64 TVBEurope News & Analysis
Feature panelists with attendees at Editfest, held at Dolby Europe’s Ray Dolby screening room
This experiment proves that there is interest.” In all three sessions the
speakers summarised their slogs to the top, and talked about a specific clip of their work that was screened. In the first two sessions the issues affecting the working lives of editors — shooting ratios, how to view rushes, a lack of thinking time, and film blindness (repetition) — were debated. The TV editing session,
ACE
American Cinema Editors (ACE), one of the world’s top movie craft skill groups, paid Soho a huge compliment recently when it staged its annual Editfest at Dolby Europe’s Ray Dolby screening
room.George Jarrett reports
INTRODUCING SESSIONS on Small Screen, Big Picture and From Dailies to Delivery – Editing Features, plus an arts show type conversation between the movie legends Rom Rolf and Anne V Coates, ACE VP and event chairman Stephen Rivkin explained that after staging Editfest in LA five times and New York three times, “it was only a matter of time before we expanded internationally. “The ninth Editfest is a
wonderful thing to bring over,” he added. “We have reached out to editing organisations globally, and wanted to bring the concept of Editfest to other countries.
The TV editing session, chaired by Gordon Burkell, founder of Art of the Guillotine, featured CE members Kate Evans and Frances Parker, plus Kristina Hetherington and Oral Norrie Ottey
comes to Soho
chaired by Gordon Burkell, founder of Art of the Guillotine, featured the two ACE members Kate Evans and Frances Parker, plus Kristina Hetherington and Oral Norrie Ottey. The question of where the cutting process begins went to Hetherington. “I respond to the rushes, and all jobs are different,” she said. “I look for a good performance and it comes through the eyes. I do a lot on instinct and feel, and you have to look at the script to see where pauses are appropriate,” she added. Ottey said: “The rushes are milk, and we are trying to make cheese.” Parker identified a problem. “I am a stress bunny. I watch everything in the rushes, but it is getting more difficult with shooting ratios now at 60:1. They were 15:1, and 60 hours is a phenomenal amount to hone down. “You read the rushes to get the intent of the director and actors. It would be disrespectful to work against this,” she added. Evans cuts quite a lot of
horror productions, and knows all the clichés of the genre. “All that stuff I find terrifying, but when you get the rushes they are not terrifying. You have to make them terrifying,” she said. It was agreed that the
cheapness of digital media is behind the shooting ratio crisis. Asked about restructuring when a scene doesn’t work, Parker said: “What we do is assemble because we no longer have the time for an editor’s cut. It is really just pushing it over to the director ASAP. And now the
www.tvbeurope.com August 2013
Photos: James Cumpsty
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