Instead of Bacon spelling out his age on his eggs, it's chorizo on his huevos.

Life in the Cage.  This is the doc I made for 1200 bucks during my senior year of college, between 1999-2000.  Ignore the first 15 seconds or so as its just some title that the bootleggers through on there.

Great Doc.  Trying to slot that in Documentality somewhere, but probably not for a while.  I would also heartily recommend Mind of a Chef on Netflix.  Great little food series EP'd by ANthony Bourdain, all about Chef David Chang.  I've been a huge fan of his for a while, and I've incorporated several of his recipe's into my cooking.

Sanjay Dutt's moonsault stomp is even crazier.

I'm going to start this by saying of you want a technical breakdown of software, hotkeys, media management, or shortcuts, I have zero interest in talking about that, and realistically there are already a million different resources for that.  Your skill as an editor shouldn't in any way be dependent or attributed to knowledge of a piece of software.  Everything I'm going to talk about here is workflow and philosophy. Also, I'm going to be talking about the difference between scripted and non, because while the goals should be the same, the workflow tends to be a bit different. 

EDITING NON FICTION

This applies to documentary, non-game reality show, BTS or promo material.  This is already assuming you've ingested media and know where all your assets are.

1). Create a project

1.5). Bin/folder architecture. Organization will save you dozens of hours later on, so take the time and set up a distinct series of bins so that every piece of media has a home.  Most times my projects have bins that look like this:

01 Cuts
    -CURRENT CUT
          (If it's a tv show there will be sub bins here.  Act 1, act 2, etc.)
    -OLD CUTS
02 FOOTAGE
          (usually a bin for every days shoot.  Tapes generally have labeling that indicate day, cam number, and feel number.  So a standard bin would be 0929A03.  Meaning, September 29th, cam A, reel or tape 3.)
03 BROLL
04 GRFX
          (this includes titles, mortises, Vfx, chyrons, custom or global filters, stills et.  Prepare 1 sub bin for each)
05 MUSIC
06 EXPORTS
07 MISC

2). Paper Cut.  You should have a general idea of what your story is before cutting.  Of course it will change, but take the time to write a treatment. If you want to get fancy and have transcripts, go ahead and write selects of dialogue or verite, but otherwise proceed to.....

3).  Interview cut downs.  For each person you interview, you should have a cut down of their interview to just relative or interesting bits.  Think 10:1 ratio of what you shot.  This will still be way too long, but it'll help you focus. 

4).  String Out.  A linear but fat string out of the story you're trying to tell. Interviews should be roughly where you want them, but you're not thinking visually yet, purely story.  Length should be 3-6 times ideal trt. (Total running time.)

5 Cut down.  Trim the fat.  This applies first to extraneous story threads and dialogue, but will soon extend to grammar.  For instance, a sentence that may start out as "So, it was so bizarre how Teague called me yesterday.  He mentioned something about Paul being on fire but he just sounded so...I don't know like just so  smug about it, you know what I mean?" will get trimmed and restructured to "Teague called me yesterday. / He mentioned / Paul on fire. / He sounded so smug about it. / It was bizarre." 

6) Radio cut.  Taking the cutdown, you will now introduce the pacing you want, the cutaways, the reactions, and the verbal grammar.  You may take that last sentence and do this to it: (wide shot) "Teague called me. (Reaction person 1, reaction person 2) (L cut) He mentioned Paul on fire. (interview bite person 2 under best reaction shot available)... you get the idea.  You're cutting the piece, with the exception of music and sound design.  Many employers like to see the radio cut first prior to scoring. Then...

Music pass

Audio mix pass

Internal cut 1

Notes.

Internal cut 2

Notes

Client notes

Lock cut.

Color correction

Mixing

QC

Delivery

EDITING FICTION

The process for scripted material is the same from steps 4 onward. The only difference is the element of takes of the same performance.  In Avid, I'll stack multiple takes on top of each other in the timeline, with script notes first choice in V1, and other takes I like above them.  I'll then deactivate or monitor only certain tracks at a time.  This helps you find the right flow and allows quicker ways of viewing multiple takes of a line or cutaway in the context of the larger scene. 

I'm typing this entire post on my phone, so I'll have more to say when I can get to a keyboard.

My favorite Mashup of ALL TIME.  I had nothing to do with this at all, I just think its extraordinary.

I don't know about WAYDM, but I could easily see doing an Intermission where we Post Mortem a series, like BB, LOST, BtVS, FF, TO, WAtJ, PYL, or MoOWK.

(5 american dollars to the first who figure out what shows Im talking about).

Not so sure.  All the reviews I read were pretty positive.  We'll see.

To Neuro, I would just say that there is a phrase that gets thrown around a lot on these parts which is, "Your mileage may vary."  Obviously all of the magic of Dark Crystal works for you.  That's awesome.  But it's subjective opinion about those subtle moments, not universal truth.  I don't think it takes anything away from the validity of anyone's points, yours or theirs.  I certainly don't think that this commentary marks anything different from our usual modus operandi.

No, see this is the story of every single FIYH recording.

They're gonna seem like they have nothing to do with each other, and plot wise, they probably don't.  But paired together, they surprisingly cover similar ground.

Guys, thanks for the positive feedback both here, and through emails and whatnot.  We have the next two tepisodes planned in terms of content, if not recording date.

Ep 3:  STORIES WE TELL and OVERNIGHT (with Trey and whoever else)

Ep 4:  DECEPTIVE PRACTICES and THE IMPOSTER (definitely with Teague and also possibly Trey).

Ep 5:  WEST OF MEMPHIS with my fight watching buddy, Geoff LaTulippe.  Still have to find a second film with that one.