Do Film Editors Work on Set?
Film editors have traditionally worked in post-production, isolated in edit suites far from the set. But that model is changing. Editors are now regularly working on set during principal photography, collaborating directly with directors, cinematographers, and the rest of the production crew.
The shift is driven by technology (portable editing systems, cloud-based dailies review) and by the practical reality that catching problems during production is cheaper than fixing them in post. Having an editor on set means footage gets reviewed the same day it’s shot, continuity errors get flagged before the crew moves on, and the post-production timeline compresses significantly.
THE GROWING ROLE OF ON-SET EDITORS
The traditional film production workflow kept editors and production crews separate. The crew shot footage, sent it to the edit suite, and the editor started cutting after production wrapped. That clean division made sense when editing required dedicated hardware, film reels, and purpose-built facilities.
For a foundational overview of the editor’s responsibilities, our guide to what an editor does and their essential job duties on set covers the traditional role before examining how it’s evolved.
Modern editing systems changed that equation. A film editor working on a MacBook Pro with DaVinci Resolve or Avid Media Composer can cut broadcast-quality footage from a tent next to the set. Cloud-based tools like Frame.io allow editors to share rough cuts with directors and producers in real time, even if they’re in different locations.
The pandemic accelerated this further. When COVID-19 restrictions limited who could be physically present during production, remote and on-set editorial workflows became standard practice rather than exceptions. Many productions now build on-set editing into their production plans from the start.
High-profile productions that have used on-set editors include Mad Max: Fury Road, where editor Margaret Sixel cut footage in parallel with shooting, and the Marvel Cinematic Universe films, where editorial teams work on set throughout principal photography to manage the complexity of visual effects-heavy sequences.
For a broader look at the environments editors work in, from studio suites to remote setups, our guide to working conditions for film editors covers what to expect across different production types.
WHY PRODUCTIONS PUT EDITORS ON SET
The benefits of on-set editing are practical, not theoretical. Productions that embed editors during filming see measurable improvements in three areas:
Fewer reshoots. An editor reviewing dailies during lunch can flag a missed angle, a continuity break, or a performance issue while the set is still standing and the actors are still available. Reshooting a scene on the same day costs almost nothing compared to scheduling a reshoot weeks later, which requires reassembling crew, reopening locations, and rebuilding sets.
Shorter post-production schedules. When editing begins during production instead of after wrap, the post-production timeline compresses. On a feature film, this can mean weeks of savings. On a commercial or corporate production with tight delivery deadlines, it can mean the difference between hitting a launch date and missing it.
Better creative collaboration. Directors benefit from seeing rough assemblies of scenes while they’re still shooting. An editor can show a director that a scene isn’t working structurally, that a performance needs another take, or that two scenes cut together in a way that wasn’t anticipated. This feedback loop is impossible when the editor doesn’t see footage until production wraps. Productions bringing an editor on set should formalize the arrangement through a film editor contract that specifies on-set responsibilities, daily rates, and post-production deliverables.
Real-time continuity checks. Continuity errors (a coffee cup in the wrong hand, a collar that changes between shots, daylight that doesn’t match) are easier to catch when an editor is reviewing footage the same day. The script supervisor handles on-set continuity, but the editor sees these issues in the context of the full scene and across multiple takes.
Visual effects planning. On VFX-heavy productions, the editor’s early assemblies help the VFX team understand which shots will actually make the final cut. This prevents the production from spending money on visual effects for shots that end up on the cutting room floor.
WHAT DOES AN ON-SET EDITOR ACTUALLY DO?
An on-set editor’s daily workflow typically includes:
Dailies review. At the end of each shooting day (or during breaks), the editor ingests new footage, organizes it by scene and take, and begins assembling rough cuts. The digital imaging technician (DIT) or data wrangler handles the initial media transfer, and the editor takes over from there.
Assembly cuts. As scenes accumulate, the editor builds an assembly cut, a rough version of the entire film in script order. This gives the director and producers a living document that shows how the production is coming together.
Communication with the director. The editor reviews cuts with the director, flagging missing coverage, suggesting alternate takes, and proposing structural changes. On smaller productions, this might happen over a shared monitor between setups. On larger productions, the editor may work from a dedicated editing suite near the set.
Collaboration with the script supervisor. The editor and script supervisor work together to ensure continuity across scenes and that all scripted coverage has been captured. If the script calls for a specific reaction shot or insert and the editor notices it hasn’t been filmed, they can flag it before the set is struck.
Rough sound and music placement. On-set editors often lay in temporary sound effects and music to give directors a sense of how scenes will feel with audio. This is scratch audio, not final, but it helps inform creative decisions during production.
ON-SET EDITING EQUIPMENT AND SETUP
The portability of modern editing systems is what makes on-set editing possible. A typical on-set editing setup includes:
- A high-performance laptop (MacBook Pro M-series or equivalent) running Avid Media Composer, DaVinci Resolve, or Adobe Premiere Pro
- Portable storage (RAID arrays or fast SSDs) for managing large volumes of raw footage
- Calibrated reference monitor for color-accurate review
- Professional headphones for audio evaluation
- Frame.io, PIX, or similar collaboration platform for sharing cuts with remote stakeholders
On larger productions, the editor may have a dedicated trailer or room near the set with a more permanent setup including dual monitors, a proper editing desk, and direct network connection to the DIT station. For a broader look at the environments editors work in, from studio suites to remote setups, our guide to working conditions for film editors covers what to expect across different production types.
FREQUENTLY ASKED QUESTIONS
Do film editors work on set? Yes, increasingly so. Modern portable editing systems and cloud-based collaboration tools allow editors to work alongside directors during principal photography, reviewing dailies, flagging continuity issues, and building rough assemblies in real time.
What does a film editor do on set? An on-set editor reviews dailies, builds assembly cuts, communicates with the director about missing coverage or performance issues, collaborates with the script supervisor on continuity, and places temporary sound and music to give the creative team a sense of how scenes will feel.
What is the difference between an on-set editor and a post-production editor? They are often the same person. An on-set editor begins working during production rather than waiting until after wrap. The same editor typically continues through the full post-production process, but gets a head start by cutting footage as it’s shot.
What equipment does an on-set editor use? A typical setup includes a high-performance laptop running professional editing software (Avid, DaVinci Resolve, or Premiere Pro), portable storage drives, a calibrated monitor, professional headphones, and a cloud collaboration platform like Frame.io.
Can having an editor on set reduce costs? Yes. On-set editors catch continuity errors and missing coverage while the crew is still assembled, which reduces expensive reshoots. Starting the edit during production also shortens the post-production schedule, saving both time and money.
In Summary
Film editors increasingly work on set, and the trend is accelerating. The combination of portable editing technology, cloud-based collaboration tools, and the practical benefits of real-time feedback has made on-set editing standard practice on productions of all sizes.
For a deeper look at the editorial process itself, our guide to post-production sound editing step by step covers how sound editors build the audio track after picture lock. For understanding where editors fit in the broader team structure, the film crew hierarchy breaks down every department and role from pre-production through post.
Whether you’re producing a feature film, a documentary, or a corporate video, having the right editorial team in place from day one makes the entire production more efficient. Learn more about our video production services or get a free quote to discuss your next project.
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