With each new film editing venture, a question arises within me: What shall be the opening shot? For it is within this first frame that the fundamental essence of the entire cinematic experience is established.

We need to sustain the freshness reminiscent of the first encounter with the footage, while holding onto the initial impression bestowed by the shots. For the initial viewing experience encapsulates the most objective and direct perceptions.

The film editor assumes the critical position as the final gatekeeper of a movie, bridging the gap between the director and the audience. Consequently, irrespective of the required level of harmony between the director and the editor, their ultimate objective lies in presenting the film in its finest form, ensuring the collective efforts of the entire team are not in vain.

Scene of the Shirley Yip Yuen-Ting Workshop & Masterclass for Editing

The lecturer for this editing themed workshop & masterclass is Shirley Yip Yuen-Ting, an accomplished film and television editor who is a member of the Society of Film Editors Hong Kong. Commencing her presentation, she provided a comprehensive account of her professional journey, beginning as an inexperienced editor working on film outtakes, trailers, and advertisements, and eventually ascending to the ranks of a premier editor collaborating with renowned directors.

Scene of the Shirley Yip Yuen-Ting Workshop & Masterclass for Editing

▍Conceiving the first shot in film

The opening scene of the film Bruce Lee, My Brother

Shirley Yip used her own work as a reference to present and elucidate the opening scene of her editing piece, Bruce Lee, My Brother, putting forth the significant viewpoint that "the initial frame of a film sets the tone for the entire picture".The film takes inspiration from the writings of Bruce Lee's younger brother and narrates a period of Bruce Lee's formative years in both the United States and Hong Kong, China.

The opening scene of the film showcases an empty shot, depicting Bruce Lee's former residence as the visual content. Then, the camera transitions to Bruce Lee's siblings returning to their nostalgic birthplace, evoking memories of the past as they peruse through an album of photographs. Following that, his father makes an appearance, welcoming the birth of Bruce Lee. These shots begin by evoking environmental objects, reminiscing about past eras, before formally commencing the narrative.

Originally, the script was designed to start with the photo album, but during the editing process, I came across this long take. As I gazed at that shot, it was as if I had been transported to Bruce Lee's home, where I caught a glimpse of the myriad stories that unfolded. Following that, I suggested to the director that we incorporate that shot as the opening scene of our film. The director agreed, expressing his admiration for this particular composition. Hence, throughout the course of creation, we frequently stumble upon unforeseen delights that inject an element of surprise. For instance, the continuous long take was not preconceived or planned in advance. It was an impromptu decision made by the cinematographer after the art director had set up a visually captivating and textured scene.

The truth is, the first frame of a movie has the power to establish the overall atmosphere. Therefore, whenever I undertake the task of editing a new film, I invariably ask myself: "What should be the opening shot?" I encourage you to experiment with this as well.

▍Having a keen eye for detail and acute observational skills 

Movie clips of A City Called Macau

By showcasing movie clips from A City Called Macau, Shirley emphasized that editing requires not only "having a keen eye" but also "possessing acute observational skills". Within these clips, the audience was presented with the intricate calculations and emotional conflicts between the male and female protagonists, while the editing rhythm excellently showcases their dynamic performances and escalating tension emanating in front of the camera.

When editing, I prefer to watch all the footage at least once. For example, in the scene previously presented, Director Li Shaohong captured a lot of footage of Bai Baihe, and I carefully selected the best reaction shots from her performance. It is essential for a film editor to discern the parts of an actor's performance that are executed exceptionally well. Those scenes characterized by excessive rigidity, tension, or minor gestures should be selectively trimmed. One crucial task for a film editor is to extract the best moments from the footage.

Another valuable lesson from my personal experience is to maintain the sense of freshness that accompanies the initial viewing of the footage, and to remember the first impression the shots leave on you. The first viewing provides the most objective and direct perception.

Besides the discernment and selection of shots, great attention to detail is necessary during the editing process. Take, for example, the scene mentioned, which involves multiple characters engage in drinking and eating actions. Additionally, their seating arrangements and head movements undergo changes. Consequently, during the editing process, meticulous attention is imperative to guarantee the seamless integration of all visual elements, constituting a foundational skill for editors.

▍Commanding the structure and tempo of a film

Screening of film clips at the scene of the Workshop & Masterclass

The showcased clips feature a thrilling chase scene from the film Bruce Lee, My Brother, as well as a poignant moment where Lau Kin-kong selflessly saves Bruce Lee, portraying their deep bond of brotherhood.

During the editing process of this particular scene, we made structural adjustments. Initially, the sequence followed a linear progression, showcasing Bruce Lee and others being pursued and Lau Kin-kong hiding. However, when Lau witnesses the life-threatening situation faced by Bruce Lee and his friends, he courageously emerges and pushes the assailant down the stairs.

During the filming process, the action sequences were originally designed in this manner. However, after a rough cut, I realized that editing the story in chronological order resulted in a lackluster and less thrilling narrative. Therefore, we made the adjustments you just witnessed, changing the sequence to depict Bruce Lee and others being chased, followed by the moment when the assailants try to silence them. Suddenly, a person emerges, and both individuals end up falling down the stairs together. This flashback explains that Lau Kin-kong was the one who pushed the assailant down the stairs. By showcasing Lau's reminiscence of his friendship with Bruce, it highlights the inner turmoil that Lau experiences, while also providing an explanation for Bruce's emotional response to Lau's death.

