Book Review by Michael Amundsen

As a book title, Transitions might suggest spiritual journeys or life advice, and I assume that’s why the editors of this new book opted to add the subtitle “Voices on the Craft of Digital Editing.” Its stated desire is to share conversations on the past, present and future of digital editing, and it succeeds well, even if it has to overcome an overly ambitious graphic design scheme to do it.

In her forward, A.C.E President Tina Hirsch likens the book to a “hallway chat.” In fact, it is so earnest in its wish to emulate a group discussion, rather than an anthology of articles, that one has to search the credits to discover that the editor and “content architect” who guided this concept to fruition is Alan McCann. Not much is said about his background but it is plain that he is passionate and sincere in his admiration of the art and craft of editing.

Transitions is a collection of essays and comments by 15 working editors, including several who may be familiar to Editors Guild members: Erik C. Anderson, Stuart Bass, Patrick Gregston, Paul Hirsch, Tina Hirsch, Robert C. Jones, and Terry Kelley, among others. In addition to those who work in features and TV, the book includes comments from editors in feature animation, TV news, documentaries, websites and music videos. Because they work in different fields and face diverse problems, each brings a unique perspective to the book.
The format offers each contributor about six pages to express his or her observations on the effects of new digital technology. Some focus on the technical; others on the aesthetic. Often they describe their individual experiences, and many share tips that readers can apply to their own work. Some observations are wise and exciting and full of inspiring insights; others are less so.

For the most part, the articles are written in an informal, first-person style, like interviews without questions. Scattered throughout are boxed notes by the other writers, responding to one another’s essays. Having contributors to an anthology read and comment on the work of their fellow writers would seem fraught with peril, but here the insights are largely supportive, often sharing corroborative anecdotes and suggestions. Fellow editors can take issue or build upon what is being said in the body of the article. For example, as visual effects artist Jeffery A. Okun expounds on the relationship between editors and the visual effects supervisor, numerous boxes surrounding the text on the page share the related perspectives of editors like Peter Schink and Eric C. Anderson.

Unlike most editing books that focus on feature films, Transitions offers a more inclusive perspective. Now also a director, Lee Unkrich edits Pixar animation. When he speaks of animation editing as being the hub of the production process and how much of his job takes place away from the Avid, I am inspired to think of editing in more integral terms than just “post” production. Sacha Van Straten edits short documentaries for British television. His post production experience is inseparable from the advent of small, intimate, digital cameras, informing the fast, jumpy style of his edits. On the surface, it may seem light years away from editing features, but Van Straten argues that the basic goal, to communicate quickly and effectively, is universal.

Many of the comments from the feature film editors are linked to their earlier training on film. Peter Schink, for example, discusses how he takes the “bench approach” he learned in his film days, and how he transferred the concept to digital editing. He argues that by stringing shots together into a structure before assessing single edits (as you would on a film bench), a sense of rhythm can be established. Other Guild members discuss their early training in film, and how that discipline continues to inform their work today.

Less inviting, however, is the busy, Wired-style graphic design. In recent years this approach has made its way to the mainstream, but in Transitions, I found that the endless side notes framed in boxes (think Pop-Up Video) split my focus from the main thoughts being shared. Much of the text is superimposed on eye-catching pictures, which makes for a book that’s easy to browse, but difficult to read, since the pictures tend to engulf the words.

I recently returned to L.A. after 12 years of teaching, traveling, and making documentary films. In the hinterlands, I could observe the digital revolution fast gaining ground. Once back in feature filmmaking, I discovered that the wall that once existed between us (film), and them (video) has followed the example of that concrete wall that fell in Berlin in 1989. Today, we’re all pushing similar buttons. Whether it’s on an Avid or a Pro Tools, a mixing console or an online bay, there’s not enough difference in the tools to sustain the chasm that once separated us.

Transitions helps validate the concept of editing as a universal skill that can be the basis of a broad, international discourse. Even more significant is how much digital technology and the lower end NLE’s like Final Cut Pro and Premiere have established themselves in a wide range of workplaces that would never have housed traditional editing equipment. Web designers and in-house corporate media specialists from around the world know as much, if not more, about the technical workings of Final Cut Pro than most union members. Even science professors use the technology to promote and present their research. Where once I could attend a party with non-industry types and be met with blank stares when I told them I edited film, now guys in suits quickly embroil me in conversations about Final Cut Pro.

This democratization of editing has come at a price. Oscar-winner Paul Hirsch believes that though there are enormous positives — such as instant access to all material and the ability to experiment without taking apart earlier versions — there is a dark side to this new technology. He suggests that the craft of editing has suffered a loss of mystique, and that the machines encourage micro-management as well as an increased pressure that results in fewer built-in breaks suitable for reflection or discussion. He also believes we seem to be having less fun than before, and speaks of a diminished camaraderie in the cutting room. Once, there used to be a certain discipline in watching the picture without music and effects, which allowed an editor the opportunity to discern underlying rhythms. Now, he says, nobody has the patience for that anymore, and the technology makes possible temp soundtracks that can mask important pacing problems. While this is just one part of his interview, it’s interesting food for thought.

Ultimately, Transitions provides ample evidence that the worldwide conversation on editing has deepened and grown more inclusive. The strength of this book lies in the breadth of opinions and skills represented by the many editors interviewed and the work-related content in their articles. The book succeeds well at instigating a wide-ranging dialogue on many of the issues we all face every day while sharing useful information on actual editing techniques. And in its success, it challenges us to continue the discourse.