Luma Touch has updated LumaFusion, its video editing application for iOS. Created by video editing industry veterans Chris Demiris and Terri Morgan, LumaFusion Version 2 introduces new features and a new UI, and effectively doubles the number of audio/video tracks supported to 12 tracks, with six video tracks supporting 4K video in realtime.
The UI now features all-new vector icons streamline editing, with new track headers for locking, hiding and muting all tracks, and an overview of the timeline that lets users jump to any location in your edit with a single touch.
Additional updates include:
• New Timeline Overview:, which makes it quick and easy to see your whole project and jump to a specific location in your edit
• New Shuttle Control: Press-and-hold the Play button to scrub at different rates to find the right frame
• Track Headers with track link/unlink, track locking, hide and mute
• Flexible Editing: Video and audio clips on the primary (anchor) track let users to edit the way they want
• External Display: Users can view their video on the large screen and get more room for your timeline and library with new UI layouts
• Support for Gnarbox 2.0 SSD, as well as improvements for supporting Gnarbox1.0
• Dozens of editing and media management improvements
Ryan Connolly is a filmmaker, writer, director and creator of the YouTube channel, Film Riot. He has been testing LumaFusion 2.0. “LumaFusion is surprisingly fast and fluid, and is also perfect for doing previs on location scouts.”
LumaFusion Version 2 is available now on the App Store for $29.99, but the company is offering a discount of 50% until June 27, 2019.
Rock Paper Scissors (RPS) is a veteran editing house specializing in commercials, music videos and feature films. Founded by Oscar-winning editor Angus Wall (The Social Network, The Girl With the Dragon Tattoo), RPS has a New York office as well as a main Santa Monica location that it shares with sister companies A52, Elastic and Jax.
We recently reached out to RPS editor Biff Butler and his assistant editor Alyssa Oh (both Adobe Premiere users) to find out about how they work, their editing philosophy and their collaboration on the Michelob Ultra Robots spot that premiered during this year’s Super Bowl.
Let’s find out more about their process…
Rock Paper Scissors, Santa Monica
What does your job entail? Biff Butler: Simply put, someone hands us footage (and a script) and we make something out of it. The job is to act as cheerleader for those who have been carrying the weight of a project for weeks, maybe months, and have just emerged from a potentially arduous shoot.
Their job is to then sell the work that we do to their clients, so I must hold onto and protect their vision, maintaining that initial enthusiasm they had. If the agency has written the menu, and the client has ordered the meal, then a director is the farmer and the editor the cook.
I frequently must remind myself that although I might have been hired because of my taste, I am still responsible for feeding others. Being of service to someone else’s creative vision is the name of the game.
What’s your workflow like? Alyssa Oh: At the start of the project, I receive the footage from production and organize it to Biff’s specs. Once it’s organized, I pass it off and he watches all the footage and assembles an edit. Once we get deeper into the project, he may seek my help in other aspects of the edit, including sound design, pulling music, creating graphics, temporary visual effects and creating animations. At the end of the project, I prep the edits for finishing color, mix, and conform.
What would surprise people about being an editor?
Oh: When I started, I associated editorial with “footage.” It surprised me that, aside from editing, we play a large part in decision-making for music and developing sound design.
Butler: I’ve heard the editor described as the final writer in the process. A script can be written and rewritten, but a lot happens in the edit room once shots are on a screen. The reality of seeing what actually fits within the allotted time that the format allows for can shape decisions as can the ever-evolving needs of the client in question. Another aspect we get involved with is the music — it’s often the final ingredient to be considered, despite how important a role it plays.
What do you enjoy the most about your job? Oh: By far, my favorite part is the people that I work with. We spend so much time together; I think it’s important to not just get along, but to also develop close relationships. I’m so grateful to work with people who I look forward to spending the day with.
At RPS, I’ve gained so many great friendships over the years and learn a lot from everyone around me —- not just in the aspect of editorial, but also from the people at companies that work alongside us — A52, Elastic and Jax.
Butler: At the risk of sounding corny, what turns me on most is collaboration and connection with other creative talents. It’s a stark contrast to the beginning of the job, which I also very much adore — when it’s just me and my laptop, watching footage and judging shots.
Usually we get a couple days to put something together on our own, which can be a peaceful time of exploration and discovery. This is when I get to formulate my own opinions and points of view on the material, which is good to establish but also is something I must be ready to let go of… or at least be flexible with. Once the team gets involved in the room — be it the agency or the director — the real work begins.
As I said before, being of service to those who have trusted me with their footage and ideas is truly an honorable endeavor. And it’s not just those who hire us, but also talents we get to join forces with on the audio/music side, effects, etc. On second thought, the free supply of sparkly water we have on tap is probably my favorite part. It’s all pretty great.
What’s the hardest part of the job? Oh: For me, the hardest part of our job are the “peaks and valleys.” In other words, we don’t have a set schedule, and with each project, our work hours will vary.
Butler: I could complain about the late nights or long weekends or unpredictable schedules, but those are just a result of being employed, so I count myself fortunate that I even get to moan about that stuff. Perhaps one of the trickiest parts is in dealing with egos, both theirs and mine.
