ABSTRACT
It is part of broadcasting folklore that the best place to start to learn about camerawork is in the edit booth. Here, the shots that have been provided by the cameraman have to be previewed, selected and then knitted together by the editor into a coherent structure to explain the story and fit the designated running time of the item in the programme. Clear story telling, running time and structure are the key points of editing and a cameraman who simply provides an endless number of unrelated shots will pose problems for the editor. A cameraman returning from a difficult shoot may have a different version of the edit process. A vital shot may be missing, but then the editor was not there to see the difficulties encountered by the news cameraman. And how about all the wonderful material that was at the end of the second cassette that was never used? With one hour to transmission there was no time to view or to cut it, claims the editor.
