I'll add what I said to the question that you tagged onto the end of another thread...
If you capture footage, organize it. Maybe just do a simple stringout of narration and soundbytes (that is in a doc world)...then outputs, export EDLs and XMLS and interface between the audio post house and effects house and online house, and do all the TECHNICAL things... Then you are an assistant editor.
If you make any creative editing decisions...regardless if they are cleaned up or changed by someone else later...you are an editor. Even doing the rough cut. That is an EDITOR duty. They should get editor credit, but not necessarily shared credit at the front of the show.
If you tried to tell the director/producer/writer that what they did is "assistant stuff," and that you did all the work and should get headline editing credit, I'd be surprised if you received ANY credit. My initial read of this situation would be that you and the director receive shared credit in the front of the film, and that the original editor who did only the rough cut might recieve ADDITIONAL EDITING in the end credits. BUT, credit placement is highly political, so this might not be the case.
And it is entirely up to the producer if you will even RECEIVE credit. Again, this is political.
For example. I was the Apprentice Editor on U-TURN (Oliver Stone film). But when the movie came out, I didn't receive an on screen credit. Yeah, it hurt...it hurt a lot. But contractually they didn't have to give me a credit. They don't have to give most people credit, only heads of departments really. But they are nice. Also, when I worked on that film there were two editors and one associate editor. By the time the movie came out, the Associate editor moved up to EDITOR, and one of the editors working on the rough cut left the show and moved to Seattle. So he received ADDITIONAL EDITING credit in the end credits.
Shane