Inevitably, I serve as mediator between a creative agency and the director they hired, and the client who is paying for this whole project. Throw in the mix my own sense of ownership that develops, and there’s a silly heap of egos to manage. It’s a joy, but not everyone can be fully satisfied all the time.
If you couldn’t edit for a living, what would you do? Oh: I think I would definitely be working in a creative field or doing something that’s hands-on (I still hope to own a pottery studio someday). I’ve always had a fondness for teaching and working with kids, so perhaps I’d do something in the teaching field.
Butler: I would be pursuing a career in directing commercials and documentaries.
Did you know from a young age that you would be involved in this industry? Oh: In all honesty, I didn’t know that this would be my path. Originally, I wanted to go into
broadcast, specifically sports broadcasting. I had an interest in television production since
high school and learned a bit about editing along the way.
However, I had applied to work at RPS as a production assistant shortly after graduating and quickly gained interest in editing and never looked back! Butler : I vividly recall seeing the movie Se7en in the cinema and being shell-shocked by the opening title sequence. The feeling I was left with was so raw and unfiltered, I remember thinking, “That is what I want to do.” I wasn’t even 100 percent sure what that was. I knew I wanted to put things together! It wasn’t even so much a mission to tell stories, but to evoke emotion — although storytelling is most often the way to get there.
At the same time, I was a kid who grew up under the spell of some very effective marketing campaigns — from Nike, Jordan, Gatorade — and knew that advertising was a field I would be interesting in exploring when it came time to find a real job.
As luck would have it, in 2005 I found myself living in Los Angeles after the rock band I was in broke up, and I walked over to a nearby office an old friend of mine had worked at, looking for a job. She’d told me it was a place where editors worked. Turns out, that place was where many of my favorite ads were edited, and it was founded by the guy who put together that Se7en title sequence. That place was Rock Paper Scissors, and it’s been my home ever since.
Can you guys talk about the Michelob Ultra Robots spot that first aired during the Super Bowl earlier this year? What was the process like? Butler: The process involved a lot of trust, as we were all looking at frames that didn’t have any of the robots in — they were still being created in CG — so when presenting edits, we would have words floating on screen reading “Robot Here” or “Robot Runs Faster Now.”
It says a lot about the agency in that it could hold the client’s hand through our rough edit and have them buy off on what looked like a fairly empty edit. Working with director Dante Ariola at the start of the edit helped to establish the correct rhythm and intention of what would need to be conveyed in each shot. Holding on to those early decisions was paramount, although we clearly had enough human performances to rest are hats on too.
Was there a particular cut that was more challenging than the others? Butler: The final shot of the spot was a battle I lost. I’m happy with the work, especially the quality of human reactions shown throughout. I’m also keen on the spot’s simplicity. However, I had a different view of how the final shot would play out — a closer shot would have depicted more emotion and yearning in the robot’s face, whereas where we landed left the robot feeling more defeated — but you can’t win them all.
Did you feel extra stress knowing that the Michelob spot would air during the Super Bowl? Butler: Not at all. I like knowing that people will see the work and having a firm airdate reduces the likelihood that a client can hem and haw until the wheels fall off. Thankfully there wasn’t enough time for much to go wrong!
You’ve already talked about doing more than just editing. What are you often asked to do in addition to just editing? Butler: Editors are really also music supervisors. There can be a strategy to it, also knowing when to present a track you really want to sell through. But really, it’s that level of trust between myself and the team that can lead to some good discoveries. As I mentioned before, we are often tasked with just providing a safe and nurturing environment for people to create.
Truly, anybody can sit and hit copy and paste all day. I think it’s my job to hold on to that initial seed or idea or vision, and protect it through the final stages of post production. This includes ensuring the color correction, finishing and sound mix all reflect intentions established days or weeks ahead when we were still fresh enough in our thinking to be acting on instinct.
I believe that as creative professionals, we are who we are because of our instincts, but as a job drags on and on, we are forced to act more with our heads than our hearts. There is a stamina that is required, making sure that what ends up on the TV is representative of what was initially coming out of that instinctual artistic expression.
Does your editing hat change depending on the type of project you are cutting? Butler: No, not really. An edit is an edit. All sessions should involve laughter and seriousness and focus and moments to unwind and goof off. Perhaps the format will determine the metaphorical hat, or to be more specific, the tempo.
Selecting shots for a 30- or 60-second commercial is very different than chasing moments for a documentary or long-form narrative. I’ll often remind myself to literally breathe slower when I know a shot needs to be long, and the efficiency with which I am telling a story is of less importance than the need to be absorbed in a moment.
Can you name some of your favorite technology? Oh: My iPhone and all the apps that come with it; my Kindle, which allows me to be as indecisive as I want when it comes to picking a book and traveling; my laptop; and noise-cancelling headphones!
Butler: The carbonation of water, wireless earphones and tiny solid-state hard drives.
