Tag Archives: editing

Cutters New York adds spot editor Alison Grasso

Cutters Studios in New York has added is commercial editor Alison Grasso to its staff. Previously a staff editor for Crew Cuts in New York, Grasso started her commercial career with the company immediately upon graduation from NYU (BFA, Film and Television Production).

She has experience in documentary-style visual storytelling, beauty and fashion and has collaborated with brands such as Garnier, Gatorade, L’Oreal, Pantene, Target and Verizon.

She cuts with Adobe Premiere on a Mac and uses After Effects when extra work is needed. Grasso also edits audio, such the entire second season of the podcast Limetown, and promotional audio material for the audio documentary The Wilderness, hosted by Pod Save America’s Jon Favreau.

When asked about editing audio, in particular Limetown, she says, “Premiere is obviously my ‘first language,’ so that made it much easier and faster to work with, versus something like Audition or Pro Tools), and I actually did use the video track to create visual slates and markers to help me through the edits. Since the episodes were often 30 to 60 minutes, it was incredibly helpful in jumping to certain scenes or sections, determining where mid-roll should be, how long certain scenes were playing out to be, etc. And when sharing with other people in the workflow (producers, directors, sound designers, etc.), I would export a QuickTime with a video track that made working remotely on comments and changes much quicker and easier, versus just referencing timecode and listening for contextual cues to get to a certain point in the edit.

Her talents don’t only include editing. Grasso is also a director, shooter, writer, editor and on-camera talent. Many New York stories — and in particular, those involving craft beer — have taken the spotlight in her latest projects.

“I aspire to do work that isn’t confined by boundaries,” says Grasso. “After seeing the breadth of work from Cutters Studios that supports global clients with projects that reach beyond the traditional, I’m confident the relationship will be a great fit. I’m really looking forward to contributing my sensibilities to the Cutters Studios culture, and being a positive, collaborative voice amongst my new peers, clients and colleagues.”

Inside the mind and workflow of a 14-year-old filmmaker

By Brady Betzel

From editing to directing, I have always loved how mentoring and teaching is a tradition that lives on in this industry. When I was an assistant editor, my hope was that the editors would let me watch them work, or give me a chance to edit. And a lot of the time I got that opportunity.

Years ago I worked with an editor named Robb McPeters, who edited The Real Housewives of New York City. I helped cut a few scenes, and Robb was kind enough to give me constructive feedback. This was the first time I edited a scene that ran on TV. I was very excited, and very appreciative of his feedback. Taking the time to show younger assistant editors who have their eye on advancement makes you feel good — something I’ve learned firsthand.

As I’ve become a “professional” editor I have been lucky enough to mentor assistant editors, machine room operators, production assistants and anyone else that was interested in learning post. I have found mentoring to be very satisfying, but also integral to the way post functions. Passing on our knowledge helps the community move forward.

Even with a couple of little scenes to cut for Robb, the direction I received helped make me the kind of editor I am today. Throughout the years I was lucky enough to encounter more editors like Robb and took all of the advice I could.

Last year, I heard that Robb’s son, Griffin, had made his first film at 13 years old, Calling The Shots. Then a few months ago I read an article about Griffin making a second film, at 14 years old, The Adventure of T.P. Man and Flusher. Griffin turns 15 in February and hopes to make a film a year until he turns 18.

It makes sense that someone who has been such a good mentor has produced a son with such a passion for filmmaking. I can see the connection between fatherhood and mentorship, especially between an editor and an assistant. And seeing Robb foster his son’s love for filmmaking, I realized I wanted to be able to do that with my sons. That’s when I decided to reach out to find out more.

CAN YOU TALK ABOUT YOUR MOST RECENT FILM?
The Adventure of T.P. Man and Flusher is really a story of adventure, friendship and finding love. After learning that his best friend Jim (Sam Grossinger) has attempted suicide, Tom (Adam Simpson) enlists the help of the neighborhood kingpin, Granddaddy’ (Blake Borders). Their plan is to sneak Jim out of the hospital for one last adventure before his disconnected parents move him off to Memphis. On the way they encounter a washed up ‘90s boy-band star and try to win the hearts of their dream girls.

Tom realizes that this adventure will not fix his friend, but their last night together does evolve into the most defining experience of their lives.

HOW DID YOU COME UP WITH THE IDEA FOR THIS FILM?
The Adventure of T.P. Man and Flusher is a feature film that I wrote while in 8th grade. I saved every penny I could earn and then begged my parents to let me use money from my college savings. They knew how important this film was to me so they agreed. This is my second feature and I wanted to do everything better, starting with the script to casting. I was able to cast professional actors and some of my schoolmates.

I shot in 4K UHD using my Sony A7riii. I then brought the footage into the iMac and transcoded into CineForm 720p files. This allowed me to natively edit them on the family iMac in Adobe Premiere. We have a cabin in Humboldt County, which is where I assemble my rough cuts.

I spent hours and hours this summer in my grandfather’s workshop editing the footage. Day after day my mom and sister would go swimming at the river, pick berries, all the lazy summer day stuff and I would walk down to the shop to cut, so that I could finish a version of my scene.

Once I finished my director’s cut, I would show the assembly to my parents, and they would start giving me ideas on what was working and what wasn’t. I am currently polishing the movie, adding visual effects (in After Effects), sound design, and doing a color grade in Adobe SpeedGrade. I’ll also add the final 5.1 surround sound mix in Adobe Audition to deliver for distribution.

