{"id":87442,"date":"2017-04-04T07:00:04","date_gmt":"2017-04-04T12:00:04","guid":{"rendered":"https:\/\/www.premiumbeat.com\/blog\/?p=87442"},"modified":"2017-04-04T08:59:18","modified_gmt":"2017-04-04T13:59:18","slug":"arrival-editor-joe-walker-editing-tips","status":"publish","type":"post","link":"https:\/\/www.premiumbeat.com\/blog\/arrival-editor-joe-walker-editing-tips\/","title":{"rendered":"Video Editing Tips and Tricks from Oscar-Nominated Editor Joe Walker"},"content":{"rendered":"<h2 id=\"learn-useful-editing-tips-and-tricks-from-arrival-and-sicario-editor-joe-walker\">Learn useful editing tips and tricks from <em>Arrival<\/em> and <em>Sicario<\/em>\u00a0editor Joe Walker<\/h2>\n<p>No matter how long you&#8217;ve been editing, and no matter what kind of material you work with,\u00a0<strong>you can always learn useful tips and tricks from leaders in the industry<\/strong>.<\/p>\n<p>While working on\u00a0<a href=\"http:\/\/jonnyelwyn.co.uk\/film-and-video-editing\/the-making-of-arrival\/\" target=\"_blank\" data-wpel-link=\"external\">this post on the making of <em>Arrival<\/em><\/a>, I listened to and read a lot of articles featuring the film&#8217;s editor, Joe Walker. Not only did\u00a0his work on the film earn him <a href=\"http:\/\/www.imdb.com\/name\/nm0907863\/?ref_=nmawd_awd_nm\" target=\"_blank\" data-wpel-link=\"external\">a second Oscar nomination<\/a> (the first for <a href=\"http:\/\/www.imdb.com\/title\/tt2024544\/\" target=\"_blank\" data-wpel-link=\"external\"><em>12 Years A Slave<\/em><\/a>), but he&#8217;s also been <strong>very generous in sharing his expertise<\/strong>.<\/p>\n<p>Joe is currently in post-production for the highly anticipated <a href=\"http:\/\/www.imdb.com\/title\/tt1856101\/\" target=\"_blank\" data-wpel-link=\"external\"><em>Blade Runner 2049<\/em><\/a>.<\/p>\n<p><span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" class=\"youtube-player\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/S_JAMRKzEHs?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en-US&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox\"><\/iframe><\/span><\/p>\n<p>Interestingly, Joe likes to get involved in the editing of the teaser trailers, as this helps him repurpose the same material in a much more compact form, which can inspire him to be bolder with the actual film.<\/p>\n<p>In this post, I&#8217;ll cover\u00a0<strong>several of the practical editing tips <\/strong>that Joe has shared\u00a0that can improve how\u00a0you edit.<\/p>\n<h3 id=\"improve-your-editing-with-tips-from-joe-walker\">Improve Your Editing with Tips from Joe Walker<\/h3>\n<p><span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" class=\"youtube-player\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/FjAnVSgxDyc?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en-US&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox\"><\/iframe><\/span><\/p>\n<p>Most of the tips from Joe in this post are from two excellent sources. The first is an absolutely must-read article, written by Joe himself, and <a href=\"http:\/\/www.moviemaker.com\/archives\/mm_guide_2017\/getting-unstuck-arrival-editor-joe-walker-objectivity\/\" target=\"_blank\" data-wpel-link=\"external\">published in MovieMaker magazine<\/a>.<\/p>\n<p>The second is this engaging interview with <a href=\"https:\/\/www.youtube.com\/user\/TheHotButton\" target=\"_blank\" data-wpel-link=\"external\"><em>DP\/30<\/em><\/a> (above), which offers a &#8220;super-sized&#8221; chat with Joe about his work on <em><a href=\"http:\/\/www.imdb.com\/title\/tt2543164\/\" target=\"_blank\" data-wpel-link=\"external\">Arrival<\/a>, <a href=\"http:\/\/www.imdb.com\/title\/tt3397884\/\" target=\"_blank\" data-wpel-link=\"external\">Sicario<\/a>,<\/em> and even a little bit on <em>BladeRunner 2049<\/em>.