Editing suites for any editor can be a variety of things. Maybe an editing "lab" in their film school, a family-used computer with a demo version editing software or a customized set-up with a combination of different devices and brands. For anyone interested in knowing about major editing suites, Jonny Elwyn's article on his page gives a quick insight into what major motion pictures and television projects look like in assembly. He use's Steve Hullfish's interviews from his various blogs and his book "The Art of the Cut". Using Hullfish's insight Elwyn sheds further light on an exciting aspect of cinema production visiting some professional editors in their suites while working on their recent projects. For instance pictured on the right is editor Clayton Condit's suite at Splice in Minneapolis. Some of Condit's interview with Steve Hullfish also appears in this article.
Also pictured are other editors' suites, like La La Land's Tom Cross' suite. Joe Walker's editing suite while cutting Sicario. And Fred Raskin's edit suite while working on The Hateful Eight. Click here to read the full article.
The edit position is centered and on a stage just behind a row of seats with console space to my sides for the director so we both are looking at the same thing. I use the projection for my program monitor and my computer monitors are ergonomically set to allow me to easily look up and down as needed.
I typically use 3 computer monitors to spread things out but mostly use the center 27” Apple display for my timeline and primary workspace.
I have also gone to great lengths to have a very quiet environment so I can hear everything. I like to really refine my temp mixes to avoid having anything pull you out of the edit.
This setup also allows me to step away from my workstation and sit in a comfortable chair and watch scenes from a different perspective.