WHERE DID YOU GET THE IDEA FOR THE FILM?
In 8th grade, a classmate attempted suicide and it affected me very deeply. I wondered if other kids were having this type of depression. After doing some research I realized that many kids suffer from deep depression. In fact, in 2016, adolescents and young adults aged 15 to 24 had a suicide rate of 13.15. That amazed and saddened me. I felt that I had to do something about it. I took my ideas and headed to our cabin in the woods to write the script over my winter break.

I was so obsessed with this story that I wrote a 120-page script.

CAN YOU TALK ABOUT PRODUCING?
It was a lot of scheduling, scheduling and scheduling. Locking locations, permits, insurance, and did I mention scheduling?

I think there was some begging in there too. “Please let us use. Please can we…” My school SCVi was extremely helpful with getting me insurance. It was heartwarming to see how many people wanted to help. Even support from companies, including Wooden Nickel who donated an entire lighting package.

WHAT ABOUT AS A DIRECTOR?
As the director I really wanted to push the fantastical and sometimes dark and lonely world these characters were living in. Of course, because I wrote the script I already had an idea of what I wanted to capture in the scene, but I put it to paper with shotlist’s and overhead camera placements. That way I had a visual reference to show of how I wanted to film from day one to the end.

Rehearsals with the actors were key with such a tight shooting schedule. Right from the start the cast responded to me as their director, which surprised me because I had just turned 14. Every question came to me for approval to represent my vision.

My dad was on set as my cinematographer, supporting me every step of the way. We have a great way of communicating. Most of the time we were on the same page, but if we were not, he deferred to me. I took my hits when I was wrong and then learned from them.

WHAT WOULD SURPRISE PEOPLE THE MOST ABOUT MAKING THIS FILM?
This was a true, small-budget, independent film that I made at 14 years old. Our production office was my mom and dad and myself. Three people usually don’t make films. Even though I am young, my parents trusted the weight of the film to me. It is my film. This means I did a little of everything all of the time, from pulling costumes to stocking the make-up kit to building my own 4K editing system.

We had no grips, no electric, no PAs. If we needed water or craft service, it was me, my dad and my mom. If a scene needed to be lit, my dad and I lit everything ourselves, we were the last ones loading costumes, extension cords and equipment. In post was all the same ordeal.

WHAT WAS YOUR FAVORITE PART?
I really love everything about filmmaking. I love crafting a story, having to plan and think of how to capture a scene. How show something that isn’t necessarily in front of your eyes. I love talking out my ideas. My mom teases me that I even sleep moviemaking because she saw me in the hall going to the bathroom the other night and I mumbled, “Slow pan on Griffin going to bathroom.”

But post is really where the movie comes together. I like seeing what works for a scene. Which reaction is better? What music or sound effects help tell the story? Music design is also very personal to me. I listen to songs for hours to find the perfect one for a scene.

WHAT’S YOUR LEAST FAVORITE?
Having to cut some really great scenes that I know an actor is looking forward to seeing in that first screening. It is a really hard decision to remove good work. I even cut my grandmother from my first film. Now that’s hard!

WHAT CAMERAS AND PRODUCTION EQUIPMENT DO YOU USE?
For recording I use the Sony A7rIII with various lenses recording to a Ninja Flame at 10-bit 4K. For sound I use a Røde NG2 boom and three lav mics. For lighting we used a few Aputure LED lights and a Mole Richardson 2k Baby Junior.

WHAT IS YOUR MOST PRODUCTIVE TIME OF THE DAY?
I am not much of a night person. I get really tired around 9:30pm. In fact, I still have a bedtime of 10:00pm. I would say my best work is done at the time I have after school until my bedtime. I edit every chance I get. I do have to break for dinner and might watch one half of a episode of The Office. Other than that I am in the bay from 3:30-10:00pm every day.

CAN YOU THINK OF ANOTHER JOB YOU MIGHT WANT SOMEDAY?
No, not really. I enjoy taking people on emotional rides, creating a presentation that evokes personal feelings and using visuals to takes my audience somewhere else. With all that said, if I couldn’t do this I would probably build professional haunted houses. Is that a real job?

IT’S STILL VERY EARLY, BUT HOW EARLY ON DID YOU KNOW THIS WOULD BE YOUR PATH?
My parents have this video of me reaching for the camera on the way to my first day of pre-school saying, “I want the camera, I want to shoot.”

When I was younger, silent films mesmerized me. I grew up wanting to be Buster Keaton. The defining moment was seeing Jaws. I watched it at five and then realized what being a filmmaker was, making a mosaic of images (as mentioned by Hitchcock on editing). I began trying to create. At 11 and 12 I made shorts, at 13 I made my first full-length feature film. The stress and hard work did not even faze me; I was excited by it.

CAN YOU TALK ABOUT YOUR FIRST FILM?
Calling the Shots, which is now available on Amazon Prime, was an experiment to see if I could make a full-length film. A test flight, if you will. With T.P. Man I really got to step behind the camera and an entirely different side of directing I didn’t get to experience with my first film since I was the lead actor in that.

I also love the fact that all the music and sound design and graphics were done with my hands and alone, most the time, in my editing suite. My dad designed it for me. I have two editing systems that I bounce back and forth between. I can set the lighting in the room, watch on a big 4K monitor and mix in 5.1 surround. Some kids have tree forts. I have my editing bay.

