bectu.org.uk
Film and Television Freelance Training (FT2), 3rd Floor, 18-20 Southwark Street, London SE1 1TJ. 020 7407 0344. Website: www.ft2.org.uk
ITV Network Centre, 200 Gray's Inn Road, London WC1X 8HF. 0844 881 8000. Website: www.itv.com/jobs
Skillset, Focus Point, 21 Caledonian Road, London N1 9GB. Skillset Careers Helpline 08080 300 900. Website: www.skillset.org
UK Film Council, 10 Little Portland Street, London W1W 7JG. 020 7861 7861. Website: www.ukfilmcouncil.org.uk
Further reading
Getting into Films and Television - How To Books Ltd
So you Want to Work in Film and TV? - Wayland
Working in creative and media - VT Lifeskills
Magazines/journals
Broadcast
Media Guardian (Mondays)
Screen International
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