<\/p>\n<p>Since\u00a0Joe was\u00a0nominated for an Oscar and <em>Arrival<\/em> has been so well-received, it&#8217;s highly likely that he&#8217;s also shared many of these same points in other interviews, too.<\/p>\n<h3 id=\"structure-your-edit\"><strong>Structure Your Edit<\/strong><\/h3>\n<p>In the <em>DP\/30<\/em> interview, Joe mentions <a href=\"https:\/\/youtu.be\/FjAnVSgxDyc?t=31m10s\" target=\"_blank\" data-wpel-link=\"external\">a new technique that he&#8217;s developed<\/a>\u00a0\u2014\u00a0he tries to edit backwards.<\/p>\n<p>By this, he means that <strong>when he&#8217;s first constructing a scene, he tries to work backward<\/strong>\u00a0from the one line, key shot, or moment that the scene is really all about \u2014 something\u00a0he needs to &#8220;land&#8221; to make the edit work.<\/p>\n<p>So rather than starting with the opening shot and working toward that moment (which sometimes doesn&#8217;t pan out), he starts from the end and works backwards, structuring the shot sizes, cutting, and timing to make that core moment really shines.<\/p>\n<p>Joe attributes this\u00a0to learning to edit film during his days at the BBC, hand-splicing every cut, and the discipline it required to think through your edit before you even began chopping up the rushes.<\/p>\n<p>These days, it&#8217;s easy to slap everything down on the timeline and skim through rushes. Learning to stop and think through a scene, consider what it&#8217;s really about, and determine its\u00a0key moments can take practice, but the end result is\u00a0worth it.<\/p>\n<p><span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" class=\"youtube-player\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/PkYh9e-fvbA?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en-US&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox\"><\/iframe><\/span><\/p>\n<p>Another tip that Joe has shared in several interviews\u00a0arose from <em>Arrival<\/em>&#8216;s dream sequences. They needed to condense several scenes into one and remove a distracting story thread, all while\u00a0keeping a key piece of information in the film. How did Joe solve this problem?<\/p>\n<blockquote><p>As an experiment, we very crudely strung together only the pieces we needed, at one point creating a really jarring join between one line of Ian\u2019s and another.<\/p><\/blockquote>\n<p>This jarring cut was left in, along with a bunch of other tricks you can <a href=\"http:\/\/www.moviemaker.com\/archives\/mm_guide_2017\/getting-unstuck-arrival-editor-joe-walker-objectivity\/\" target=\"_blank\" data-wpel-link=\"external\">read about in the <em>MovieMaker<\/em> magazine article<\/a>, but <strong>it reveals an important technique for any edit<\/strong>, which is to start with <em>only<\/em> the pieces you need.<\/p>\n<p>So often, the work of inexperienced editors is overly long because they start with everything and (sometimes) try to whittle it down instead of selecting only essential material and finding creative ways of making it\u00a0work.<\/p>\n<p>If you&#8217;ve stopped to think through the scene and its core beats, these should be the elements you&#8217;re starting with and working backward from.<\/p>\n<p><strong>Playing with Time<\/strong><\/p>\n<blockquote><p>The editor\u2019s greatest superpower is playing with time: speeding things up or slowing them down to examine a moment in microscopic detail &#8230; \u201cPace\u201d isn\u2019t just rattling through a film without allowing anyone to feel anything; you have to add variety and landscape to the moments you want to dwell on. A director I worked with used to say, \u201cYou\u2019ve got to sell some to buy others.\u201d Apply firm scrutiny of the sense of time throughout the story.