Producing editor
In response to new possibilities created by non-linear editing, and the extreme speed at which off-line editors can now assemble a television or cinema production, and the new redundancy of producers and writers on certain television programs, the term Producing Editor was created to define this new type of editor who also produces, writes and reports directly to the executive producers with no intermediary.
An Editor/Producer/Writer in one
A producing editor has refined the skills of editing from a technical and creative standpoint to the level that speed and imagination are no longer limitations to his/her work. Therefore, a producing editor crosses over into producing, directing, and writing. Many times, a producing editor can have an entire scene completely edited before the writer even has a chance to watch all of the footage and write a single word, given the speed at which editors can review footage and assemble cuts in the days of non-linear editing.
Generally, a producing editor can work without a script of any kind. When no elements exist, a producing editor can start from scratch and create everything from beginning to end with no intervention. Due to the time it takes to read transcripts, versus the time it takes for a fast producing editor to go over material, a producing editor can have a rough cut assembled before a writer has even written one word. More often than not, the writer on a show with a producing editor is reduced to a transcriber of cuts for network review and final on-line. So, often an assistant writer is sufficient and no writer is needed as the producing editor serves as the writer.
Assistant editor
A producing editor requires a strong assistant editor to digitize footage, pull in graphics, and prepare the finished sequence for on-line and audio sweetening. The assistant can also act as a co-producer, checking spelling, timings, and covering the editor for routine or mundane tasks. However, the assistant must a first and foremost technically savvy, so most producers would not be able to fill this crucial role.
Producing editors can create work much faster and more efficiently than a traditional producer/editor/writer team. Essentially a writing staff and producers become redundant when a seasoned producing editor is hired on a project and there can be significant cost savings and quality improvements when a strong producing editor is on a project.
Executive Capacity
A producing editor will often independently screen rough cuts and make their own edit notes screening with a small audience before executive screenings. This is different than a traditional editor who waits for producers or executives to present notes. As such, the producing editor is actually serving in a co-executive producer capacity.
A producing editor delivers finished/polished work directly to Executive Producers, Studio Heads, or Networks bypassing traditional producers or writers.
Editors have gradually gained producing authority since the acceptance and widespread use of non-linear editing in the 1990's. Non-linear editing systems allow unlimited re-arranging and practically effortless changes to pacing and story beats that were cumbersome and fully consuming in linear (tape-based) editing systems.
An Editor/Producer/Writer in one
A producing editor has refined the skills of editing from a technical and creative standpoint to the level that speed and imagination are no longer limitations to his/her work. Therefore, a producing editor crosses over into producing, directing, and writing. Many times, a producing editor can have an entire scene completely edited before the writer even has a chance to watch all of the footage and write a single word, given the speed at which editors can review footage and assemble cuts in the days of non-linear editing.
Generally, a producing editor can work without a script of any kind. When no elements exist, a producing editor can start from scratch and create everything from beginning to end with no intervention. Due to the time it takes to read transcripts, versus the time it takes for a fast producing editor to go over material, a producing editor can have a rough cut assembled before a writer has even written one word. More often than not, the writer on a show with a producing editor is reduced to a transcriber of cuts for network review and final on-line. So, often an assistant writer is sufficient and no writer is needed as the producing editor serves as the writer.
Assistant editor
A producing editor requires a strong assistant editor to digitize footage, pull in graphics, and prepare the finished sequence for on-line and audio sweetening. The assistant can also act as a co-producer, checking spelling, timings, and covering the editor for routine or mundane tasks. However, the assistant must a first and foremost technically savvy, so most producers would not be able to fill this crucial role.
Producing editors can create work much faster and more efficiently than a traditional producer/editor/writer team. Essentially a writing staff and producers become redundant when a seasoned producing editor is hired on a project and there can be significant cost savings and quality improvements when a strong producing editor is on a project.
Executive Capacity
A producing editor will often independently screen rough cuts and make their own edit notes screening with a small audience before executive screenings. This is different than a traditional editor who waits for producers or executives to present notes. As such, the producing editor is actually serving in a co-executive producer capacity.
A producing editor delivers finished/polished work directly to Executive Producers, Studio Heads, or Networks bypassing traditional producers or writers.
Editors have gradually gained producing authority since the acceptance and widespread use of non-linear editing in the 1990's. Non-linear editing systems allow unlimited re-arranging and practically effortless changes to pacing and story beats that were cumbersome and fully consuming in linear (tape-based) editing systems.
Comments