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AVID Assistant Editor Workflows - Scripted Television

New York

Address: 145 Hudson Street, Suite 201, New York, NY 11234


Instructor: Jacob Waxlar
This is one workshop session with an hour break from 1:30pm – 2:30pm
Session: 10:00AM – 6:00PM
Fee: $40.00
This workshop is open to 10 active members.


This course will offer an overview of the Assistant Editor workflow for scripted, episodic television.  It is intended for AEs currently working in non-scripted television who want to transition into the scripted environment.  Advanced knowledge of AVID Media Composer is a must. 

This will be a hands on course that will cover a wide range of topics that any Assistant Editor working in scripted television will undoubtedly need to know.  These topics include but are not limited to: reading and preparing a lined script, setting up a project on the Avid NEXIS Client Manager, understanding the Dailies process from beginning to end, working with 3rd party vendors (VFX, Sound, Music, DI), and understanding the life cycle of a project’s episode from the Editor’s Assembly to the Locked Cut.  

It will conclude with an overview of the Turnover phase of a project’s life cycle.  This will include an explanation of what a turnover actually is and what it entails.  During this time, we will focus on turning over a locked cut sequence to the four main departments on any episodic television series: DI, VFX, SOUND, and Music.

Time will also be allotted for participants to ask questions about making the transition from non-scripted to scripted television and/or anything else that comes up throughout the day. 


  1. Introduction
    1. My background as an AE in both the non-scripted and scripted television genres.
    2. What I perceive to be the major differences between the two workflows (non-scripted vs. scripted)
    3. AE best practices for working in the scripted television environment, i.e.; the best allotment of your time on any given day
    4. Reading a Lined Script
    5. Reading Editor’s Logs 
  1. Setting up your Project on the NEXIS Client Manager (formerly called ISIS)  
    1. As a general rule, the First AE will be responsible for setting up the workflow and folder structures for all episodes of the series.  I will go over the basics of this process which will include:
      1. Setting up and naming the Episode Media Partitions
      2. Setting up the Project Partition
      3. Setting up the Assistant or Server Partition
      4. Setting up the VFX, Music, and SFX Partitions
      5. Best practices for creating the folder/subfolder structure of each partition 
  1. The Dailies Process
    1. Explain how dailies are processed by the lab and how we as AEs receive them in the morning. 
    2. How to prep your dailies before working in your Episode Project
      1. Copy the MXF media to the proper partitions (separating out the VIDEO from the AUDIO and why we do this)
      2. Copy the bins to the DAILIES folder of your specific project (101, 102, 103, etc.)
      3. Naming the subfolders within the MXF folder AFTER your footage has scanned on the AVID 
    1. We’ve copied our media to the Media Partition and copied our bins to the Project Partition.  Now what? 
      1. Working with Subclips vs. Masterclips
      2. Making sure the subclips in the scene bins ‘match back’ to the Subclips bin and then the Master bin.
      3. Don’t be afraid to talk to the lab and direct them on how you want your dailies handled.  I.E.; they can create your subclips and provide you with a Master bin and a Subclips bin
      4. Perf slip vs non-perf slip
      5. Center Pan the Audio
      6. Be sure to copy the subclips to separate scene bins before closing the subclips bin
      7. Grouping your clips
      8. Marking your clips
      9. Cleaning up your clips by deleting the camera name and using AB for group clips. 
      10. What is a starred take vs a non-starred take?
      11. Organize your bins using the Poster Frame function
      12. Check the number of takes you have for each scene against the morning paperwork. 
      13. Brief explanation of when we would use sound reports and/or camera reports to cross check the takes we have for any given scene. 
  1. Outputs
    1. Explain the various life cycles of an episode from EC to Lock
    2. Continuity documents 
  1. SFX, VFX, MX
    1. Color coding these assets and why we do this. 
    2. Using locators for each of these elements
    3. What is a spotting session? 
    4. Music: Source vs. Score


  1. TURNOVERS - DI, VFX, SOUND, MUSIC  *be sure to discuss 2 Pops at Head and Tail for all Locked sequences to be used for turnovers
    1. DI
      1. Prepping your LOCKED sequence for a DI turnover
      2. EDL
      3. Bin 
    1. VFX
      1. Using your DI sequence to help with your VFX turnover
      2. VFX shot naming
      3. VFX QT Ref
      4. VFX QT for Bid
      5. Bin
      6. EDL 
    1. SOUND
      1. Splitting your Audio Tracks

a)      Production Audio (DX)

b)     SFX

c)      MX

      1. Guide Tracks
      2. QT (SAS)
      3. EDL (Production only - DX)
      4. AAF - Copy all media (Embedded) 
    1. MUSIC (MX)
      1. Many of the same elements can be repurposed from our SOUND Turnover
      2. Guide Tracks
      3. QT (SAS)
      4. MX Only AAF - Copy all media (Embedded)



Jacob Waxler is an Assistant Editor and Editor who primarily works in scripted television.  He has dabbled in feature film work and also spent time in the world of non-scripted news and reality television.  

His most recent credits include work as an Assistant Editor on “The Looming Tower”, “Unbreakable Kimmy Schmidt”, “The Purge”, and “Godfather Of Harlem”.  He also edited the pilot of the TV Series “Stand-In” and an episode of Season 1 of “The Purge”.


Please email Muneeb Hassan at mhassan@editorsguild.com to RSVP.