Think Like An Editor
As an operator, it is clear what your job is. Frame the story, move the camera, understand storytelling through the lens, be a part of the team. Underlying all of that are other concepts that you should start considering, ones that will only make you better. One of the big ones is to think like an editor. Sometimes, doing so can be the difference between being a good operator and being a great operator.
As I begin to watch the rehearsal, discuss the shots and the scene with the DP and the director, and start to conceptualize how we will shoot it, the idea that is always in the back of my mind is How would I cut this scene? The editors, of course, will put the scene together the best way they see fit, but the more you are on the same page, the more options you can give them, the better their job is, and the greater the ability they and the director have to tell the story in different ways.
Most scenes start out with the master shot–a wide shot that generally shows the entire scene in some way. As you start to lay out the master, consider what coverage you are thinking that the editors may need. I often will do this in my head before I inquire of the director and DP what they are thinking of for coverage as a little game to see if we are on the same page. This will help you in two ways: First, it gives you an idea of what is coming–“Hey, we are going to need a second camera for the next shot, so make sure they are ready.” Second, it helps you to prioritize the shots and make sure that you aren’t walking into any issues three shots down the road–two shots from now, we will be looking straight into that mirror behind them, so you ask to shift the table you are shooting in the master so you don't get caught with a problem later. Bottom line: you want to think ahead, and, in order to think ahead, you need to understand how the scene will be cut and what pieces the editor will need to tell the story effectively.
Along with all of this, is simply what is at the heart of operating and that is simply: story. Knowing the story, how the story will be told, and what opportunities are available will help inform you as to what you need to get. Mind you, a good director and DP will already have this figured out, but this won't always be the case, and even if it is, yours is a new set of eyes looking at this and so your opinion has value.
Talking to a director about editing is also a way to show them that you are more than just someone who points the camera, that you are a valuable member of their team. I’ll often ask directors if they would like me to find a new way into the scene (start the shot off in a certain way so that it will be a better cut form the last scene) or ask them if they have a specific idea of how to cut into or out of the scene and share with them if an idea occurs to me.
The bottom line is the more you think like an editor, the less likely you are to miss something that the director might need, and the greater of an ally you will be to them in their mission to tell the story.
Working on set and playing the game of How would I cut this? is one great and easy way to learn this skill but not the only one. Watch classic movies you know well specifically for the editing. Read books on editing. Help a friend edit a small project. And my personal favorite, make some notes on how you would cut a scene that you shot and then watch the final product and see what they did. Where you in the ballpark? Did they surprise you? Was there a piece that would have made the cuts work better that you missed?
Finally, once you get good at what it takes to simply get the nuts and bolts of a scene, start thinking outside of the box and consider alternative ways to tell the story. It may not happen on every show, but, eventually, you will find yourself in situations where your view on things becomes a valuable asset–and that is what gets you hired back and makes for a great operator.