Cutters Studios has promoted Heather Richardson to executive producer and Patrick Casey to head of production. Richardson’s oversight will expand into managing and recruiting talent, and in maintaining and building the company’s client base. Casey will focus on optimizing workflows, project management and bidding processes.
Richardson joined Cutters in 2015, after working as a producer for visual effects studio A52 in LA and for editorial company Cosmo Street in both LA and New York for more than 10 years. On behalf of Cutters, she has produced Super Bowl spots for Lifewtr, Nintendo and WeatherTech, and campaigns including Capital One, FCA North America (Fiat, Dodge Ram, and Jeep), Gatorade, Google, McDonald’s and Modelo.
“I’ve been fortunate to have worked with some excellent executive producers during my career, and I’m honored and excited for the opportunity to expand the scope of my role on behalf of Cutters Studios, and alongside Patrick Casey,” says Richardson. “Patrick’s kindness and thoughtfulness in addition to his intelligence and experience are priceless.”
In addition to leading Cutters editors, Casey produced the groundbreaking Always “#LikeAGirl” campaign, Budweiser’s Harry Caray’s Last Call and Whirlpool’s “Care Counts” campaign that won top Cannes Lions, Clio, Effie and Adweek Project Isaac Awards.
This interactive film’s editor talks challenges as well as how Netflix’s Branch Manager tech made it all possible.
By Karen Moltenbrey
In any film, or web/television series for that matter, the final presentation is the culmination of many choices. The director’s, the scriptwriter’s, the editor’s… just about everyone’s but the viewers. However, Netflix changed that with Black Mirror: Bandersnatch, a special interactive TV movie during which viewers are prompted to make selections that affect the decision-making and, ultimately, determine the fate of the main character: a young video game programmer.
Alas, while the viewer is tasked with making certain decisions at various intervals in the movie, that certainly did not mean the workload was any less for those on the project. In fact, they had to devise a plethora of paths that could be selected — so many, in fact, that a new tool, called Branch Manager, was devised and integrated into the workflow to maintain order and elegance to what could easily have become a tangled web on so many fronts.
Black Mirror, a British science-fiction series of stand-alone stories, mostly focuses on the consequences of new technologies. It was created by Charlie Brooker, who serves as showrunner along with Annabel Jones. The very first episode debuted in late 2011, and after four “series,” the pair introduced the interactive movie Black Mirror: Bandersnatch on December 28, 2018, in which reality and fantasy merge together for programmer Stefan Butler (Fionn Whitehead) as he adapts a choose-your-own-adventure type novel into a video game. Soon Butler’s life begins to resemble that of the tragic author, and he begins to break down mentally, slipping further down the rabbit hole as he tries to make a seemingly impossible release date for the game.
Within this storyline, viewers are tasked with making certain decisions, each leading them along various paths in the narrative. In addition, there are a number of possible story endings. Viewers have 10 seconds to make decisions or one is made for them. But, once a play-through ends, viewers can go back and make a different choice. According to Netflix, the average viewing time for the movie is 90 minutes.
With 150 minutes of unique footage divided into 250 segments, just about every aspect of production was impacted in some way, perhaps none more so than editing. And that task was given to Tony Kearns, a veteran editor who calls Bandersnatch “the biggest challenge of my editing career” thus far. In terms of production, Kearns estimates the shoot to have been two to three weeks longer than a regular Black Mirror episode, and the edit took five to seven weeks longer than a show of similar duration, lasting 17 weeks.
“When we started working on Bandersnatch, we realized we were doing something that none of us had done before by making an interactive movie — especially one of such complexity,” says Kearns. “I think everyone who had a major role in the production grasped quite early on the need to be very organized and to get our heads around the structure of the script and the segments, as well as the implications of a nonlinear storytelling based on viewers’ choices at every choice point.”
Then, as the group worked through the movie and began getting more footage in the can, “it was obviously clear we had to work out a way of keeping track of things and getting the right results from the edit and how we were constructing it,” he continues. “Having the Branch Manager software [developed in-house by Netflix] enabled us to watch the movie with the various choices, and while making them, seeing the implications for editing — particularly at the end of a segment and when starting another. That’s because you weren’t moving to just one thing; you were going to two things, and both had to work. Some of the segments had six variations, so you had to make sure they all worked. It was a novel experience and very intense. We had to be on our toes all the time.”
Bandersnatch is not Netflix’s first interactive show. In fact, the company has experimented with more simplified interactive, or “branching narrative,” children’s shows since 2017. However, Bandersnatch marked the first time it has done so for live action and for an adult audience — and to resounding success based on audience reaction. On the heels of that success, Netflix has followed up with the live-action interactive show You vs. Wild, putting viewers into the tracks of adventurer Bear Grylls as they make decisions for him while he tries to survive an adventure in the wilderness.
For Kearns, though, Bandersnatch was his first interactive “adventure.” (He is currently editing the Netflix drama The End of the F***ing World, Season 2.) He found the process “very, very different from a linear experience.” Making things even more daunting was the level of interactive complexity that was introduced in Bandersnatch. “We had no idea how it was going to be received. Would people become too frustrated, or would the emotional aspects of the story come through within all the choices?”
