MA Film Making

Editing

Editing takes the dearly bought raw materials of moving picture and sound, cutting, shaping and polishing them into imaginative objects of desire.

We aim to give every student on the MA Filmmaking programme an understanding of the value of the editing craft and the importance of communicating with other departments and technicians involved during the production process, in order to provide the best material for the edit suite. The focus is on the practical aspects of film editing, with instruction in the use of both digital and analogue equipment, to enable London Film School students to become familiar with current professional industry standards. Film Editing lectures are structured around classic and contemporary films, highlighting the contribution of editing to the development of a rich and coherent film language.

One of the nine MacPro AVID Media Composer suites

One of the nine MacPro AVID Media Composer suites

For those individuals wishing to develop film and video editing as their intended field of work, the Editing Department offers more advanced supervised instruction and experience in cutting various formats and genres.

First term students edit 16mm monochrome rushes without sound, as an exercise in purely visual narrative.

Second term students shoot and edit nonsync pictures. Sound is then added during post-production. Through the combination of ADR (additional dialogue recording), Foley (sound effects) and music scoring sessions, each editor will discover the creative use of sound on film.

iMacs with AVID Media Composer

iMacs with AVID Media Composer

Term Three introduces students to synchronised sound, providing new challenges in structuring picture and sound.

The Term Four editing exercise is an introduction to drama. Shot on B&W 35mm. with sync sound, the films are edited on a non-linear system, and film prints are then conformed: the analogue film is cut with a splicer and put together to match the digital cut. The sound is dubbed to Stereo.

Term Five is an extension of the previous exercise, working on 35mm. colour negative. colour negative. After fine cut, the sound is edited on Pro-tools in preparation for a Dolby SR sound mix.

Terms Four and Five finished film prints are screened with a separate magnetic sound at the end of each term.

During Term Six, students have the opportunity to choose subjects and formats for their graduation films and lectures during this period are focused on helping each student to integrate all their acquired knowledge.

Photography of Jaime Estrada Torres

Head of Editing is Jaime Estrada-Torres

Jaime started as an assistant film editor with David Naden Associates in London’s Soho, gaining his 16mm experience on a number of documentaries for the BBC, ITV and the then emerging Channel 4. He worked as 2nd Assistant Editor on Tim Burton’s Batman, Assembly Editor on Mike Figgis’s Hotel, On-Line Editor for Werner Herzog’s Pilgrimage; Picture and Sound editor on Biggie & Tupac directed by Nick Broomfield, winner of the 2004 Grierson Best Feature Documentary Award. Jaime was Avid consultant for Stanley Kubrick on Eyes Wide Shut, George Lucas on the Star Wars Trilogy, James Bond film Tomorrow Never Dies and The HBO series Band of Brothers produced by Steven Spielberg and Tom Hanks.

Editing Department consultants and Lecturers:
Stefania Marangoni - Senior Editing Lecturer
Adam Sharman - Editing Instructor/Technician

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