Make the Cut

Lori Jane Coleman and Diana Friedberg's book "Make The Cut" is an incredibly invaluable resource, packed with detailed and useful information about how to become an assistant editor, what to do when you are one, and how to move up and away from being one once you're ready to do so.The first chapter covers briefly, yet effectively, how best to prepare for and obtain an assistant editing job. The remaining bulk of the book gets right down to business, going over the myriad duties and assignments typical of an assistant in TV or film. I think the best way to put it is that this book "demystifies" the role of an assistant editor by getting down to the nitty gritty details of what they actually do on a daily basis. It's something I've always wondered myself, even as a film school grad. Most film schools typically train students in the basic uses of NLE software, teaching them how to cut for themselves, which is fine... until the student heads to Hollywood and realizes that no one is going to hire him as an editor until he pays his dues as an apprentice or assistant. Knowing how to cut doesn't necessarily mean that you'll know how to assist. As our authors clearly illustrate, assistant editing is an entirely specialized role of its own.After covering the basics, from handling dailies to prepping for the online cut, the book delves into potential differences among genres, such as documentaries and reality TV, using helpful screencaps from both Avid and Final Cut Pro systems. It also wisely ventures into some of the most common unwritten rules of the editing room, offering tips in ways to navigate tricky politics and personality conflicts. And lastly, it discusses the various ways in which a career can be molded in the post industry.I'd highly recommend this book to anyone who's serious about approaching film/TV editing as a career. It offers up a wealth of specific and relevant information pertaining to the world of assistant editing, delivered by two talented and experienced ACE editors.

Late in life (a few years ago) i delved into amateur videography, meaning i do everything, write, direct, shoot, edit, audio, everything. Naturally, (well naturally to me), I made many, many a beginners mistakes. On my first project I had 6 one-hour mini DV tapes and had no idea how to assemble this into something resembling a coherent project, let alone find those two really good takes. I learned real fast (well, the hard way, at least) that it all boils down to the edit. The Scriptwriting experts tell you not to write a script with camera and directing notes in it. Well I needed those notes since I have to do everything. How do I create the shot list and the keep track of the good shots: that lead to Script Supervising. Both of the really good Script Supervisor books show you how to keep track of your shots and where to find them on your tapes/reels but stop short of the breakdown that I really needed. They said that was a First AD job, okay. I found the really good First AD book, learned a lot from that but it too pointed back to the Script Supervisor for a certain breakdown or referred to the breakdowns that each of the Department Head would make. As the sole crew member I was every Department Head I needed to know what those breakdowns look like. Then I found this Assistant Editor book! This one book brought it all together for me. As I said, it is all about the edit. All the department work, breakdowns, shot list, etc, all lead to the editing room. So, studying this book has helped me better plan my pre-production. Knowing what the end looks like has helped me frame the beginning.

This is a great book for beginners looking to break into post production. Over the years I've had numerous coworker, mostly production assistants or apprentice editors ask me how to move up in the business and I always recommend this book as a first step. If your looking for a book that tells you about NLE software (AVID, Final Cut or Premiere) and the in's and out's of those programs, this isn't the book for you. This book isn't about the software but more of a focus on the overall job an Assistant Editor is involved with. How to breakdown footage, how it should be separated, how to insure an open line of communication with an Editor, Producer and the Client. It also deals with prepping footage for finishing, making a color list, exporting audio for mix and sending out conform prep.Overall I think it's a great start to get a step ahead and your foot possibly in the door. Nothing will ever prepare you completely for what is involved in being an AE because every workflow and job is different but this book did help me feel more confident when I first made the jump as an AE.

Everything mentioned in the book I've seen in one variation or another within the studio system.I work on the technical side of post production (i.e. setting up avids suites, troubleshooting, running fiber, etc...) and have come to know different edit crews, each with their own vibe.This is an excellent, and really, the only book on the market that covers the AE position in full. I love how much of the book focuses on politics and etiquette. The interviews of editors is bonus. Great insight into why they hired/fired certain people.The kindle version follows me everywhere I have my phone.

I really liked the amount of information in his book to help me jumpstart my television assisting.It is very clear and detailed on the tasks and expectations to working in post production.Loved it!