In the past, traditional film editing was done in a linear fashion. The film was literally cut into long strips divided by scene and take, and then glued or taped back together to create a film in logical sequence. This was time-consuming, tedious, and highly specialized work. All or most of any given scene had to be completely shot before editing could begin.

The biggest drawback with linear editing was that the process itself destroyed the film. Splicing “used up” several frames, and if anything went on the now-infamous “cutting room floor,” it would most likely never be seen again. As technology improved, this handwork was made obsolete. In the digital era, editors have shifted gears, using nonlinear systems that give them the flexibility to work on scenes, and even traditional frames, out of sequence.

There are many advantages to the nonlinear editing system. For starters, it allows the editor access to any given frame, scene, or even groups of scenes at any time. Since the raw footage is kept intact while perfect digital copies are used to create the edit, the editor can return to the original take at any time. The first nonlinear editing system used on a feature film was on Martha Coolidge's 1993 Lost in Yonkers. The entire film was edited using Avid Media, which enabled the editor to view the film in the “real-time” rate of twenty-four frames per second.

The method is also computer friendly. Most programs allow you to quickly edit scenes from low to high resolutions with little time delay. These programs are now so common that everyone from professionals to first-time filmmakers can afford and master the software. Programs like Adobe Premiere and Final Cut Pro are popular choices. Or if you're just getting started, standard Windows and Apple operating systems come with free applications such as Movie Maker and iMovie.