Presentation of PPT at the scene of the Shirley Yip Yuen-Ting Workshop & Masterclass for Editing

In my opinion, these alterations and arrangements serve multiple objectives. Firstly, they incite curiosity among the viewers: who could be the one responsible for the assailant's downfall? Secondly, they amplify the emotive depiction of their friendship. Thirdly, by introducing the profoundly sentimental aspects after the tense atmosphere subsides, it ensures a more holistic appreciation of the film. Through the skillful use of editing techniques, we can narrate the story in a more enriched and fluid manner, ultimately engrossing the audience in the plot.

Presentation of PPT at the scene of the Shirley Yip Yuen-Ting Workshop & Masterclass for Editing

▍The relationship between directors and editors: Effective communication and mutual trust

Lastly, Shirley Yip delved into the collaborative relationship between directors and editors, emphasizing the significance of trust and communication. Drawing from her experience working with Director Li Shaohong, she exemplified the process of achieving mutual agreement through candid communication and collaborative refinement in the face of divergent viewpoints. Within the realm of conjuring the mystical essence of filmmaking, the editor is the adept hand that holds the authority to determine the fate of the narrative.

Presentation at the scene of the Shirley Yip Yuen-Ting Workshop & Masterclass for Editing 

Having worked together on multiple occasions, Director Li is well aware of my editing preferences and shows me utmost respect by avoiding unnecessary disturbances. Not until I have crafted the first version does she offer suggestions for modifications. During this journey, we fostered a mutual respect and continuously strengthened our synergy and trust through open communication.

When collaborating with a new director, I refrain from dismissing their ideas based on my own experience. Instead, I prioritize cutting the footage according to their intended expression. With concrete visuals in place, we can establish more effective communication. Building upon this foundation, I then convey my understanding and approach to the director. Apart from communicating with the director, the editing process also necessitates continuous experimentation and revision.

The film editor serves as the final gatekeeper and a crucial bridge between the director and the audience. Therefore, regardless of how directors and editors need to harmonize, the ultimate goal is to present the film in the best possible way to the audience, honoring the collective efforts of the entire team.

▍Q&A:

Zhu Xinyi (young director): In your opinion, what sets apart the imagery created by female directors, and do you experience any exceptional synergies when working alongside them?

Scene of the Workshop & Masterclass for Editing

Shirley Yip: From a visual standpoint, I believe films exploring female themes generally adopt a more nuanced and indirect approach, rather than being overtly explicit. The editing rhythm tends to be less prim and fragmented, with a preference for slower shots that highlight the characters' emotions. Let's say, when collaborating with Director Li Shaohong, who brings a distinct female perspective to her work, and considering that I am also a woman, it becomes effortless for me to grasp the emotions she aims to portray. This creates a synergy and an innate understanding between us.

Dong Mingxing (young director): Could you shed some light on your perspective when it comes to delving into films with women-focused themes?

Young director Dong Mingxing asking a question at the scene of the Workshop & Masterclass 

Shirley Yip: I think in women-themed films, the point of entry lies in presenting the perspective of women and delving into the intricacies of their inner thoughts. It's these refined emotions that strike a chord with many female audience members. I believe that it is only when the audience can resonate with a film that they are able to immerse themselves in it and truly feel the protagonist's experiences, emotions, and story. For example, recently, I watched Anatomy of a Fall, and I felt that the opening scene of the film, as well as the close-ups of the female protagonist throughout the movie, were spot-on.

Zhao Siying (young director): When it comes to editing, we often mention a term called "pre-production editing". I would like to ask what aspects of pre-production editing do you find most meaningful for editors, or if there are any necessary communications between editors and directors before filming begins.

Young director Zhao Siying asking questions at the scene of the Workshop & Masterclass

Shirley Yip: Personally, I don't usually get involved in "pre-production editing", but I'm aware that many directors do require editors to participate in the early stages of the process. The reason I don't participate is because I feel the need to maintain objectivity. For me, after the footage is shot, my direct impression of the footage is the most crucial. If I get too involved in the early stages, I might get trapped in certain ideas and struggle to break free from them. This would have a significant impact on the editing process later on.

Zhao Siying: Thank you, Ms. Yip. I have another question about music. When a film requires background music, is it typically the director who has a preferred music style and presents it to you, or do you personally search for suitable music based on the editing tempo?

Shirley Yip: It can vary. For a musical film, usually the music is created first. However, for other types of films, I would complete the scene first and then gradually search for suitable music to complement it. I select music based on the scene and editing in order to enhance the audience's emotional experience.

Young directors posing for a group photo at the scene of the Workshop & Masterclass

For many creators, having the foresight to meticulously extract the most valuable shots from a complex array of materials in a film, while preserving the sense of novelty that arises from their initial reactions, is a perspective worth embracing. Ms. Yip also touched upon the connection between the editor and the director. Editing is not an isolated profession but rather a collaborative endeavor, akin to orchestrating a musical piece, where each note on the strings must harmonize with one another to produce a more melodious sound. In conclusion, we also aspire, as hinted by the title of Ms. Yip's speech, to elevate film editing from a technical endeavor to a mesmerizing form of magic with the invaluable support of these industry luminaries!

　　Group photo at the scene of the Workshop & Masterclass