FINALLY, DO YOU GET STRESSED OUT FROM THE PROCESS?
I don’t allow myself to stress out about any of these things. The way I look at it is that I have a very fun and hard job. I try to keep things in perspective — there are no lives in danger here. I do my best work when I am relaxed. But, if there is a time, I walk away, take a bike ride or watch a movie. Watching others work inspires me to make my movies better.

Most importantly, I brainstorm about my next project. This helps me keep a perspective that this project will soon be over and I should enjoy it while I can and make it the best I possibly can.


Brady Betzel is an Emmy-nominated online editor at Margarita Mix in Hollywood, working on Life Below Zero and Cutthroat Kitchen. You can email Brady at bradybetzel@gmail.com. Follow him on Twitter @allbetzroff.

Behind the Title: Exile Editor Kyle Brown

With recent spot work that includes jobs for Comcast, AT&T, T-Mobile and Trojan, this editor jokes, “A good Netflix and chill Tinder date was made possible thanks to the results of my commercial work.”

Name: Kyle Brown

Company: New York- and Santa Monica-based Exile

Can you describe your company?
Exile is a bicoastal editorial and finishing boutique with spaces on both coasts.

What’s your job title?
Offline editor, with a splash of camp counselor.

What does that entail? 
As an offline editor, I take the footage that was shot and assemble it based on the script and creative vision honed on set, adding in tone and texture, rhythm and pacing. Basically, editors are given all the raw material that has been created and we turn it into a visual experience.

What’s great about editorial is you have to be honest — the footage is shot, you have what you have and nothing more, and now you have to take what’s there and stitch it together. If something does not work, you move on and make something else work. You can’t hide in the edit. You can’t say we will fix it in post. You are post! It’s the finish line, and all the preparation and hard work on the front end pays off in the edit bay. It has to.

Kyle Brown cut this Bud Light spot.

What would surprise people the most about what falls under that title?
Editor can be a catch-all title — we cut music, add sound effects, edit story and script. We do rough effects, we scratch voiceover and build title lock-ups. It really feels like DIY filmmaking at times, when you’re adding lines or building some crazy comp of two scenes to get the desired reaction or pause.

What’s your favorite part of the job?
Problem solving, seeing an edit work and happy accidents. I still get a kick out of an edit working, feeling a joke land or a punch connect. To be a part of movie magic is still a dream come true. I like to rough cut with my gut. I slam things together to have something to react to, and sometimes the best happy accidents come from that. I also enjoy all of the creative challenges that I’m faced with. A client might have a note that seems like a far-out ask, but the answer is always there. Edits can be a puzzle, and I like that.

What’s your least favorite?
This answer, I’m sure will not be popular… but watching dailies. I watch every frame, I swear. Part of my job is knowing all that is there and being able to recall and find it quickly. But nine times out of 10, when I’m watching dailies I have to take a break halfway through and edit a sequence or scene. It’s hard to see something you get excited by and not just start cutting it. Dailies look different after you have done a rough cut; they mean different things and usually give better solutions. So a lot of times, I cut, then I go back and review.

If you didn’t have this job, what would you be doing instead?
Double agent. Ok, I’m not that cool. Let’s say, schoolteacher.

Why did you choose this profession?
I think I love editing because I did not choose it. I actually stumbled into it. I’ve learned so much through it, as cheesy as it sounds. It’s helped me grow and achieve my goals, not only in work but in life, and it still does. I think is crazy and exciting that I do it for a living. Through necessity and curiosity, something that I fell into — without ever going through the traditional route of assistant editor — has given me a career that allows me to scratch my creative itch. I’m very lucky.

Trojan

Can you name some recent projects you have worked on?
Lately, I’ve mostly been doing commercials: spots for Comcast, AT&T, T-Mobile and Trojan. So, basically, a good Netflix and chill Tinder date was made possible thanks to the results of my commercial work.

You have worked on all sorts of projects. Do you put on a different hat when cutting for a specific genre?
I have been lucky enough to have worked in a wide variety of genres — from comedy to docs to music videos — but I try to tackle all storytelling the same way: I work around a key moment or idea and fill in the blanks on how to get there. The best example I can use is music videos. I like to find that great part of the track, cut the visual to it, then work backwards to get to that point. This allows me to use each edit to get to the intent of that key moment. The same can be said for a good physical gag or joke. Getting that moment to land, then using what’s around it to make it work harder.

What do you use to edit?
I was a diehard Final Cut Pro guy, but then when the bottom fell out, so I switched to Avid Media Composer for the challenge. I also use Adobe Premiere, on occasion. Over the years, I’ve found that whatever I’m fastest on, meaning getting my thoughts to the screen quickest, is what works best for me. I am sure a new workflow or program will come along, and I make sure that I’m always able to adapt.

You mentioned earlier, that sometimes you provide more than just the cut. Can you talk about that?
I’ve rewritten scripts, done some finishing work, done After Effects work, been the VO artist and, sometimes, I even act as the account person to help sell something through to a client. Of course, there are people that do all these things professionally and are experts at their job, but I feel like in an edit bay we’re all there together trying to hit the deadlines with the best piece in hand, and that means we all dive in. No one can be precious about their roles; we have to be precious about our goals.

Name three pieces of technology you can’t live without.
Copy and paste (seriously whoever invented that is a god), Spell Check and coffee makers.

What do you do to de-stress from it all?
Cook. I can’t think of editing when I’m burning stuff.

Post house Cinematic Media opens in Mexico City, targets film, TV

Mexico City is now home to Cinematic Media, a full-service post production finishing facility focused on television and cinema content   Located on the lot at Estudios GGM, the facility offers dailies, look development, editorial finishing, color grading and other services, and aims to capitalize on entertainment media production in Mexico and throughout Central and South America.