One of the biggest considerations was in terms of structure — making sure there weren’t too many recaps and that they balanced out with the story’s complexity, lest viewers give up on the movie. Another big focus was ensuring that the performances within this structure maintained the empathy, or humanity, that would keep viewers engaged and invested in the characters and story.
As a result, the nonlinear process fostered closer communication among the group, with script supervisor Marilyn Kirby and assistant director Jay Author invaluable on set, and a particularly crowded editing room. “That prevented us from going mad while trying to get our heads around things,” says Kearns.
While the editor and director always work closely on projects, at times director David Slade, executive producers Brooker and Jones, producer Russell McLean, assistant editor John Weeks and VFX editor Will Howden were all working together in the cutting room. “Everyone was contributing. It wasn’t that it made things difficult; it was essential and made things more interesting and exciting,” says Kearns.
As Kearns points out, a typical TV show, drama or film has a main cut and that’s it. Not so for Bandersnatch, which had segments that at times had upward of 14 cuts, all of which had to be tracked and organized.
The script was divided into eight sections, and each segment in those sections was assigned a four-character alphanumeric number, along with the corresponding variant. “The workflow was based on keeping track of the segments. We knew by the number which section of the script it belonged to,” Kearns explains. “The workflow was dependent on us keeping a record, spreadsheets. While editing, we had to know which was the latest version, or cut, because they were constantly being reworked. And the latest one went into Branch Manager to be viewed on our laptops. That was an important part of the workflow.”
Using Branch Manager, however, required some technical savvy, and helping the editing team navigate the software was assistant editor John Weeks, who just happened to be an experienced coder and worked his magic with the QuickTime files for each segment and ingested them into Branch Manager. “He was able to be so proactive and communicate with the engineers and developers at Netflix. He really took to this like a duck to water,” Kearns says. “I know it took up a lot of his time, but it ended up being essential for us in terms of making decisions for the edit and structure.”
Kearns would receive footage to a particular segment after each day of filming, do an assembly and then integrate it into the system. Then he would work on further edits as the segment progressed and as the structure was reworked and aspects re-aligned. “The numbering system for each segment was kind of the spine of the process and helped us keep track of what we were doing,” he adds. “You have to be prepared to pull things apart and reassemble them because the experience is different.”
For the movie, Kearns edited on Adobe Premiere, since it allowed him to open more than one sequence at a time. “It was essential to have more than one segment edit up at a time and switch between them just to see how [the segments] flowed,” he says. He also used Adobe Premiere for the VFX work.
The big star in terms of software on the project, though, was Branch Manager, developed by Netflix, which enabled the editing team to play with various options, choice points and timing, to ensure that the viewer was presented with the correct next segment based on the selection he or she had made. “You have a viewer’s experience, rather than looking at it on the edit system,” Kearns says of using the software. “We could view the movie in an interactive way on our laptops. We could see how the segments were working with each other, which was very useful.”
He explains: “We’d basically do a pass and watch it, make notes and adjust the edit accordingly, because sometimes you see things in isolation and think, ‘Oh, they’re working,’ and then using Branch Manager, we were able to see that, well, maybe they aren’t working so well. It was an essential platform. It made the process more fluid and creative, and easy to understand the structural and editorial aspects. We wouldn’t have been able to do this movie without it.”
According to Carla Engelbrecht, Netflix director of product innovation, her team met with Brooker and Jones in May 2017 and introduced them to the interactive storytelling technology, which, at the time, enabled Netflix to tell various interactive stories. A few months later, the pair returned with what would be the beginnings of Bandersnatch, “and we could see this was going to be a much more complex story than what we had previously done for our interactive titles for kids, which contained simple maps with just 15 or so choices, and each often led to maybe three different endings,” she says.
Not so with the plans for Bandersnatch. “The complexity of the stories Charlie [Brooker] wanted to tell, as well as the complexity of the stories adults can tackle in general, was partly what really drove us to create Branch Manager.”
Initially, the Bandersnatch scriptwriters began their process using Twine, an open-source interactive fiction engine, but it was easy to see that would not be sufficient for the planned complexity of Bandersnatch. This prompted Engelbrecht’s group to begin developing its own software. Moreover, production teams were developing their own mapping systems, often using spreadsheets for the interactive content. “We knew we could smooth this out and make the process easier for everyone by creating a common language so we could all be on the same page,” she explains.
As Engelbrecht notes, Branch Manager is a visualization tool that is used throughout the production process, from viewing an outline to creating a flowchart of the story structure, within which pieces of the outline are embedded as a script is formed. During the shoot, rough (or even fine) cuts are added to the software. “Then you can start watching it and experiencing all of the pieces, whether for continuity or choices.”
After a few months, the software was up and running and ready to be migrated over for use on the project. “That become the ongoing tool, as we used it during the rest of scriptwriting through the actual production and even into post production,” she says. “We were sort of beta-testing it on the fly [with Bandersnatch]. As we got script deliveries, we would also get notes on Branch Manager and on other features they wanted us to add.”
