Assistant Editors are responsible for running and maintaining Editing systems, and for the smooth running of the cutting room on feature films. Individual Editors may have their own preferences about how the work is organised, but good Assistant Editors are able to adapt their own methods accordingly. They support the whole of the post production process on feature films and work closely with Film Labs, and with the Camera and Sound departments.

Assistant Editors are usually recommended to Producers by Editors, who prefer to work with the same Assistant. Assistant Editors are normally employed, on a freelance basis, from the first day of principal photography and see the film through to picture lock (when the Director and/or Executive Producer give final approval of the picture edit). They work long hours and are the first to arrive in the morning, setting the cutting room up for the day, and usually the last to leave in the evenings when the cutting room has been tidied and prepared for the next day. Jobs last between six months and eight months on average.

What is the job?
Assistant Editors take charge of the day-to-day running of the cutting room, leaving the Editor free to concentrate on the work of editing the film. Their first task is to communicate with other relevant departments (Production, Camera, Sound, etc.) in order to understand and analyse the requirements of the work flow, and to pass this information on to the Editor. During the shoot, while the Editor starts to work on a rough assembly of selected rushes, Assistant Editors check the camera sheets when the rushes arrive, noting any technical problems. They liaise with the Film Labs (and if necessary the Camera crew), and sync up (synchronise) the rushes (align the sound with the images) early each morning so that they are ready for the Editor to begin work.

In digital editing, Assistant Editors often work in a different room to the Editor and, on low budget films, may be required to sync rushes early in the morning or late at night when the editing machine is not being used by the Editor. Consequently, the traditional apprenticeship model for Assistant Editors has changed, as less time is now spent watching and learning from the Editor. Assistant Editors must therefore be more proactive in monitoring how the edit is progressing. Depending on the workload, and providing the Editor trusts the Assistant, whole segments of the assembly edit may be given over to Assistant Editors, who can use this opportunity to demonstrate their flair and ability. When picture lock is achieved, one of the Assistant Editors' last tasks is to compile an Edit Decision List, which provides a record of all the edit points on the film for the Negative Cutters.

Typical career routes
Most Assistant Editors start their careers by working as Runners on feature films or at Editing Facilities Houses and progress to becoming Trainees, 2nd Assistants and eventually Assistant Editors. Because of the rapid changes in the film industry caused by the increasing use of digital editing techniques, this clearly delineated career progression is less easy to follow. Whilst it is still possible to work as a Trainee, 2nd Assistants are now only employed on very big budget films. Trainees with at least two years experience are likely to progress by working as Assistants in television or on low budget films for a considerable period of time before becoming First Assistants on feature films.
Some big budget productions take on Trainees and Second Assistants, and it is important to keep up to date with films in preproduction by reading the Trade Press. Experienced Assistants may also work as Editors on short films which enables them to showcase their talents. Some Assistants decide not to become Editors, choosing to continue working as Assistants on bigger budget films, which can be equally demanding and rewarding.
Essential knowledge and skills
Assistant Editors must possess technical aptitude and have a thorough understanding of the post production process (including film processing technology). Since most films are now edited on computers, they should also be able to use computer editing equipment and software.
Key Skills include:

• ability to react quickly and precisely;
  
• excellent communication and interpersonal skills;
  
• ability to work for long hours on repetitive tasks;
  
• precise attention to detail;
  
• ability to take direction;
  
• good organisational skills;
  
• knowledge of the requirements of the relevant Health and Safety legislation and procedures.

Training and qualifications
Although no specific qualifications are required for Assistant Editors, FT2 (Film and Television Freelance Training) provides industry recognised training for all job roles, including Editing, involving apprentice-style attachments to professional crews, combined with short course training opportunities.  Alternatively, short courses specialising in Assistant Editing for digital cutting rooms provide a useful starting point.  The National Film and Television School (NFTS) offers industry recognised short courses for all grades.  Post graduate courses are also available.

Individual course accreditation in certain subject areas is currently being piloted. As part of Skillset's and the UK Film Council's Film Skills Strategy, A Bigger Future, a network of Screen Academies and a Film Business Academy have been approved as centres of excellence in education and training for film.

Where to go for more information
Skillset is the Sector Skills Council for the Audio Visual Industries. The first sources of information for all jobs in the industry are the National Occupational Standards. Browse Skillset's website for links to our network of training partners, information about training and access to the comprehensive Skillset/BFI course database. Finally, Skillset Careers is UK's only specialist media careers advice service; for detailed media careers information and advice, visit www.skillset.org/careers.

Websites
- BKSTS - The Moving Image Society, organises events, courses, and new equipment demos, and publishes: Cinema Technology, and Image Technology;

- BECTU, the trade union represents Editing & Post Production personnel;

- Shooting People, a forum on filmmaking;

Publications
- Editing and Post-production (Screencraft series published by Focal Press) by Declan McGrath;

- In the Blink of an Eye: A Perspective of Film Editing (Silverman-James Press) by Walter Murch;

- The Conversations: Walter Murch and the Art of Film editing (Alfred A. Knopf, 2004);

- Screen Daily publishes weekly Screen International  and offers an on-line news service;

- Variety, a weekly publication for the film, television, music and interactive entertainment industries;

- American Cinematographer American Cinematographer

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Assistant Editor

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