Scot Evans

In its first project, Cinematic Media provided finishing services for the second season of the Netflix series Ingobernable.

CEO Scot Evans brings more than 25 years of post experience and has managed large-scale post production operations in the United States, Mexico and Canada. His recent posts include executive VP at Technicolor PostWorks in New York, managing director of Technicolor in Vancouver and managing director of Moving Picture Company (MPC) in Mexico City.

“We’re excited about the future for entertainment production in Mexico,” says Evans. “Netflix opened the door and now Amazon is in Mexico. We expect film production to also grow. Through its geographic location, strong infrastructure and cinematic history, Mexico is well-positioned to become a strong producer of content for the world market.”

Cinematic Media has been built from the ground up with a workflow modeled after top-tier facilities in Hollywood and geared toward television and cinema finishing. Engineering design was supervised by John Stevens, whose four decades of post experience includes stints at Cinesite, Efilm, The Post Group, Encore Hollywood, MTI Film and, currently, the Foundation.

Resources include a DI theater with DaVinci Resolve, 4K projection and 7.1 surround sound, four color suites supporting 2K, 4K and HDR, multiple editorial finishing suites, and a Colorfront On-Set Dailies system. The facility also offers look development services to assist productions in creating end-to-end color pipelines, as well as quality control and deliverable services for streaming, broadcast and cinema. Plans to add visual effects services are in the works.

“We can handle six or seven series simultaneously,” says Evans. “There is a lot of redundancy built into our pipeline, making it incredibly efficient and virtually eliminating downtime. A lot of facilities in Hollywood would be envious of what we have here.”

Cinematic Media features high-speed connectivity via the private network Sohonet. It will be employed to share media with studios, producers and distributors around the globe securely and efficiently. It will also be used to facilitate remote collaboration with directors, cinematographers, editors, colorists and other production partners.

Evans cites as a further plus Cinematic Media’s location within Estudios GGM, which has six sound stages, production and editorial office space, grip and lighting resources and more. Producers can take projects from concept to the screen from within the confines of the site. “We can literally walk down a flight of stairs to support a project shooting on one of the stages,” he says. “Proximity is important. We expect many productions to locate their offices and editorial teams here.”

Managing director Arturo Sedano will oversee day-to-day operations. He has supervised post for thousands of hours of television and cinema content on behalf of studios and producers from around the globe, including Netflix, Telemundo, Sony Pictures, Viacom, Lionsgate, HBO, TV Azteca, Grupo Imagen and Fox.

Other key staff includes senior colorist Ana Montaño whose experience as a digital colorist spans facilities in Mexico City, Barcelona, London, Dublin and Rome; producer and post supervisor Cyntia Navarro, previously with Lejana Films and Instituto Mexicano de Cinematografía (IMCINE). Her credits span episodic television, feature film and documentaries, and include projects for IFC Films, Canal Once, UPI, Discovery Channel, Netflix and Amazon.

Additional staff includes chief technology officer Oliver De Gante, previously with Ollin VFX, where his credits included the hit films Chappie, Her, Tron: Legacy and The Social Network, as well as the Netflix series House of Cards; technical director Gabriel Kerlegand, a workflow specialist and digital imaging technologist with 18 years of experience in cinema and television; and coordinator and senior conform editor Humberto Flores, formerly senior editor at Zenith Adventure Media.

Video editing and VFX app HitFilm gets an upgrade

FXhome has upgraded its video editing and VFX software app. The new HitFilm Version 11.0 features Surface Studio, a new VFX plugin modeled from Video Copilot’s Damage and Decay and Cinematic Titles tutorials. Based on customer requests, this new VFX tool enables users to create smooth or rough-textured metallic and vitreous surfaces on any text or in layers. By dropping a clear PNG file onto the HitFilm timeline, text titles instantly turn into weathered, rusty and worn metallic signs.

HitFilm’s Surface Studio also joins FXhome’s expanding library of VFX plugins, Ignite Pro. This set of plugins is available on Mac and PC platforms, and is compatible with 10 of the most used host software, including Adobe Creative Cloud, Apple Final Cut Pro X, Avid, DaVinci Resolve and others.

Last month, FXhome added to its product family with Imerge Pro, a non-destructive RAW image compositor with fully flexible layers and advanced keying for content creators. FXhome is also integrating a number of Imerge Pro plugins with HitFilm, including Exposure, Outer Glow, Inner Glow and Dehaze. New Imerge Pro plugins are tightly integrated with HitFilm V.11.0’s interface ensuring smooth, uninterrupted workflows.

Minimum system requirements are for Apple are: Mac OS 10.13 High Sierra, OS X 10.12 Sierra or OS X 10.11 El Capitan. And for Windows: Microsoft Windows 10 (64-bit), Microsoft Windows 8 (64-bit)

HitFilm 11.0 is available immediately from the FXhome store for $299. FXhome is also celebrating this holiday season with its annual sale. Through December 4, 2018, they are offering a 33% discount when users purchase the FXhome Pro Bundle, which includes HitFilm 11.0, Action, Ignite and Imerge.

Post studio Nomad adds Tokyo location

Creative editorial/VFX/sound design company Nomad has expanded its global footprint with a space in Tokyo, adding to a network that also includes offices in New York, Los Angeles and London. It will be led by managing director Yoshinori Fujisawa and executive producer Masato Midorikawa.

