Q4 2021

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76 C I N E M O N T A G E B O O K R E V I E W FLICKERS AND FRAMES WHAT DIRECTORS NEED TO KNOW ABOUT EDITING By Betsy A. McLane T he title "Editing for Directors" can be read in two ways: 1) This is a book written for editors to help them un- derstand how to edit for directors, or 2) this is a book written for directors to help them understand editing. Fortunately, the latter is author Gael Chandler's objective, since good editors already know how to work with directors. Writing on her Facebook page, Chandler explains, "At publisher Michael Wiese's suggestion, I wrote this book to help film di- rectors find their way through editing from the planning of a film to its shooting and on through to mixing, delivery, and archiving." Editors can applaud this, because "Editing for Directors" covers both picture and sound and emphasizes collaboration among everyone involved. The book is primarily aimed at nov- i ce d i re c to r s. E x p e r i e n ce d p ro s k n o w (presumably) the importance of consider- ing editorial possibilities in every step of pre-production and production. Directors are expected to arrive at post-production knowing what was shot and recorded, hav- ing some specif ic end results in mind, understanding the technical aspects of the processes, and being open to feedback and suggestions from the editing teams. If a director is not comfortable with any of these criteria, then Chandler's book should be handed to them when they f irst see the script. The 10 chapters of "Editing for Direc- tors" are organized as in a workflow, from 1. "Shooting Right for Editing" through 10. "Finish and Deliver." A "Basic Editing

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