<\/p><\/blockquote>\n<p>In many ways,\u00a0<a href=\"http:\/\/www.moviemaker.com\/archives\/mm_guide_2017\/getting-unstuck-arrival-editor-joe-walker-objectivity\/\" target=\"_blank\" data-wpel-link=\"external\">Joe&#8217;s tip about working on the effective pacing<\/a> and sense of time in each scene is a macro version of the tip about cutting a scene backwards. <strong>To get the film to work as a whole, you need to have moments of both tension and release \u2014<\/strong>\u00a0moments to absorb what&#8217;s happened and moments to rush along\u00a0without all the answers.<\/p>\n<p><a href=\"https:\/\/www.flickr.com\/photos\/146717963@N02\/29233526192\/\" data-wpel-link=\"external\" target=\"_blank\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-87444\" title=\"Editing Tips and Tricks from Arrival Editor Joe Walker \u2014 Pacing\" src=\"https:\/\/www.premiumbeat.com\/blog\/wp-content\/uploads\/2017\/02\/Moments-of-tension-in-Sicario-1024x657.jpg\" alt=\"Editing Tips and Tricks from Arrival Editor Joe Walker \u2014 Pacing\" width=\"755\" height=\"484\" \/><\/a><\/p>\n<p>There is a brilliant breakdown of how this plays out in <em>Sicario<\/em> from CineFix, <a href=\"https:\/\/www.youtube.com\/watch?v=-cEBguJj3dg\" target=\"_blank\" data-wpel-link=\"external\">which is well worth a watch<\/a> for a more detailed look at this concept.<\/p>\n<p><strong>Not Cutting Is Better<\/strong><\/p>\n<blockquote><p>I had this brilliant\u00a0mentor and\u00a0taught me the value of not cutting. And that&#8217;s the biggest impact of cutting with film on me &#8230; He used to say &#8220;Just because they shot it, you don&#8217;t have to use it.&#8221;<\/p><\/blockquote>\n<p>In the <em>DP\/30<\/em> interview <a href=\"https:\/\/youtu.be\/FjAnVSgxDyc?t=32m42s\" target=\"_blank\" data-wpel-link=\"external\">Joe talks about something he learned from a film editing mentor<\/a> on the power of not cutting. He describes spending all afternoon cutting between a wide shot and three close-ups, trying to milk each of the close-ups for all the best bits of each performance while keeping up with the fast-paced dialogue.<\/p>\n<p>After seeing Walker&#8217;s work, the senior editor asked him to see the wide shot that\u00a0featured all of the best performances, body language, and\u00a0looks. His conclusion was, &#8220;It&#8217;s better.&#8221;<\/p>\n<p>If you have great performances to work with, <strong>not cutting is many times more powerful than trying to accentuate a moment with a close up<\/strong>. Often, the audience is editing a wide shot in their heads anyway, as they shift their focus from character to character.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-87443\" title=\"Editing Tips and Tricks from Arrival Editor Joe Walker\" src=\"https:\/\/www.premiumbeat.com\/blog\/wp-content\/uploads\/2017\/02\/Joe-Walker-Editing.jpg\" alt=\"Editing Tips and Tricks from Arrival Editor Joe Walker\" width=\"755\" height=\"503\" srcset=\"https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2017\/02\/Joe-Walker-Editing.jpg 620w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2017\/02\/Joe-Walker-Editing.jpg?resize=300,200 300w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2017\/02\/Joe-Walker-Editing.jpg?resize=277,185 277w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2017\/02\/Joe-Walker-Editing.jpg?resize=359,239 359w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2017\/02\/Joe-Walker-Editing.jpg?resize=543,362 543w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2017\/02\/Joe-Walker-Editing.jpg?resize=560,373 560w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2017\/02\/Joe-Walker-Editing.jpg?resize=150,100 150w\" sizes=\"auto, (max-width: 755px) 100vw, 755px\" \/><br \/>\nImage from MovieMaker.com<\/p>\n<h3 id=\"the-sound-of-silence\"><strong>The Sound of Silence<\/strong><\/h3>\n<blockquote><p>I come from a music background, I was a composer and I\u2019m very nervous about over-reliance on temp tracks. I think they are unfair to composers because they tie their hands behind their backs before they\u2019ve had a chance to respond to a tabula rasa, and also it means in sound terms, it prohibits the investigation of silence and the investigation of sound effects, so I like, if possible, to do things with an atmosphere or a mood, or in Twelve Years a Slave, cicadas, for example.