The Tokyo office has three client suites, an assistant support suite, production office and machine room. The tools for post workflow include Adobe Creative Cloud (Premiere, After Effects, Photoshop), Flame, Flame Assist, Avid Pro Tools and other various support tools.

Nomad partner/editor Glenn Martin says the studio often works with creatives who regularly travel between LA and Tokyo. He says Nomad will support the new Tokyo-based group with editors and VFX artists from our other offices whenever larger teams are needed.

“The role of a post production house is quite different between the US and Japan,” says Fujisawa and Midorikawa, jointly. “Although people in Japan are starting to see the value of the Western-style post production model, it has not been properly established here yet. We are able to give our Japanese directors and creatives the ability to collaborate with Nomad’s talented editors and VFX artists, who have great skills in storytelling and satisfying the needs of brands. Nomad has a comprehensive post-production workflow that enables the company to execute global projects. It’s now time for Japan to experience this process and be a part of the future of global advertising.”

Main Image: (L-R) Yoshinori Fujisawa and Masato Midorikawa

Industry vets launch hybrid studio, Olio Creative

Colorist Marshall Plante, producer Natalie Westerfield and director/creative director Justin Purser founded hybrid studio Olio Creative, which has opened its doors in Venice, California.

Olio features vintage-style décor and an open floor plan and the space is adaptable for freelancers, mobile artists and traveling talent, with two color suites and a suite set up to toggle between editorial and Flame work.

Marshall Plante is a well-known colorist who has built his career at shops such as Digital Magic, Riot, Syndicate and, most recently, at Ntropic where he headed up the color department. His commercial credits include Samsung, Audi, Olay, Nike, Honda, Budweiser, and direct-to-brand projects for Apple and Riot Games. Recently, the Nick Jr. Girls in Charge: Girl Power campaign he graded won an Emmy for Outstanding Daytime Promo Announcement Brand Image Campaign, and the Uber campaign he graded, Rolling With the Champion with Lebron James, won a bronze Cannes Lion.

Marshall’s long-time producer, Natalie Westerfield, has over 10 years of experience producing at companies including The Mill and Ntropic. As executive producer, Westerfield will provide oversight to guide all projects that come through Olio’s pipeline.

The third member of the team is director/creative director Justin Purser. As a director, Purser has worked at production companies A Band Apart and Anonymous Content. He was one of the original creators and directors behind Maker Studios (acquired by Walt Disney Corp.) that pioneered the multi-channel YouTube-centric companies of today.

The three partners will bring an element of experimentation and collaboration to the post production field. “The ability to be chameleons within the industry keeps us open to fresh ideas,” says Pursur. “Our motto is, ‘Try it. If it doesn’t work, pivot.’ And if we thrive in a new way of working, we’re going to share that with everyone. We want to not only make noise for ourselves, but for others in the same business.”

Tom Cross talks about editing First Man

By Barry Goch

As a child, First Man editor Tom Cross was fascinated with special effects and visual effects in films. So much so that he would take out library books that went behind the scenes on movies and focused on special effects. He had a particular interest in the artists who made miniature spacecraft, which made working on Damien Chazelle’s First Man feel like it was meant to be.

“When I learned that Damien wanted to use miniatures and do in-camera effects on this film, my childhood and adulthood kind of joined hands,” shares Cross, who is now a frequent collaborator of Chazelle’s, having cut Whiplash, La La Land and now First Man.

We recently spoke with Cross about his work on this Universal Pictures film, which stars another Chazelle favorite, Ryan Gosling, and follows the story of Neil Armstrong and the decade leading up to our country’s first mission to the moon.

Which sci-fi films influenced the style of First Man?
I remember seeing the original Star Wars movies as a kid, and they were life changing… seeing those in the theater really transported me. They opened my eyes to other movies and other movie experiences, like 2001: A Space Odyssey. Along the way, I saw and loved The Right Stuff and Apollo 13.

Tom Cross

Damien is a big fan of all those movies as well, but he really wanted to try a different stylistic approach. He knew that 2001 owns that particular look and style, where you’re super high resolution, antiseptic and sleek in a futuristic way.

For First Man, Damien decided to go with something more personal and intimate. He watched hours of 16mm NASA archival footage, which was often shot by astronauts. He loved the idea of First Man feeling like we put a documentary cameraman in the space capsules. He also saw that these spacecrafts appeared more machine-age than space-age. All the gauges and rivets looked like they belonged in a tank from World War II. So I think all of that lo-fi, analog feel informed the cinema vérité-style that he chose.

As a creative editor, you have animatics, previz or temp comps in the Avid, how do you determine the pacing? Could you talk about the creative process working on a big visual effects film?
Damien preplans everything down to the letter. He did that on Whiplash and La La Land, and he did that on First Man, especially all of the big action set pieces — the X-15, the Gemini 8 and Apollo 11 scenes. He had storyboards done, and animatics that he cut with some rough sound effects. So I always used those as a starting point.

I rely heavily on sound. I really try to use it to help illustrate what we’re looking at, especially if we’re using placeholder shots. In general, I’m most reliant on the performances to help me time things out. What the actors bring is really the heartbeat of any action scene. If you don’t identify with the character or get into a point of view, then the action scene becomes something else. It might work on some formal level, but it’s less subjective, which is the opposite of what Damien was going for.

