What film editors do, day to day

A film editor assembles raw footage into a finished story. You receive hundreds or thousands of video clips, audio tracks, and graphics from directors, cinematographers, and producers. Your job is to select which shots to use, arrange them in sequence, trim them to length, sync sound, add transitions, and shape the pacing so the story lands the way the director intends.

The work happens almost entirely in editing software — Avid Media Composer, Adobe Premiere Pro, or Final Cut Pro are the industry standards. You sit at a workstation, often for eight to ten hours a day, making decisions about which frame to cut on, how long to hold a shot, and whether a scene needs to be shorter or longer. You watch the same sequence dozens of times. You take notes from the director, make changes, and watch again.

Editors also manage the technical side: organizing footage into bins, tracking which versions are which, ensuring audio levels are consistent, color-correcting if needed, and delivering files in the formats the distributor requires. On larger productions, you may oversee assistant editors who do some of this work under your direction.

Key Takeaways

  • Film editors need proficiency in at least one professional editing software platform and a portfolio of work that shows your storytelling judgment, not just technical skill.
  • Most editors start as assistant editors or in smaller productions (commercials, documentaries, short films) before moving to feature films or television.
  • The job requires both technical knowledge and creative instinct — you need to understand how cuts affect emotion and pacing, not just how to execute them.
  • Work is often project-based and freelance, meaning you move between jobs and may have periods without work between productions.
  • Salary varies widely by market, project budget, and experience; union editors (in film and television) earn more than non-union editors in smaller markets or independent productions.

How to build the skills you need

Most editors learn through a combination of formal training and hands-on practice. A degree in film, media production, or a related field gives you foundational knowledge in cinematography, sound design, and storytelling — context that helps you make better editing decisions. Programs at schools like NYU, USC, Chapman University, and community colleges teach editing software, color correction, sound mixing, and the history of film editing technique.

However, a degree is not required. Many working editors learned primarily through online courses, YouTube tutorials, and building a portfolio on their own. What matters to employers is the work you can show. Start by editing short films, student projects, YouTube videos, or local commercials. Use free or low-cost software (DaVinci Resolve has a free version; Shotcut is open-source) to learn the fundamentals, then move to professional software once you understand the concepts.

The portfolio is your resume. Collect your best three to five pieces — a short film, a commercial, a music video, a documentary excerpt — and put them on a website or Vimeo account with your contact information. When you apply for jobs, you send a link to this work. Employers watch it to see whether you understand pacing, whether your cuts feel intentional, and whether you can work with different types of material.

Entry-level positions and how to find them

Most editors do not start as editors. You typically begin as an assistant editor or post-production assistant. Assistant editors organize footage, create rough cuts under the editor's direction, manage file systems, and handle technical tasks like color correction and audio syncing. The pay is lower, but you learn the workflow, build relationships with producers and directors, and develop a portfolio.

Entry-level work is often in commercials, music videos, corporate videos, or independent films. These projects are smaller, move faster, and are more willing to hire people without extensive credits. You find these jobs through job boards like ProductionHUB, Mandy, and Craigslist (search "post-production" or "assistant editor" in your city). Local film commissions and production companies in your area also post openings. Networking — attending film festivals, joining local production groups, and staying in touch with people you work with — leads to more jobs than job boards alone.

Internships at production companies, post-production houses, or television stations are another entry point. You work for little or no pay, but you see how professional editing departments operate and make contacts who may hire you later.

The path from assistant editor to lead editor

Advancement depends on building a reputation and a track record. As an assistant editor, you prove you can handle increasing responsibility: managing larger projects, making creative decisions, and delivering work on deadline. After two to five years, you move into editing roles on bigger productions.

The jump usually happens when a director or producer you have worked with before brings you on as an editor, or when you pitch yourself for an editor role on a project you know is coming. You need a portfolio that shows you have edited full pieces, not just assisted on them. If you have only assistant editor credits, create a reel of your own work — edit a short film, a documentary, or a music video — to show what you can do as a lead editor.

From there, you build by taking on progressively larger projects: longer documentaries, television episodes, independent features, and eventually studio films if that is your goal. Some editors specialize in one type of work (documentary, commercial, narrative fiction) and become known for that expertise. Others move between types. Your reputation and the relationships you build matter more than formal credentials.

