Learn how to build the most productive and effective Director-Editor relationship from a director who has worked on over 100 feature films for Netflix, SyFy, Lifetime and more. 

PLUS! You'll receive an exclusive handout to help you optimize your Director-Editor relationships!

The saying goes that every film is created three times: the first time is when it’s being written, the second time is when it’s being shot, and the third time is when it’s being edited, which is when a film really comes together and is locked for audiences to experience.

The importance of the editing process cannot be overstated when it comes to filmmaking. The tone, style, and even how performances are crafted are all built in the editing room. Given the exact same footage, a talented editor can create two completely different films in the editing room. It is the director’s job to work with the editor to bring their vision to life while remaining open to creative ideas the editor brings to the table. It’s an alchemy and it's importance cannot be overstated.

In this exclusive Stage 32 webinar, you will learn the fundamentals of what makes the most successful relationship between a director and an editor on a feature film. You will learn the essential terms, techniques, and processes that you need to know to embark on an efficient editing process. You will walk away from this webinar with a robust understanding what the different film cuts entail and how to improve your film with each iteration, as well as an overview of the post-production processes that happens to finish a film once you are picture locked. It is critical that the director and editor have a firm understanding of all of these tools and procedures in order to thrive in their creative relationship and create the best film possible.

Teaching you everything you need to know about the director/editor relationship is prolific director Peter Sullivan, who has made over 100 feature films, many of which have been released on Netflix and Lifetime. Peter’s recent credits include SECRET OBSESSION starring Brenda Song (Netflix), THE SANDMAN (SyFy), FATAL AFFAIR (Netflix), and more. Peter has extensive experience working with multiple editors across different genres and is now sharing everything he’s learned through his years of directing exclusively with the Stage 32 community.

Whether you are a director or editor, it is critical you have an understanding of the fundamental editing techniques and terminology used before going into your editing process. Peter will cover how the role of the director and editor have evolved with advances in filmmaking technology and how that influences the workflow during the production and editing process.

PLUS! You will receive an exclusive handout from Peter to help you optimize the Director-Editor relationship. Downloads include:

• Sample post-production schedule

Whether you’re a director, an editor or a producer, this webinar is a must!

"As someone who has learned a great deal from mentors and instructors over the course of my own career, I know how important it is for emerging filmmakers to find someone to show them the ropes. Resources such as Stage 32 are vital when it comes to shepherding the fresh and diverse talents of tomorrow." - Peter Sullivan

• Introduction: The Roles of Both the Director and the Editor
  • Every film is created three times: the script, production, post-production
  • Defining the job title of “director”: what it is and what it isn’t
  • Defining the job title of “editor”
  • How has the role of “editor” changed? Technology in film editing , digital editing tools, digital post-production tools (temp FX, temp graphics, temp color, temp sound FX, etc)
  • Selecting an editor (genre, experience, relationship, reputation)
  • Personal experience: What I look for in an editor
• Production: From Footage to Narrative Story (NOTE: Will define terms as we go: DIT (Digital Imaging Technician), LUT (Look Up Tables), dailies, etc
  • Typical workflow: from set to the DIT (capturing, transcoding, LUT) to the assistant editor (syncing, organization, bins) to the editor; who are dailies for and who reviews/has access to them?
  • Role of cinematographer in dailies and other forms of review (stills, corrected vs non)
  • What does an editor do during production? Assembly through editor’s cut.
  • For the director: To look at footage, not to look at footage? Reviewing dailies vs cut scenes.
  • Working with the editor: Remote collaboration (Zoom, email links) vs direct collaboration (in the edit room)
  • The 180 degree rule: The importance of continuity in screen direction (action, eyelines), and the role it will play for your editor
  • Personal case studies: “To Kill a Stepfather” (long time editor) vs “Road Trip Nightmare” (new editor, new experience)
• The Post-production Phase: Transforming Raw Footage into a Cohesive Narrative
  • More terms/concepts to introduce: ADR (Automated Dialogue Replacement), color grading, EDL (Edit Decision List)
  • Editing techniques, devices and styles:
    • Crosscutting, parallel editing
    • Match cut
    • Jump cut
    • Montage
    • Flashback/Flashforward
    • Slow motion/time lapse/speed ramping
    • Inserts and cutaways
    • Establishing shots
    • The “oner”
    • Sound bridges (prelaps and postlaps)
  • Editor’s work styles (temp music vs no temp music; assembly vs editor’s cut, etc)
  • The dreaded “editor’s cut” screening
  • Work flow: from editor’s cut to director’s cut to producer’s cut to network/studio cut
  • Other voices that may be involved (such as actor, if contractually allowed, case study: “Fatal Affair”)
  • The test screening process
  • The role of the assistant editor (case study: “Secret Obsession”)
  • The role of the music editor (case study: “Secret Obsession”)
  • The importance of pacing and rhythm
  • Rewriting and reshaping narrative in post (ADR)
  • Additional photography, reshoots and editor’s role (narrative problems, connective tissue, run time requirements)
  • Other elements of post that may bleed into editing process: from color, to FX, to sound)
  • Personal case studies: “To Kill a Stepfather,” “Lust, Lies and Polygamy”
• What Happens After Editing - A brief overview of what is yet to come:
  • Special effects
  • Color grading
  • Sound mix
  • Watchdown
  • Deliverables (closed captioning, masters, specs, EDL, etc)
• Q&A with Peter

All levels of directors (advanced, intermediate and beginner) looking to learn how to best work with an editor.

All levels of editors (advanced, intermediate and beginner) looking to learn how to best work with a director.

All levels of producers (advanced, intermediate and beginner) looking to learn how to encourage a productive relationship between a director and editor. 

Actors who want to improve their work by understanding how a director and editor will work together to cut their performance.