Can you talk about him capturing things in-camera?
Damien made the choice with production designer Nathan Crowley, VFX supervisor Paul Lambert and cinematographer Linus Sandgren to try to shoot as many things in-camera as possible. The backgrounds that you see out all the spacecraft windows were projected on LED screens and then captured in-camera. Later, our VFX artists would improve, or sometimes replace, those windows. But the beautiful thing that in-camera gave us were these amazing reflections on the visors, faces and eyes. That sort of organic play of light is very difficult to replicate later. Having the in-camera VFX was invaluable to me when I was editing and great for rough cut screenings.

A big part of the film played with only the point of view of the astronaut and feeling like it’s a VR experience. Could you talk about that?
It came down to what Damien and Ryan Gosling would refer to as “the moon and the kitchen sink.” That meant that the movie would hinge on the balance between the NASA space missions and the personal domestic storylines. For the earthbound scenes with Neil and his family, Damien wanted the audience to feel like a fly on the wall in their home. He wanted it to feel intimate, and that called for a cinema verité documentary approach to the camera and the cutting.

He wanted to continue that documentary style inside the space capsules but then take it even further. He wanted to make those scenes as subjective as possible. He shot these beautiful POV shots of everything that Neil sees — the Gemini 8 seat before he climbs in, the gauges inside, the view out the window — and we intercut those with Ryan’s face and eyes. Damien really encouraged me to lean into a simple but effective cutting pattern that went back and forth between those elements. It all had to feel immersive.

What about the sound in those POV shots?
It was brilliantly created by our sound designer Ai-Ling Lee and then mixed by Ai-Ling, Frank Montano and Jon Taylor. Damien and I sketched out where all those sounds would be in our Avid rough cuts. Then Ai-Ling would use our template and take it to the next level. We played around with sound in a way that we hadn’t done on Whiplash or La La Land. We made room for sound. We would linger on POV shots of the walls of the space capsule so that we’d have room to put creaks and metal groans from Ai-Ling. We really played those moments up and then tried to answer those sounds with a look from Neil or one of the other astronauts. The goal was to make the audience feel like they were experiencing what the astronauts were experiencing. I never knew how close they were to not even making it to the lunar surface.

There was that pressure of the world watching as alarms are going off in this capsule, and was fuel running out. It was very dramatic. Damien always wanted to honor how heroic these astronauts were by showing how difficult their missions were. They risked everything. We tried to illustrate this by creating sequences that were experiential. We tried to do that through subjective cutting patterns, through sound and by using the big screen in certain ways.

Can you talk about working in IMAX?
Damien is a big canvas director. He always thinks about the big screen. On La La Land, he and Linus shoot in Fox’s original Cinemascope aspect ratio, which is 2:55.

On First Man, he again wanted to tell the story on a wide canvas but then, somehow, take it up a notch at the appropriate moment. He wanted to find a cinematic device that would adequately transport the audience to another world. He came up with this kind of Wizard of Oz transition where the camera passes through the hatch door and out onto the moon. The image opens up from 2.40 to full 1.43 IMAX.

The style and the pace changes after that point. It slows down so that the audience can take in the breathtaking detail that IMAX renders. The scene becomes all about the shadows and the texture of the lunar surface. All the while, we linger even longer on the POV shots so that the viewer feels like they are climbing down that ladder.

What editing system did you use?
We edited on the Avid Media Composer using DNxHD 115. I found that resolution really helpful to assess the focus and detail of the image, especially because we shot a lot of 16mm and 35mm 2-perf.

Tom Cross

I would love to give a shout out to your team, for your assistants and apprentices and anybody else that helped.
I was pretty blessed with a very strong editorial crew. If it weren’t for those guys we’d still be editing the movie since Damien shot 1.75 million feet of film. I need to give credit to my editing team’s great organizational prowess. I also had two great additional editors who worked closely with me and Damien — Harry Yoon and John To. They’re great storytellers and they inspired me everyday with their work.

Ryan Chavez, our VFX editor, also did a lot of great cutting. At the same time, he kept me on target with everything VFX-related. Because of our tight schedule, he was joined by a second VFX editor Jody Rogers, who I had previously worked with on David O. Russell’s movie Joy. She was fantastic.

Then I had two amazing first assistants: Jennifer Stellema and Derek Drouin. Both of them were often sent on missions to find needles in haystacks. They had to wade through hundreds of hours of NASA radio comms, stock footage, and also a plethora of insert shots of gauges and switches. Somehow they always knew where to find everything. The Avid script was also an indispensable resource and that was set up and maintained by Assistant Editors Eric Kench and Phillip Trujillo.

On the VFX end, we were very lucky to have our VFX producer Kevin Elam down the hall. We also had two incredible postviz artists — John Weckworth and Joe DiValerio — who fed us shots constantly. It was a very challenging schedule, which got more difficult once we got into film festivals.

Fortunately, our great post supervisors from La La Land —Jeff Harlacker and Jason Miller — were onboard. They’re the ones who really kept us all on track and had the big picture in mind. Together, with our trusted post PA Ryan Cunningham, we were covered.

The truly unsung heroes of this project had to be the families and loved ones of our crew. As we worked the long hours to make this movie, they supported us in every way imaginable. Without them, none of this would be possible.


Barry Goch is a finishing artist at The Foundation, a boutique post facility in the heart of Burbank’s Media District. He is also an instructor for post production at UCLA Extension. You can follow him on Twitter @gochya

Adobe launches Premiere Rush CC for social video

At the Adobe Max Creativity Conference, Adobe introduced Adobe Premiere Rush CC, the first all-in-one video editing app for social media creators that simplifies video creation and sharing on platforms such as YouTube and Instagram.