<\/p><\/blockquote>\n<p>In this interview from <a href=\"http:\/\/www.aotg.com\/index.php?page=cuttingroom_200\" target=\"_blank\" data-wpel-link=\"external\">Gordon Burkell of AOTG.com<\/a>, Joe talks about <strong>avoiding an over-reliance on editing with temp tracks <\/strong>\u2014 he\u00a0likes to keep them off for as long as possible. This is a tried-and-true technique for many experienced editors, but \u00a0it takes real discipline to watch scenes &#8220;dry.&#8221;<\/p>\n<p>It feels more satisfying to slap on some temp music, cut to its\u00a0rhythm, and get the\u00a0instant gratification that it all &#8220;works.&#8221; It also then feels painful to undo anything that works to that track because, you know, &#8221;it&#8217;s working.&#8221; This\u00a0is the inherent problem with temp tracks. They are temporary.<\/p>\n<p>You will <strong>get far better results by keeping the music off for as long as possible<\/strong>, ensuring that the scene can &#8220;stand up and carry itself&#8221; on it&#8217;s own. Then, when the (preferably composed) music comes into the cut, the scene will really shine.<\/p>\n<p>As a related tip (and something that Walter Murch is also known for), Joe will edit with the speakers completely turned off, to see if the scene works without any dialogue.<\/p>\n<blockquote><p>We both love cutting with the speakers off, which is just something we started doing on<em> Sicario<\/em>, and cutting it as a silent movie sometimes \u2026 but it seems to be a good approach with [Villeneuve&#8217;s]\u00a0films, that if it works with just the visuals and you can tell what\u2019s going on and the story is working \u2026 it makes you very tough [on the story].<\/p><\/blockquote>\n<p>These are just &#8220;some&#8221; of the tips and tricks that Joe has shared in his interviews, so I&#8217;d encourage you to <a href=\"http:\/\/jonnyelwyn.co.uk\/film-and-video-editing\/the-making-of-arrival\/\" target=\"_blank\" data-wpel-link=\"external\">read and watch as much as you can<\/a>\u00a0about his work.<\/p>\n<hr \/>\n<p><strong>Do you know editing tips from other industry leaders?<\/strong> Share in the comments.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Learn useful editing tips and tricks from Arrival and Sicario editor Joe Walker<\/p>\n","protected":false},"author":15,"featured_media":88285,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[3292,41,3843,79,39],"tags":[5556,211,5380,5555,5376],"class_list":["post-class-post-87442","post-class-post","post-class-type-post","post-class-status-publish","post-class-format-standard","post-class-has-post-thumbnail","post-class-hentry","post-class-category-audio-editing-2","post-class-category-avid","post-class-category-filmmaking-2","post-class-category-inspiration","post-class-category-video-editing","post-class-tag-arrival","post-class-tag-editing","post-class-tag-inspiration","post-class-tag-joe-walker","post-class-tag-video-editing"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v18.5 (Yoast SEO v27.7) - https:\/\/yoast.com\/product\/yoast-seo-premium-wordpress\/ -->\n<title>Video Editing Tips and Tricks from Oscar-Nominated Editor Joe Walker<\/title>\n<meta name=\"description\" content=\"Learn useful editing tips and tricks from Arrival and Sicario editor Joe Walker\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.premiumbeat.com\/blog\/arrival-editor-joe-walker-editing-tips\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Video Editing Tips and Tricks from Oscar-Nominated Editor Joe Walker\" \/>\n<meta property=\"og:description\" content=\"Learn useful editing tips and tricks from Arrival and Sicario editor Joe Walker\" \/>\n<meta property=\"og:url\" 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