Engelbrecht points out that for some in production and post, the new workflow was seamless, involving “just more” — in essence, one big linear file. (She estimates that the final file ingested into the system is approximately five hours long due to the various options.) But for others, like the DP and actors, scenes had to be reshot with slightly different takes, and editing had to track and assemble those different options. “Throughout development and beyond, we had conversations and tried to be mindful of where problems could occur at the various stages. We wanted the software to be as minimally disruptive [to the production workflow] as possible, given what we were doing.”
While Netflix hasn’t specifically quantified the time-savings that Branch Manager brought to Bandersnatch, Engelbrecht notes that it was significant and allows for the telling of much more complex interactive stories.
Listen to Netflix and Black Mirror execs discuss how Branch Manager helped drive Bandersnatch’s production and innovation.
An Interactive Future
Kearns attributes the project’s success to the group carefully considering how it would approach the movie and managing to avoid major “teething” problems by making the right decisions along the way. He notes it was important, as well, to stay on top of what was going on at any given moment in terms of how a particular segments of story. “There were so many dimensions that, mentally, it was really taxing, but exciting as well,” he says. “I had to be able to recalibrate my editing brain to not think of the story overall, but rather from the point of view of individual segments, and keep them coherent.”
Looking to the future, Kearns expects an uptick in interactive projects but believes the key to their success — as evidenced with Bandersnatch — is to develop good scripts that suit the format, rather than trying to do it as a gimmick. He warns: “You really need people in important roles to be at the top of their game. It’s not for the faint of heart. And, you have to be prepared to make those tough decisions, which are made even tougher due to the nature of the interactive structure.”
He adds, “No matter how difficult your next job is, it is going to be so easy after Bandersnatch.”
Meanwhile, Engelbrecht’s team is working on improvements to Branch Manager. “On Bandersnatch, we were building the airplane as we were flying it,” she says. “We’re now moving into Version 2, better integrating the software with external tools to make the work even more seamless. We’re also looking to improve the onboarding experience to make the learning curve shorter, so it’s not like learning a new programming language. We want it to feel more drag-and-drop.”
For instance, the group has made Branch Manager compatible with Final Draft screenwriting software, enabling a script to be imported directly into Netflix’s tool. The team is still working on the interface. “We have a long wish list just pertaining to the visualization experience with the tools. And, we’re working on how to better integrate it on the other end, so when we ingest files into the system, the metadata flows from Branch Manager directly into our [production] system, whereas right now we still have to create a spreadsheet to negotiate part of the process.”
Thanks to Branch Manager, the team on Bandersnatch was able to negotiate a complex web of shifting directions. So, too, for the executives at Netflix, who are able to explore and more easily navigate new directions for content.
Karen Moltenbrey is a veteran VFX and post writer.
HitFilm creator FXhome has partnered with Vegas Creative Software to launch a new suite of editing, VFX, compositing and imaging tools for video pros, editors and VFX artists called Vegas Post.
Vegas Post will combine the editing tools of Vegas Pro with FXhome’s expertise in compositing and visual effects to offer an array of features and capabilities.
FXhome is developing customized effects and compositing tools specifically for Vegas Post. The new software suite will also integrate a custom-developed version of FXhome’s new non-destructive RAW image compositor that will enable video editors to work with still-image and graphical content and incorporate it directly into their final productions. All tools will work together seamlessly in an integrated, end-to-end workflow to accelerate and streamline the post production process for artists.
The new software suite is ideally suited for video pros in post facilities of all sizes and requirements — from individual artists to large post studios, broadcasters and small/medium enterprise installations. It will be available in the third quarter, with pricing to be announced.
Meanwhile, FXhome has teamed up with Filmstro, which offers a royalty-free music library, to provide HitFilm users with access to the entire Filmstro music library for 12 months. With Filmstro available directly from the FXhome store, HitFilm users can use Filmstro soundtracks on unlimited projects and get access to weekly new music updates.
Offering more than just a royalty-free music library, Filmstro has developed a user interface that gives artists flexibility and control over selected music tracks for use in their HitFilm projects. HitFilm users can control the momentum, depth and power of any Filmstro track, using sliders to perfectly match any sequence in a HitFilm project. Users can also craft soundtracks to perfectly fit images by using a keyframe graph editor within Filmstro. Moving sliders automatically create keyframes for each element and can be edited at any point.
Filmstro offers over 60 albums’ worth of music with weekly music releases. All tracks are searchable using keywords, film and video genre, musical style, instrumental palette or mood. All Filmstro music is licensed for usage worldwide and in perpetuity. The Filmstro dynamic royalty-free music library is available now on the FXhome Store for $249 and can be purchased here.
WHAT DOES THAT ENTAIL?
I work with directors/clients to make their project come to life using an editing program. Then during the color process, I bring it even closer to their aesthetic vision.
WHAT WOULD SURPRISE PEOPLE THE MOST ABOUT WHAT FALLS UNDER THAT TITLE?
It can include a lot of not-so-creative work like troubleshooting and solving technical problems, especially when doing assistant color/edit work either for myself or for someone else.
