My very first - second, actually - professional job was doing offline editing, whereby I'd basically make the crash edit/rough cut and the online editor would polish. It embedded in me the same principles I intuitively suspected in music, but never formally studied: tension, sustain, release, transition, context, technical coverage, point of view, rhythm, and narrative. I didn't embark on picture editing as a career, but to this day, almost anything I have done professionally, in interactive media and sound, relies on these principles.

In no way do I think it's necessary, but in my experience, it absolutely helps, primarily in one sense: Building further context around the art of the narrative, linear or interactive, and how emotional reactions can be achieved via media over time. Which is, I'd hazard to guess, what most of us here care the most about at the end of the day.

Walter Murch...

Film editing has definitely become an area of interest for me, and quite organically, over the course of a few years of just watching; even though I'd consider a class to be overkill.

Visual cut and sound perspective go hand in hand.. until they don't, for a number of reasons. I think to understand why the editor made the cut decisions can give many ideas about the sound, in terms of storytelling.

Music goes even further by sometimes necessitating alterations in the edit (I'd love to read from people who experience this, as well as from composers who easily overcome it).

It might be a good idea to know in advance if the editor is going to hate you for doing something that would bring the pic back to them...

Totallydefinitely105%!

Picture editors agonise over things like rhythm, tempo and pacing. If the sound design doesn't pay any attention to these things, then it can work against them and ruin the flow. Scenes that were tight can seem to become more drawn out, and vice versa.

Having said that, i don't care about the technical aspects any further than exporting omfs and embedding burnt in TC. The creative parts however, translate almost directly to what we do. I went to a small film school, and a lot of my good friends are picture editors, so i'm lucky enough to know a little bit about picture editing concepts from that.

There seems to be a bit of a divide, in my experience, between picture editors and sound editors, but i've had some fantastic spotting sessions with editors. I strongly recommend inviting your picture editor to your spotting sessions; to check out your rough tracklay before you go to mix; and to your final mix.

Also, is it just my friends, or do all picture editors love arguing?

This would be helpful. Again: Murch. He is a master of editing (both film and sound).

http://designingsound.tv/tag/the-art-of-the-guillotine/

I think that to become a master of film sound you need to understand many, many other art forms. Not just picture editing, though I totally agree that this is extremely beneficial, but also to understand the workflow and process of design, art, music, storytelling. We can take inspiration from theatre, dance, books etc. As a general rule, I really try to learn from other disciplines and apply their methods to my work.

Yeah you are right Colin hunter, Not just picture editing, though I totally agree that this is extremely beneficial, but also to understand the workflow and process of design, art, music, storytelling. We can take inspiration from theatre, dance, books etc, for this i ll suggest you to use Adobe Photoshop Premier.
Regard's,
Ben Almeer,
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