Melanie Jankes Golden - Editor
Job title - Editor
Experience - 10+ years
“The edit suite is a place to play, to re-direct, to fix a scene that wasn’t filmed right because of problems on the day, to enhance an already incredible performance, or to help one that is not so great, to come up with new ideas - but the key is - it is a place to play, to be creative.”
Tell us about your job role and the kinds of projects you work on;
Hello! I am a freelance offline editor, originally from SA now in the UK. (Very recently in the UK) I edit long-form across all genres - scripted drama/comedy series, reality tv, wildlife and documentaries, unscripted and I have done feature films. I have worked with incredibly talented directors and producers on shows for HBO, Netflix, National Geographic, Discovery Channel, Fremantle to name a few.
What does an average day look like in your post-production working world?
My average day… Every day starts with a workout to clear my head! And coffee!
Then it will depend on what type of show I am editing and at what stage of the edit we may be at. If I am still in the beginning stages of an edit, I will start with going through what was filmed and prepped for me from the day before. If it is scripted, I will obviously have read the script and had discussions with my director before the shoot started - around style, music sound effects etc…I will have already pulled some scratch music and sound effects as sound is as important as visual and is as much a part of the story as the visual style.
I like to dive into my edit. Series are not filmed in sequence, and sometimes I am editing across more than one episode, so I will start assembling the scenes that I have. For me personally, I will watch through master takes to get a sense of the scene. I have learnt to “READ” my footage, I think we all read a script and visualize a scene in our head, but it is the footage, direction of the scene and the performances that are key to how I start to edit the scene.
Then I jump into my assembly.
For me, once I have an assembly in place, I find going and finding the perfect moment, beat, take, look, glance easier. I have my canvas to work off. I can then start to weave the story, emotions, heighten tension if need be , get the comedy timed right and so on.
I find I am more “creative” - I guess more alert, in the mornings, so that is when I like to get stuck in on editing and tackling the assembly. Later in the day, I like to watch through what I have done and start to fine cut a bit and add music and sound. I watch through what I have edited at the end of a day, especially if I have struggled with a scene, because I find when I sleep on it, by the morning I have the solution. Each genre works slightly differently on how I tackle the edit BUT story story story and emotion is the key for all.
As the edit progresses, then there are viewings with my director or edit producer, and chats about notes. I know when one is a new editor, notes are scary, but I find these sessions a chance to discuss and often come up with more ways to take our episode to the next level. I get very engrossed in my edit and characters - even on a reality show, so I love to talk ideas out with my directors and producers.
What has been your career highlight?
Oh wow, I don't really know how to answer that. There have been many incredible moments, from editing my first Feature length wildlife documentary with Dereck Joubert, to editing my first Drama Series, and first feature film, to editing on Master Chef and being nominated and winning some awards across my career. It is a highlight that keeps going.
I think for me, besides the amazing stories I have been given a chance to be involved in, and projects that span from pure entertainment to deeper stories designed to make people stop and reflect, the PEOPLE I get to collaborate with are my highlight. My directors, producers, fellow editors, assistant editors, crew - all of them. When I am on an edit with a fantastic team, it makes everyday, even a hard one, worth it.
How did your career in post-production begin?
After film school, I started as an assistant editor in commercials. WAAAYYY back in the day of 35mm film and narga tape.
I learnt the old fashioned way, from neg transfers, syncing and laying sync back to tape, then selecting for my editor. Helping run edit sessions with agency and client approvals, and going into grades, online and audio sessions. BRILLIANT WAY TO LEARN! Then I became a junior editor and started taking on smaller commercials until I had a client base of my own.
I had always wanted to get into long form, and I was given the opportunity to edit Feature length Wildlife documentaries. A big change from commercials, but I can honestly say, they made me the editor I am today. I learnt how to make any edit work, how to keep putting the story first, and to enjoy the process of “creating” in the edit. It was liberating. I know all editors have a voice, but this was where I found the confidence to believe in mine. Then the long form world opened and I jumped into drama series, and met amazing editors from long form who I have worked with on edits ever since and I never looked back.
Tell us about a pivotal moment in your career;
I can honestly say, my pivotal moment was a more personal one than an epic event.
When we first start editing, we are so desperate to get the edit “RIGHT” that I think we lose our voice and sometimes confidence.
It was when I stepped back, and reminded myself that I LOVE being an editor because I get to create magic in a moment, in a scene. That I have my own individual voice and that I DO have something to bring to an edit.
That the edit suite is a place to play, to re-direct, to fix a scene that wasn’t filmed right because of problems on the day, to enhance an already incredible performance or to help one that is not so great, to come up with new ideas - but the key is - it is a place to play, to be creative. It should be a place both the editor and director feel they can play, hash out new ideas.
And, that I had something of me to bring to all my edits, a way I see a story, or a character and the sooner I had the confidence in my voice, the sooner directors and producers trusted my voice.
Which women in post do you admire?
Shew, I have worked with some of the most incredible women from the beginning of my career. Directors, producers, writers, editors, channel executives - I admire everyone! Each one of them has taught me something, shown me how to be strong yet feminine in what can be a hard crazy industry. They have shown me how to do it all with grace. I still work with many of them, and I am grateful that I get too.
What advice do you have for other women wanting to start a career in post?
This is a collaborative industry, it may feel, when you start, that you need to stand alone and prove yourself. You do not!
Surround yourself with other editors, I promise, you will learn so much from them, and they will be your biggest support. When I started editing long form, the majority of the work I got was from fellow editors recommending me or bringing me onto a series with them. When I am stuck, not sure about a scene etc… I will pull in another editor and ask for their opinion, it is not a competition, we all learn from each other and we keep learning.
Remember to pay it forward though when you “MAKE IT”
Always treat your assistant editors with respect - they hold the edit and you together!
Notes and changes - there will always be notes and changes, do not take these personally, embrace them… someone is seeing something you are not.
Music is a must - learn to use music properly in your edits. It is a game-changer.
Remember being on set is tough - it never goes smoothly, your job as the editor is to make the director feel secure - don’t tell them what they did wrong, show them an edit that will make them go - shew I have a story! Make magic for them.
I keep saying it, and I will say it one last time - this is a collaborative industry from the writers, production and post. Collaborate.
You will find your voice, what you bring to every edit, you are not meant to be like the editor next door to you, they have their voice, you will have yours - embrace it.