I learned my craft in the digital age. Making my first cuts on a consumer PC that I had previously used to do my homework on. Digital cuts. Slicing 1's and 0's. When I first decided to make a living editing films, I had never run celluloid through a Moviola or Steenbeck. And to this point, I never have and quite certainly never will. When I was first introduced to the terminology of modern NLEs, it seemed odd to me to call a folder a "bin". And though I've worked on a lot of footage shot on 16 and 35 mm film by now, all of that stuff had been transferred to digital video files before I ever got to see it.
So why would anyone still refer to the thing we pursue as FILM editing – and not VIDEO editing? Well, for the same reasons we call ourselves FILMmakers and not videomakers. We tell stories based on the interactions of moving images – articulated through the frenetic mingling of endless streams of adjacent pictures. Stories we nowadays most likely capture on, edit as and output to digital video. Stories that will quite certainly be consumed as digital video.
Video is thus the algorithmic framework we employ to encapsulate our stories. Yet, as with any means of artistic expression, filmmaking is not and has never been about mere technology, but about what we have to say.
We call it Film Editing. And Film Editors is who we are.