Designed specifically for online video creators, Premiere Rush CC integrates capture, intuitive editing, simplified color, audio and motion graphics with seamless publishing to leading social platforms, such as YouTube and Instagram, all in one easy-to-use solution.

With Premiere Rush CC, content creators do not have to be video, color or audio experts to publish professional-quality videos. Premiere Rush CC harnesses the power of Premiere Pro CC and After Effects CC; offers built-in access to professionally designed Motion Graphics templates in Adobe Stock to get started quickly; and features a Sensei-powered, one-click auto-duck feature to adjust music and normalize sound. It also allows access anywhere, enabling users to create compelling video projects — optimized for social distribution — on one device and publish from another with a consistent user experience across desktop and mobile.

Premiere Rush CC is available now on Windows and macOS and via the iOS App Store. (Google Play store availability is coming in 2019.) Adobe offers a variety of pricing plans tailored for customers’ needs:

• Premiere Rush CC is available for $9.99/month to individuals, $19.99/month to teams and $29.99/month to enterprise customers. Premiere Rush CC is also included as part of All Apps, Student and Premiere Pro CC single app plans and comes with 100 GB of CC storage. Additional storage options, up to 10 TB, are also available for purchase.

• Premiere Rush CC Starter Plan: Available for free, the Starter Plan gives customers access to all Premiere Rush CC features, use of desktop and mobile apps and the ability to create an unlimited number of projects and export up to three projects for free.

HP offerings from Adobe Max 2018

By Brady Betzel

HP workstations have been a staple in the post community, especially for anyone not using a Mac or the occasional DIY/custom build from companies like Puget Systems or CyberPower PCs. The difference comes with customers who need workstation-level components and support. Typically, a workstation is run through much tougher and stringent tests so the client can be assured of 24/7/365 up-time. HP continues to evolve and become, in my opinion, a leader for all non-Apple dedicated workflows.

At Adobe Max 2018, HP announced updated components to its Z by HP line of mobile workstations, including the awesome ZBook Studio x360, ZBook Studio, ZBook 15 and ZBook 17. I truly love HP’s mobile workstation offerings. The only issue I constantly come up against is can I — or any freelance worker for that matter — justify the cost of their systems?

I always want the latest and greatest, and I feel I can get that with the updated performance options in this latest update to the ZBook line. They include the increased 6-core Intel i9 processors; expanded memory of up to 32GB (or 128GB in some instances); a really interesting M.2 SSD RAID-1 configuration from the factory that allows for constant mirroring of your boot drive (if one drive fails, the other will take over right where you left off); the ZBook Studio and Studio x360 getting a GPU increase with the Nvidia Quadro P2000; and the anti-glare touchscreen on the x360. This is all in addition to HP’s DreamColor option, which allows for 100% Adobe RGB coverage and 600 nits of brightness. But again, this all comes at a high cost when you max out the workstation with enough RAM and GPU horsepower. But there is some good news for those that don’t have a corporate budget to pull from: HP has introduced the pilot program Z Club.

The Z Club is essentially a leasing program for HP’s Z series products. At the moment, HP will take 100 creators for this pilot program, which will allow you to select a bundle of Z products and accessories that fit your creative lifestyle for a monthly cost. This is exactly how you solve the problem of getting prosumer and freelance workers who can’t quite justify a $5,000 price tag for purchase, but can justify a $100 a month payment. HP has touted categories of products for editors, photographers and many others. With monthly payments that range from $100 to $250, depending on what you order, this is much more manageable for mid-range end users who need the power of a workstation but up until now couldn’t afford it.

So what will you get if you are accepted to the Z Club pilot program? You can choose the products you want and not pay for three months. And you can continue or return your products, you can switch products and you will have access to a Z Club concierge service for any questions and troubleshooting.

On the call I had with HP, they mentioned that a potential bundle for a video editor could be an HP Z series mobile workstation or desktop, along with a DreamColor display, and an external RAID storage system to top it off.

In the end, I think HP (much like Blackmagic’s Resolve in the NLE/color world) is at the front of the pack. They are listening to what creatives are saying about Apple — how this giant company is not listening to their customers in an efficient and price-conscious way. Creating essentially a leasing program for mid- to high-range products with support is the future. It’s essentially Apple’s own iPhone program but with computers!

Hopefully this program takes off, and if you are lucky enough to be accepted into the pilot program, I would be curious to hear your experience, so please reach out. But with HP making strides in the workstation security initiatives like Sure Start, a privacy mode for mobile systems, and military-grade testing known as MIL-spec, HP is going from being a standard in the media and entertainment post industry. For those leaving Apple for a Windows-based PC, you should apply for the Z Club pilot program. Go to www.hp.com to find out more or follow along on Twitter @AdobeMax, @HP or using #AdobeMax.


Brady Betzel is an Emmy-nominated online editor at Margarita Mix in Hollywood, working on Life Below Zero and Cutthroat Kitchen. You can email Brady at bradybetzel@gmail.com. Follow him on Twitter @allbetzroff.

Veteran editor Antonio Gómez-Pan joins Therapy Studios

Los Angeles-based post house Therapy Studios has added editor Antonio Gómez-Pan to its team. Born in Madrid, and currently splitting his time between his hometown of Barcelona and LA, Gómez-Pan earned a Bachelor of Arts in film editing at cinema school ESCAC.

