Film Editing Class

Jon Hammond

While film editing could consist of assembling the pieces and setting the rhythm as laid out in the original screenplay, it is often expected to go much farther than that.  What is the film about?  What is the scene about?  Beyond clarity of action, what do I want the viewer to think and feel from moment to moment?  These are just a few questions the course stimulates the student to consider before even making a single cut.  The editor is challenged to think beyond one-size-fits-all cutting conventions, and devise the editing approaches and solutions uniquely appropriate to every individual story he handles, towards realizing the filmmaker’s creative intentions.  As such, the class goes beyond a mere trade skills course, and immerses the student in editing as an art form in itself.

FILM EDITING prepares the editor to act as a true narrative collaborator with the director and the writer.  It trains him to perform as an active storyteller who contributes his taste, judgment and insights to the final structure and pacing of even the most challenging films, who clarifies character intentions and story themes, and who sustains the viewer’s connection with these.  Key areas to be studied through lectures and explored through practical student exercises include: editing fiction; making the cuts (conventions and reasons); structure (the architecture of the film and editing as final rewrite); dramatic point of view (subjective and objective shots); editing dialogue scenes; montage sequences; action sequences and transitions; linear time; non-linear time; alternative realities; and others. 

This is an advanced and intensive course that runs on Mondays and Fridays through four weeks.  Lectures will be held in morning sessions.  Exercises will be done by students on their own time, to be screened in afternoon class sessions for debriefing and feedback from the professor and the rest of the class.  Students are expected to bring their laptops and editing software with which they have a working knowledge.  This course is highly recommended for editors who might have some experience in non-narrative or narrative forms, but would like to master the art of editing narrative fiction films.

Brief Description

  1. Professor:  Jon Hammond
  2. Format:  lectures, exercises
  3. No. of Students:  12 students maximum
  4. Class Schedule:  6 June – 1 July 2016 (Mondays & Fridays); 9:30 AM – 5 PM
  5. Requirements:  Graduate Level; laptop with editing software

CinemalayaCultural Center of the PhilippinesEcolink Inverstments, Inc.FDCP