Most of the time, workflow is at least slightly different between one project and the next . Very likely, today's editor is not just doing narrative films , commercials, or corporate videos . Nearly every day a new form of the medium is being used. It's more likely that a successful career is being built around a combination of project types. So the process changes often between one project and the next. Moreover, not everyone's brain works the same way. What seems to be intuitive to one person feels counterproductive to another. Teaching hundreds of different editors over the past few years has opened my eyes to this. This chapter attempts to get you to start working the way that makes the most sense to you . It's far more important to finish a project that is successfully completed on time and that meets its goals than it is to use a certain method (or even software application) to get there.
When you are editing with any nonlinear editor, there are definite similarities between projects. You acquire the footage first, bring it into your computer using various methods , and then edit it, refine it, and deliver it. Some projects have all the source material ready to edit, and some do not. This is the beauty of a nonlinear editor. It doesn't matter in what order you edit each scene, and it doesn't matter that you have all the source footage or material at one time. Especially when you work with feature film, rarely is all the film shot before the editor starts working.
Feature film scripts typically are not shot in chronological order. The editor's job in these instances is to work on the material as it is shot. Probably never does this process begin with the editor working on Scene 1 first, and then Scene 2, and so forth. In the case of this book, you were given all the material you would edit into a movie up front. This is one reason I chose to edit it in script order. This is definitely not the case with not only feature films, but also documentaries, and even corporate or commercial work. Sometimes it's best to edit certain areas of a show before you shoot other areas, just to see how this next shoot needs to be performed, for example. Remember that there are no rules.