WHAT’S YOUR FAVORITE PART OF THE JOB?
I love the great moment when you push through a hard edit and it finally clicks. I also love getting to collaborate with other great creators and filmmakers and working one-on-one in the editing room. I find it to be a great learning experience.
WHAT’S YOUR LEAST FAVORITE?
When nothing works and I don’t know why. But, luckily, once I figure it out (eventually, hours later sometimes) I’ve learned to solve a new issue.
WHAT IS YOUR MOST PRODUCTIVE TIME OF THE DAY?
Definitely the mornings once I’ve had some coffee. I’m a morning person who is most active around the hours of 8-11. Once lunch hits, it can be hard not to want to take a good midday nap.
IF YOU DIDN’T HAVE THIS JOB, WHAT WOULD YOU BE DOING INSTEAD?
When I was younger, for some reason, I told everyone I wanted to be a barber. I think that’s because I liked using scissors. Seriously, though, I’d probably be working with kids in some way or as an educator. I still hope to teach down the road.
WHY DID YOU CHOOSE THIS PROFESSION?
I knew I wanted a job where I could be creative, and with editing I can also be technically proficient. I love the combination of the two.
HOW EARLY ON DID YOU KNOW THIS WOULD BE YOUR PATH?
I always knew I wanted to be involved with film, probably since I was 12. I remember starting to edit on Windows Movie Maker and being enamored with the effects. I especially liked the really awful and gaudy one that went through a gradient of colors. Don’t worry, I would never use something like that now.
CAN YOU NAME SOME RECENT PROJECTS YOU HAVE WORKED ON?
I’m working on a lot of short indie films right now including Dissonance, Bogalusa and Siren. I’m also an assistant editor on the feature film The Outside Story.
WHAT IS THE PROJECT THAT YOU ARE MOST PROUD OF? Dissonance, a short experimental film that is currently in color right now (with me), is probably the most proud I am of a project purely because of how far it pushed me as an artist, editor and collaborator.
WHAT SOCIAL MEDIA CHANNELS DO YOU FOLLOW?
I follow a lot, but in the post world that includes postPerspective, BCPC and Jonny Elwyn.
DO YOU LISTEN TO MUSIC WHILE YOU WORK?
If I can, I like to listen to podcasts. That’s probably my primary podcast listening time besides at the gym. Obviously, I can only do this during my color work. For music, I like tunes that aren’t too upbeat and more relaxing. For podcasts I like to listen to either comedians or Reply All, Blank Check and Reveal.
WHAT DO YOU DO TO DE-STRESS FROM IT ALL?
I like to read and play video games. I also started to do cross-stitch recently and it’s nice to find a way to use my hands that doesn’t involve a computer or a controller. I make sure to exercise a lot as well because I find that helps my stress levels like nothing else can.
Sugar Studios LA completed a social media campaign for Ladder perfect protein powder and clean energy booster supplements starring celebrity founders Arnold Schwarzenegger, LeBron James, DJ Khaled, Cindy Crawford and Lindsey Vonn. The playful ad campaign focuses on social media, foregoing the usual TV commercial push and pitching the protein powder directly to consumers.
One spot shows Arnold in the gym annoyed by a noisy dude on the phone, prompting him to turn up his workout soundtrack. Then DJ Khaled is scratching encouragement for LeBron’s workout until Arnold drowns them out with his own personal live oompah band.
The ads were produced and directed by longtime Schwarzenegger collaborator Peter Grigsby, while Sugar Studios’ editor Nico Alba (Chevrolet, Ferrari, Morongo Casino, Mattel) cut the project using Adobe Premiere. When asked about using random spot lengths, as opposed to traditional :15s, :30s, and :60s, Alba explains, “Because it’s social media, we’re not always bound to those segments of time anymore. Basically, it’s ‘find the story,’ and because there are no rules, it makes the storytelling more fun. It’s a process of honing everything down without losing the rhythm or the message and maintaining a nice flow.”
Nico Alba and Jijo Reed. Credit: David Goggin
“Peter Grigsby requested a skilled big-brand commercial editor on this campaign,” Reed says. “Nico was the perfect fit to create that rhythm and flow that only a seasoned commercial editor could bring to the table.”
“We needed a heavy-weight gym ambience to set the stage,” says Alba, who worked closely with sound design/mixers Bret Mazur and Troy Ambroff to complement his editing. “It starts out with a barrage of noisy talking and sounds that really irritate Arnold, setting up the dueling music playlists and the sonic payoff.”
The audio team mixed and created sound design with Avid Pro tools Ultimate. Audio plugins called on include Waves Mercury bundle,, DTS Surround tools and iZotope RX7 Advanced.
The Sugar team also created a cinematic look to the spots, thanks to colorist Bruce Bolden, who called on Blackmagic DaVinci Resolve and a Sony BVM OLED monitor. “He’s a veteran feature film colorist,” says Reed, “so he often brings that sensibility to advertising spots as well, meaning rich blacks and nice, even color palettes.”
