Film Editor Services

Here is what we have to work with. We supply editors who cut Austrian shoots across features, episodic television, documentary and commercials. Our editors work from rushes through assembly, fine cut and locked picture, working closely with the director and producer in Vienna's cutting rooms or remotely with global teams.

Here is how this works in practice. We brief them on your story, footage and delivery schedule, then confirm openings against your post timeline. Vienna's post-prod facilities support all major editing sites and deliverables. Our editors work fluently in English and German. We contract under the Kollektivvertrag terms set by the Fachverband der Film- und Musikwirtschaft within the WKO.

Set up the editor with the post-prod supervisor, colorist and sound team so the cut flows cleanly into finishing and lands on schedule for delivery.

Here is the short of it. Editing is central to the Austrian cinematic style. The country's auteur custom — the long, held takes and exacting rhythm of Michael Haneke's 'The White Ribbon' and 'Amour', the controlled structure of Jessica Hausner's films, the documentary precision of Ulrich Seidl — places huge weight on the cut, and Austrian editors are trained in that discipline of restraint and timing. Goetz Spielmann's 'Revanche', an Oscar nominee, and Stefan Ruzowitzky's Oscar-winning 'The Counterfeiters' show the same command of pace.

Here is the breakdown. The Filmakademie Wien, the film academy of the mdw where Haneke taught, trains editors alongside directors so the editorial sensibility is shared from script stage onward. Vienna's facilities, including post houses serving the Red Bull Media House and Terra Mater Studios, handle high-end documentary and branded work. Finished films screen at the Viennale and the Diagonale in Graz. Editing is recognised each year at the Oesterreichischer Filmpreis.