The podcast on editing made me think of what’s been happening with on-set digital work-flow and I was wondering if you all had noticed. The possibility of on-set dailies is leading towards on-set editing and for some Indie productions and companies who produce small corporate commercials it is already happening. Editing on-set as shooting is going on is now within reach of the low budget filmmaker.
Craig T. via Film-Method.com
I have noticed this as well and it can be a dangerous practice to get in to if you haven’t thought it all the way through. For some forms such as commercials, it might be a great thing. But, for film, it is not a good idea to have your main editor cutting things together on set.
If you do decide it’s a good idea to cut dailies together on set, then I suggest having an assistant or 2nd editor who does that while keeping your main editor away from this part of the process.
This could actually be very helpful because you can make sure that you are getting all the shots you will need in order to cut the film together. However, if you have done your due diligence in pre-production and you have a competent Director, DP and Script Supervisor then you should be fine. People are people and mistakes do happen, but they can happen even if you’re editing on set.
It is a great idea to be sending your main editor all the footage as you go (this is what’s called “editing behind camera) so that they can get it all arranged and be working on their first cut while filming is still taking place. But, it is important to keep the editor clear from any outside influence in regard to the edit. What I mean by that is; if an editor is on set with you and knows it took 12 hours for you to get that one shot but the shot isn’t serving the film at all in the edit, what’s to keep him from leaving the shot in the edit?
The editor’s only focus should be on telling the story and it is your job as a producer to make sure they are not unduly influenced.