Storage used at the studio is Avid Nexis and Facilis Terrablock.
This year’s line-up features editors Mary Jo Markey, ACE (Star Wars — Episode VII: The Force Awakens, Star Trek, Mission Impossible III, Charlie’s Angels), Kate Sanford, ACE (The Marvelous Mrs. Maisel, The Deuce, The Wire), Carla Gutierrez, ACE (RBG, La Corona, Chavela), Leo Trombetta, ACE (13 Reasons Why, True Detective, Mad Men) Jean Tsien, ACE (The Apollo, Dixie Chicks: Shut Up & Sing), moderator Bobbie O’Steen (author of “Cut to the Chase” and “The Invisible Cut”), moderator Jeremy Workman (Magical Universe, The World Before Your Feet) and moderator Gordon Burkell (AOTG.com).
Following the event is a networking/tech party sponsored by the American Cinema Editors, including light food, drinks and sponsored giveaways. Event admission is $49. You can register here. (Use Code: POSTPERSPECTIVE and save $20 off of your registration.)
Boris FX will provide all attendees a free one-month subscription to Sapphire, Continuum & Mocha Pro.
Have you ever wondered what it would be like to visit another place and time? To walk the Roman ruins before they were, well, ruined? If so, you might want to join the Time Scouts.
What is Time Scouts? Well, according to the website, it is a “multiverse-spanning organization dedicated to the growth of its members through the travel of space and time. It seeks to document the past, cultivate the present and build a better future through the empowerment of Scouts young and old.” In essence, it’s the name of a program created by 826LA, a nonprofit dedicated to supporting students and teachers across Los Angeles through after-school tutoring, evening and weekend workshops, in-school programs and more. The Time Scouts program helps people explore their imaginations. Being a Time Scout comes with very real perks, like an actual handbook, membership cards and badges (a la Boy Scouts, but with an absurdist time travel twist).
Inspired by 826LA’s Time Travel Mart storefronts — actual stores that lead to the organization’s drop-in education centers — the campaign is the brainchild of M&C Saatchi LA’s associate creative director, Stephen Reidmiller, and a team of the agency’s content creators, producers, writers and artists. Previously, M&C Saatchi LA collaborated with 826LA and its students on a series of Time Travel Mart product posters. This time, the agency is back to highlight the wide-reaching, future-changing effect of 826LA with a fundraising campaign that includes a promo video directed and edited by Dan Roman. The agency also created the website, handbook, all of the swag — print promotion images, and give aways like the badges — and the video.
We talked with M&C Saatchi LAdirector/editor Dan Roman about that video, which is a centerpiece of the project that explains what Time Scouts may or may not make possible, and how anyone can join the organization via Kickstarter.
We assume this isn’t your typical M&C Saatchi LA project Can you give us a little background on the film and the campaign as a whole?
M&C Saatchi LA has been working with 826LA for a number of years now in different capacities, but this was the first time we really got to blow out a whole campaign for them. Our creative director for this project, Stephen Reidmiller, came up with the idea for Time Scouts as a way to engage students at 826LA and give them a fun way to create and expand their imagination. He and his lovely wife Beth wrote and illustrated the book, then asked if I would be interested in directing the video. The agency built out an entire website for Time Scouts as well. Marc Evan Jackson (Brooklyn Nine-Nine, Parks and Recreation) makes the perfect Time Scouts host.
How did his participation come about, and what was it like to direct him in this piece?
Marc was incredible to work with on the piece. He’s actually been involved with 826LA for a long time as well and I believe was one of the co-hosts of their early vaudeville shows, starring as Mr. Barnacle. So when we were thinking of who would fit the Time Scouts aura the best, he immediately sprang to mind.
Marc graciously signed on, and once we were able to tailor aspects of the script around his voice and mannerisms, he really bought in. He even brought his own space blazer the day of the shoot. It’s always really fun to work with people who are invested because they end up adding a lot of personal touches, like the dab at the end…all him. It makes it that much more fun.
In the end, we got in a really great groove with Marc and he had the whole set laughing. We took it pretty easy and tried our best to keep it fun, and he was a joy to direct in the piece. He brought a little extra to every line, even cracking himself up from time to time. Can’t think of a better time traveler.
Who wrote the script? Was any of it improvised? What was the biggest creative challenge?
Our illustrious creative director Stephen Reidmiller not only wrote the entire Time Scouts Handbook, but the script for this video as well. He’s a wonderful creative and I can’t say enough about his vision to bring this whole thing together. Marc is, of course, an amazing improviser, and I think we put his talents to good use. My favorite moment from set is when we were trying to figure out what city would sound the silliest if it were a fictitious location.
Originally we had the Time Scouts from New Jersey, but we thought we could beat it. We tried everything from Philadelphia (too many syllables) to the Inland Empire (too local). Marc came up with “Even in made-up places, like Orlando.” And the way he sounded out each syllable was too perfect. Had to go with that.
