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Went and caught the feels. Went and got real hurt.
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Always painfully funny lol

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Eating as many free peanut M&Ms and drinking as many free Spindrifts as humanly possible while constantly looking up from your phone and saying, “Sorry, can you play that back one more time?”
but actually though.
Same as the art director - help your editor make the best possible spot with the footage you have.
To ensure the concept is communicated, offering alt takes which you noted from being at the shoot, voiceover direction, reads and music selects. Importantly, what to cut when you’re over.
I love directors who are willing to play nice in the edit, and now that I’m directing (warning: plug alert!) I let the agency know that’s always an option. But the job in editorial really is no longer role specific—it’s getting to the best cut possible and nobody downstream will give a flying fuck about the process to get there. Putting aside the pecking order idiocy that only you can address, items 3:: first, trust your editor. Orson Welles was right (guy who pretty much set the gold standard for director-as-auteur), “the eloquence of film is all in the editorial. Second, you really should have the right/time to try options—they save all the cuts and lose nothing with experimentation. Last, every time you do this, you get more great intel about how to articulate what’s in your head in ways your editor and team will be able to act on and that’s the real money. Treasure it and learn from it; its really the most fun you can have with clothes on. Unless you in a really unusual edit house.
Mostly curious how other agencies handle the edit. Does the director direct the editor? Or the creative team?
Depends on the director. I've had directors who basically peaced out after the shoot and directors who sat there throughout the entire edit. The latter is rarer though — in my experience the creative team is generally who works closer with the editor.