Screen editors suffer something of an image problem, tucked away in dark rooms staring at and assembling rushes their role doesn’t always get the prominence of directors, actors or cinematographers. It’s even often said that their work is best when it’s ‘invisible’ seamlessly fitting the film style and action. The Australian Screen Editors Awards, or the ‘Ellies’ hope to dispel that image, and show how important the role of editing is in film and television making.
But how do you ‘not see’ great editing? Amongst the criteria for recognising great editing, the judges of the Ellies will be looking at the movement of structure, emotion and images. Has the editor made the story clear, so the plot points and information reveals feels well organised? Have they managed the emotional development of the story, and shaped the performances shaped to enhance how emotions are conveyed and provoked? And are the image sequenced so has to have a rhythm and flow that is visual engaging as well as fitting to the images, the dialogue and the music? Judges also look at pacing and style. Were the images cut together to suit and change the pacing to the story appropriately? And has the editing style been sustained and suited to the production, the ideas and the themes of the work? Those who know what to look for, see the editor’s hand on every frame.
