"I wish editors would get involved in pre-production though, if nothing else
than advisors. In fiction when storyboarding, and in docos when planning the
structure or shooting list."
Lordy, what a beautiful idea! How heavenly would that be?
Yes, it depends, as Catalin points out. It is not uncommon to get a script,
director's notes, and have a few chats long before a frame is shot but for no
other reason than to make sure you see no big problems, challenges or
obstacles to the intended production path. The scale of the production can
often determine exactly when you will start manipulating principal
photography, the larger the project - the earlier you start putting it together.
If you are accorded the courtesy of naming your own continuity dept
(continuity or 'script girls' [- sheesh i hate that term!] are the editor's
representatives on set) then you are casually consulting with them as soon as
production starts. Good continuity will really go to bat for the editor much to
the chagrin of the camera department and the battle begins after the first
take of the first shot. That is a point of entry which seeks to determine the
options you have in the edit suite later on even though no-one is actually
cutting anything. The later the editor starts working on the material, the less
likely they will have access to key cast, sets or locations for essential pick-
ups - depending on the percentage of contingency that has been factored
into the budget.
brooke
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