As far as creative challenges went, we tried to keep things relatively small given the nature of our day. However, we spent nearly two hours art directing the shelves behind Marc, and it’s safe to say that every piece of Time Travel Mart merch is intentionally placed. The Roman helmet gave us the hardest time though. We must have placed that unsuccessfully in about eight different spots. We all feel pretty good about where it ended up.
What tools were used on this project?
My favorite question! I almost wish this was a bit more exciting, but we had to keep it pretty down and dirty, so we shot this on my Sony FS7 with Zeiss CP.2s and a bit of glimmer glass. It’s lit very simply with daylight and bounce/fill, a bit of kick from quasar tubes, and more than a healthy amount of haze. We cut in Adobe Premiere and colored in Blackmagic DaVinci Resolve.
The video was shot with a Sony FS7.
Increasingly, agencies have in-house content creators. Describe what you do for and with M&C Saatchi LA.
At M&C Saatchi LA, I’m the lead director and DP. Our director of content Tara Poynter and I have been working our way through building out a production arm for the agency. We work largely like any production company would work: concepting, prepping and leading shoots, end-to-end editorial and finishing.
However, we also have a full-service agency at our back with access to great creative and strategic minds. The hope is to build an arm of this company that can mold quickly to clients’ needs and scale creative, production and editorial without any lapse in quality.
We obviously play in a giant sandbox here in LA, and we want to make sure that what we put out is up to snuff with the rest of our industry, especially if it’s got talent like Marc Evan Jackson in it. Overall, It’s just been fun trying to forge some new ground in the agency world.
What’s your background, and how did you become a director/editor/content creator?
I came up in production in Boston. About 10 years ago, I left film school to work as an editor for an animation company, eventually finding my way into indie films, music videos and documentaries. I freelanced my way into more commercial productions and ended up working as a senior producer and editor at Weber Shandwick.
There, I really got the space to hone what I do as a director and DP, working on longer-form branded content, commercials and documentaries while getting the chance to help build a successful production department from the ground floor. About a year ago, I decided that I was ready for the jump to LA and packed up the camera, the car, and our ridiculously fat cat and headed out this way. It’s been a fun ride so far.
You work hard in a tough industry in challenging times. It can be easy to get bogged down with the expectations you’ve set for yourself and your career. If you’re in need of a dose of perspective and positivity, then take a moment to step away from your timeline, grab a coffee and meditate on a series of recent tweets by LA-based editor Jesse Averna (@dr0id).While they might not be strictly post production tweets, per say, it’s nice to hear some encouragement from a fellow post pro.
Caricature of Jesse Averna: by Kevin Deters.
Averna is an editing veteran who has five Emmy Award wins with two additional nominations — all for his work on Sesame Street. You can currently find him working away at Walt Disney Animation Studios in Burbank, where he’s been awarded an Annie nomination for his most recent work on Ralph Breaks the Internet. Many of you might know him as one of the founders of the Twitter group #postchat.
Every so often he will Tweet out words of wisdom, hope and inspiration. We wanted to share those with you.
If you have a passion for something, pursue it. We only get to do this life once. I’m just an idiot kid from Albuquerque who’s doing my dreams. Please go for it. You can get there. Believe in yourself. Work hard. Be kind. Ask for help.
You’re not wasting your time:
It all counts. Everything you have worked on will educate your next project and work ethic. Don’t get down if you aren’t working on the type of material you want to be working on at the moment. Squeeze everything you can out of it. Take it with you to the next gig. It all counts.
Here’s some good news — it doesn’t matter what you think you should have accomplished by now. You’re not competing with anyone else. Your timetable doesn’t matter. It doesn’t even matter how many times you’ve failed. YOU MATTER. You are valuable regardless of your accomplishments.
A high tide raises all boats:
The only way to survive this industry is to support your friends, cheer them on, celebrate their victories, mourn their losses, help when asked. Give when you can.
You’ve already made it:
Look at what you’ve achieved. What you’ve overcome. Where you are now. Sure, you are looking at the road ahead and where you feel that you need to be. But, for today, be proud of what you’ve done.
Be the change:
We’ll spend our whole lives being judged by others and ourselves. The issues and the problems. But there are wonderful, unique, powerful aspects to you. Know your weaknesses, but also know that you can change lives. You can impact the world around you. Your kindness can do that.
Know your value:
Value. If you don’t value your worth, you can’t expect others to. You are valuable. And I’m not talking about money. You’re worth more than that.
You are the only YOU in this world. That’s a big deal. Let’s not waste it measuring ourselves to other people. You’ll never be them, only yourself.
Take a deep breath:
It seems important right now, but it’s most likely not as important as you think it is.
No matter how you feel tonight, there’s always tomorrow. Feelings pass. You are more valuable than you know. Today does not define you.
You are valuable. You are loved. You are missed. You are important. You are thought about.
There is no “them.” Only “us.” And we need to love our way through this moment in history. People need you. People need help, kindness, love, advice, mentoring, an ear to listen, a shoulder to cry on. You are important and NEEDED right now.
If you’d like to hear Averna’s professional advice and some additional encouragement, check out our last article with him.
Jesse Averna tweets from a personal account and in no way speaks for or represents the companies he works for.