In this masterclass, film editor Johnny Rayner and documentary editor Samuel R Santana speak to Ruth Pitts about what it takes to make it as an editor, and why the role is vital to making great film and TV.
Santana: “I arrived here, jobless, from the Canary Islands in 1994, and wanted to carry on editing.
“I did a very short online course in order to get into low-budget TV. It was great experience and led to me working on National Geographic documentaries.
“You shouldn’t be sniffy about low-budget productions as an editor because it’s fantastic experience. When you’ve got really tight deadlines, it makes you think quicker.”
For scripted projects such as dramas and comedies, an editor will have a script to work to, choosing the best combination of shots to tell the story.
“The script is like a blueprint,” explains The Crown editor Una Ni Dhonghaile,
A documentary is a rather different beast. “You may be faced with 400 hours of footage shot across many years in a sprawling way. The people making the film don't know what's going to happen next,” says editor Ben Stark whose credits include Dispatches, Baby P: The Untold Story and 9/11: The Falling Man.
Speakers included:
Rupert Houseman, an editor on cutting-edge documentaries such as Life and Death Row with Yan Miles, a drama editor who has worked on shows such as Game of Thrones and Sherlock.
To celebrate the year coming to an end, we put together the best pieces of advice received from industry experts.
From a YouTube presenter to a Sky commissioner, there has been a variety of tips on offer throughout 2015.
Students were given the opportunity to listen industry experts about their craft.
From cameraman Steve Robinson describing how to portray personal moments on camera to editor of BBC One's The Missing explaining how a show comes together in the cutting room, the two-day masterclasses provided advice and insight into the television industry.
Morgan Matthews has taken his camera in to places that most directors shy away from; into lives torn apart by mental illness, bereavement and addiction.
There is, however, another side to the award-winning documentary film-maker; one that delights in the quirky worlds of pigeon fanciers, Elvis impersonators and teenage maths prodigies.
His films, said the chair of the documentary student masterclass, Ruth Pitt, revealed “the extraordinary in the ordinary and the ordinary in the extraordinary.”
When it comes to producing great television, a good editor is where it all begins and ends. That was the clear message for students attending the RTS craft skills editing masterclass.
Ben Stark, a feted documentary film editor and Una Ni Dhonghaile, who has won plaudits for her work editing TV drama, delivered the masterclass chaired by media consultant Alex Graham.
Stark and Dhonghaile each discussed three examples of their work.
Josh Douglas became an assistant editor at Barcroft Media after completing an apprenticeship at the production company.
Here he tells the RTS about how important it is to start your own YouTube channel in order to showcase the videos that you have filmed and edited.