Software skills and technical knowledge

You must be proficient in at least one professional editing platform. Avid Media Composer is the industry standard in television and many film productions, especially in union environments. Adobe Premiere Pro is widely used in independent film, commercials, and digital media. Final Cut Pro is common in documentary and smaller productions. Learning one deeply is more valuable than knowing all three superficially.

Beyond editing software, you should understand color correction (DaVinci Resolve is the standard), audio mixing and sound design (Pro Tools or similar), and file management and delivery formats. You do not need to be an expert in all of these — larger productions have specialists — but you need to understand how they work and how they affect your edit.

Technical skills are learned through software tutorials, online courses (Lynda.com, Skillshare, and YouTube have extensive libraries), and practice. Many software companies offer free or discounted training. The key is to learn by doing: edit a real project, encounter a problem, and solve it. That sticks better than watching tutorials without a project in mind.

Salary, work patterns, and union considerations

Pay varies significantly by location, project type, and experience. Assistant editors in smaller markets or on independent productions earn $30,000 to $45,000 per year. Editors on larger independent films or television shows earn $60,000 to $100,000 per year. Union editors in film and television (represented by the IATSE union) earn more — often $80,000 to $150,000 or higher on major productions — and have may provide minimums, overtime pay, and benefits.

Most editing work is project-based and freelance. You work on a commercial for six weeks, then have two weeks without work before the next job starts. Some editors work as staff editors at production companies or television stations, which offers steadier income but less variety. Freelance work gives you flexibility and the chance to work on different types of projects, but it requires managing your own income, taxes, and health insurance.

Union membership is valuable if you work in film or television in major markets (Los Angeles, New York, Chicago). Union jobs pay better and include benefits. To join, you typically need to work a certain number of hours on union productions first, then apply. Non-union work is common in smaller markets, commercials, and independent productions.

Geographic markets and where editors find work

Los Angeles is the largest market for film and television editing, followed by New York, Atlanta, Chicago, and Vancouver. These cities have the most production activity and the highest pay. However, editing work exists in every region. Commercials, corporate videos, documentaries, and local television are produced everywhere.

Remote work has expanded the possibilities. You can edit a project for a Los Angeles production company while living anywhere with reliable internet. Many editors now work remotely for part of the year and travel to set or post-production facilities for the rest. This has made it possible to build a career outside major markets, though the highest-paying union work still concentrates in Los Angeles and New York.

If you are starting out, consider where you want to live and what type of work is available there. A smaller market may have less work but lower competition and lower cost of living. A major market has more opportunities but higher rent and more competition for each job.

Frequently Asked Questions

Do I need a degree to become a film editor?

No. Many working editors learned through online courses, tutorials, and building a portfolio on their own. A degree in film or media production is helpful for learning context and making industry connections, but employers hire based on your portfolio and the quality of your work, not your credentials.

How long does it take to get hired as an editor after learning the software?

It depends on how much work you put into building a portfolio and networking. If you create strong work and actively pursue jobs, you might land an assistant editor role within six months to a year. If you are less active or live in a smaller market, it may take longer. Most editors spend two to five years as assistants before moving into lead editing roles.

What is the difference between Avid, Premiere Pro, and Final Cut Pro?

Avid is the industry standard in television and union film work. Premiere Pro is flexible and widely used in independent film and commercials. Final Cut Pro is popular in documentary and smaller productions. Learn whichever one is most common in your target market or the type of work you want to do. The concepts transfer between platforms.

Can I work as a freelance editor without living in Los Angeles or New York?

Yes. Remote work and digital delivery have made it possible to edit projects for clients anywhere. You will have access to more work and higher pay if you live in or can travel to a major market, but you can build a career in a smaller city or region by taking on commercials, documentaries, corporate videos, and independent films.

What should I include in my editing portfolio?

Include three to five of your strongest pieces that show different skills: a narrative scene, a commercial or music video, and perhaps a documentary or interview-based piece. Each should be two to five minutes long. Quality matters more than quantity. Employers want to see that you understand pacing, can work with different material, and make intentional creative choices.