CONTACT US:

Students must be prepared to make a major commitment. It is our assumption that students entering the program are here to lay a foundation for a career in a design field and will be required to meet rigorous and stringent standards. Strong communication skills, both verbal and written, are required as is the ability to read and analyze. Serious students will find that the program will provide them with an excellent opportunity to develop the skills necessary to succeed in the job market or advance in education. _Most of the students graduating from the program _continue their education.
 

Steve Bross

Commercial Art Instructor

sbross@cmths.org

610-277-2301x332

Central Montco Technical High School

821 Plymouth Road

Plymouth Meeting, PA 19462

www.cmths.org

610-277-2301

ABOUT THE PROGRAM

Web Site Built By The CTE Objective

CAREER TOPIC: FILM & VIDEO

Student Goals:
Introduce students the career options of the art and design field.

Student Objectives:
Provided with multiple lectures, examples, study guides, guided practices and student resources, the students will be able to demonstrate an understanding of the art and design careers, by producing various portfolio based projects the demonstrate the skills and knowledge established by the Program Of Study, to a task completion rate of 80% or higher after 2 years in the program.

Program Of Study Requirements:
Commercial Art: 100 - ORIENTATION
101 - Identify career paths within the vocational profession.
102- List occupational requirements.
103 - Demonstrate research and organizational skills.

 

Career Exploration:

009001   13.1.11  A.  Relate careers to individual interests, abilities, and aptitudes.

009002   13.1.11  B.  Analyze career options based on personal interests, abilities, aptitudes, achievements, and goals.

009003   13.1.11  C.  Analyze how the changing roles of individuals in the workplace relate to new opportunities within career choices.

 009024  13.3.11 D. Develop a personal budget based on career choice.

OVERVIEW:

A Day in the Life of a Film Editor

Film editors assemble footage of feature films, television shows, documentaries, and industrials into a seamless end product. They manipulate plot, score, sound, and graphics to refine the overall story into a continuous and enjoyable whole. On some films, the film editor is chosen before cast members and script doctors; people in Hollywood recognize that the skills of a good film editor can save a middling film. In the same way directors use certain actors they appreciate over and over again, they also use film editors they know and are comfortable with. Martin Scorcese, Spike Lee, and Robert Wise are a few of the directors who work with the same editors over and over again. Such relationships lend stability to a film editor’s life; otherwise, they must be prepared to submit video resume after video resume, in the struggle to get work. Editors can express themselves through their unique styles; Spike Lee’s editor, for example, is well-known for his editing style. The hours are long, and the few editors who had the time to write comments to us tended to abbreviate their thoughts. “Dawn/Dusk. Rush jobs. After test audiences, do it again.

 

Lots of frustration. Lots of control, though,” wrote one. Just as directors do, film editors spend a long time perfecting and honing their craft. Like most industries, the film industry has embraced new technology. Assistant editors must now have strong computer skills to work in the industry. While some editors stay removed from the project during the filming process so as not to steer the director away from his or her concept of the film, many of them do visit the director on set while production is under way. Nevertheless, the majority of a film editor’s work is done alone. Despite that solitude, interpersonal skills are just as important as endurance is in an editor’s career. Film editors work closely with sound editors and musical directors as the film nears completion. Long hours and significant isolation while actually editing can make even the most positive-minded film editor question the career choice. But an interesting, well-edited film can restore faith in the profession.

Paying Your Dues

Film editors need extensive academic and professional experience. Standard coursework should include filmographies, basic editing, and commercial editing. Some aspiring editors may take directorial courses and direct plays or films; this training typically proves helpful in the working world. It costs a lot to borrow film-editing equipment from the university and graduate school film departments that have it. Most aspiring film editors work as interns, production assistants, or animation-editing assistants while in graduate school. Once out of school, editors usually work in the production field or for an established film editor for little money. People who want to pay their dues and become independent, self-supporting film editors take note: 4–10 years of on-the-job training before making enough connections, building up a significant body of work, and being able to start your own editing service is more than common. For the most part, it’s the only way to succeed in this profession.

 

Present and Future

In 1980, the average feature film had one film editor assigned to it, and that person, for all intents and purposes, exerted as much influence over the final product as the director of the film did. Now, with the increasing complexity of film editing, graphic overlays, computer animation sequences, and rising budgets, an average of nine editors are attached to each feature film. Editors will continue to enjoy strong demand for qualified professionals who produce quality work. Editors who have ability and a willingness to work with others will be rewarded with good jobs. While there are editing jobs to be found among the communications and entertainment industries throughout the country, most career opportunities for editors will continue to be found in Los Angeles and New York.

 

 

A Central Montco Technical High School Program!