Why Video Editors Should Go to Set (Major Benefits)

Why should video editors go to film sets?

Video editors should go to film sets to build stronger production relationships, catch mistakes before they become post-production problems, and get a head start on the editing process by understanding what worked during filming.

The relationship between production and post-production teams gets strained sometimes. You've probably heard the loaded phrase "fix it in post" and felt that familiar sting of disrespect. Why not get it right in camera?

But here's the thing — that mindset isn't healthy. It's Monday morning quarterbacking. You're critiquing the quarterback's play from your couch when you weren't even in the game.

If you find yourself with a negative attitude toward the crews shooting your footage, I have a recommendation: start going to the film sets of the projects you're editing. It changed my mindset completely, and I made some great friends in the process.

Shooting is more complex than it looks from the edit suite

When you're on set, you realize that "fix it in post" sometimes makes perfect sense. Say you're running out of time at a location and can't quite nail the shot, but you think you can add that element as a visual effect.

A good producer will calculate the cost of overtime versus the cost of adding a visual effect in post. If you're on set when this situation arises, you can weigh in on the post side and help them make an educated decision.

Instead of being a Monday morning quarterback, you're in the thick of the action. You can help catch mistakes or give fresh ideas live instead of saying later, "I wish they'd caught this," or "Man, it would have been cool if they would have done this."

You get a head start on editing

My favorite part of being on set is that it gives me a head start on editing. I know what takes the director liked best. I know what takes the ad agency or client liked best. I know when something needed to be fixed or if there was a glitch in the camera. I know that they recorded some wild sounds right in the middle of a take.

Organizing becomes a breeze, and I have a deep understanding of the footage before I even watch a single frame at my edit suite.

How to get on set when there's no budget

If the project you're editing doesn't have the budget to bring you on set, consider taking on the role of script supervisor or media manager. These positions allow you to be on set, and they go hand in hand with editing.

I was script supervisor on a recent set, timing shots and keeping track of continuity. If I catch a mistake while editing, guess whose fault it is? Mine. That definitely happens from time to time, and it gives me great empathy for those production people.

Bridge the gap between production and post

Get out of your editing cave and head to set. You'll be a better editor for it. Let's help bridge the gap between production and post since we're all on the same team.

The loaded phrase "fix it in post" doesn't have to create division. When you understand the complexity of shooting and the real-time decisions that crews face, you develop respect for the process. You also become a more valuable collaborator who can solve problems before they become expensive post-production headaches.

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