He says his journey to editing was “sort of a Darwinian process” after he burnt his hands on some fresnel lights and “discovered the beauty of film editing.” While still in school, he edited Mi Amigo Invisible (2010), which premiered at Sundance Film Festival and Elefante (2012), which won the Best Short Film Award at the LA Film Festival and the Sitges Film Festival, along with many others.

Gómez-Pan’s feature work includes Puzzled Love, Hooked Up and Othello, which won Best European Independent Film at ÉCU 2013. On the advertising side, he has worked with global brands like Adidas, Coca-Cola, Chanel, Unicef, Volkswagen, Nike, Ikea, Toyota and many more. Recently, he was appointed an Academic by the Spanish Motion Picture Arts & Sciences Academy, on top of winning the Gold Medal for Best Editing in Berlin.

When asked what his favorite format is, Gómez-Pan couldn’t choose, saying, “I love commercials because of their immediacy and the need to be able to synthesize, but feature films can be more personal and narratively engaging. Music videos are where you are freer to experiment and the editor’s hand is more visible. Documentaries are so rewarding because they’re created in the editing room more than any other genre. I really cannot choose among them.” His enthusiasm for working across the scale is part of why he was drawn to Therapy, where he says, “They do everything, from broadcast campaigns to long-format shows like HBO’s Sonic Highways.”

Gómez-Pan joins Therapy’s existing roster of editors, which includes Doobie White, Kristin McCasey, Lenny Mesina, Meg Ramsay, Steve Prestemon and Jake Shaver. Gómez-Pan says, “Editorial houses don’t exist in Spain, so we are also the ones dealing with the salary, the schedule and all other non-creative parts of the process. That puts you in a tricky position even before you sit down in the editing suite. The role is incredibly rewarding and the editor is held in high esteem, but already I’ve found that we’re much more protected and respected here in the States.”

Review: Mobile Filmmaking with Filmic Pro, Gnarbox, LumaFusion

By Brady Betzel

There is a lot of what’s become known as mobile filmmaking being done with cell phones, such as the iPhone, Samsung Galaxy and even the Google Pixel. For this review, I will cover two apps and one hybrid hard drive/mobile media ingest station built specifically for this type of mobile production.

Recently, I’ve heard how great the latest mobile phone camera sensors are, and how those embracing mobile filmmaking are taking advantage of them in their workflows. Those workflows typically have one thing in common: Filmic Pro.

One of the more difficult parts of mobile filmmaking, whether you are using a GoPro, DSLR or your phone, is storage and transferring the media to a workable editing system. The Gnarbox, which is designed to help solve this issue, is in my opinion one of the best solutions for mobile workflows that I have seen.

Finally, editing your footage together in a professional nonlinear editor like Adobe Premiere Pro or Blackmagic’s Resolve takes some skills and dedication. Moreover, if you are doing a lot of family filmmaking (like me), you usually have to wait for the kids to go to sleep to start transferring and editing. However, with the iOS app LumaFusion — used simultaneously with the Gnarbox — you can transfer your GoPro, DSLR or other pro camera shots, while your actors are taking a break, allowing you to clear your memory cards or get started on a quick rough cut to send to executives that might be waiting off site.

Filmic Pro
First up is Filmic Pro V.6. Filmic Pro is an iOS and Android app that gives you fine-tuned control over your phone’s camera, including live image analyzation features, focus pulling and much more.

There are four very useful live analytic views you can enable at the top of the app: Zebra Stripes, Clipping, False Color and Focus Peaking. There is another awesome recording view that allows simultaneous focus and exposure adjustments, conveniently placed where you would naturally rest your thumbs. With the focus pulling feature you can even set start and end focus points that Filmic Pro will run for you — amazing!

There are many options under the hood of Filmic Pro, including the ability to record at almost any frame rate and aspect ratio, such as 9:16 vertical video (Instagram TV anyone?). You can also film at one particular frame rate, such as 120fps and record at a more standard frame rate of 24fps, essentially processing your high-speed footage in the phone. Vertical video is one of those constant questions that arises when producing video for mobile viewing. If you don’t want the app to automatically change to vertical video recording mode, you can set an orientation lock in the settings. When recording video there are four data rate options: Filmic Extreme, with 100Mb/s for any frame size 2K or higher and 50Mb/s for 1080p or lower; Filmic Quality, which limits the data rate to 35Mb/s (your phone’s default data rate); or Economy, which you probably don’t need to use.

I have only touched on a few of the options inside of Filmic Pro. There are many more, including mic input selections, sample rate selections (including 48kHz), timelapse mode and, in my opinion, the most powerful feature, Log recording. Log recording inside of a mobile phone can unlock some unnoticed potential in your phone’s camera chip, allowing for a better ability to match color between cameras or expose details in shadows when doing color correction in post.

The only slightly bad news is that on top of the $14.99 price for the Filmic Pro app itself, to gain access to the Log ability (labeled Cinematographer’s Toolkit) you have to pay an additional $9.99. In the end, $25 is a really, really, really small price to pay for the abilities that Filmic Pro unlocks for you. And while this won’t turn your phone into an Arri Alexa or Red Helium (yet), you can raise your level of mobile cinematography quickly, and if you are using your phone for some B-or C-roll, Filmic Pro can help make your colorist happy, thanks to Log recording.

One feature that I couldn’t test because I do not own a DJI Osmo is that you can control the features on your iOS device from the Osmo itself, which is pretty intriguing. In addition, if you use any of the Moondog Labs anamorphic adapters, Filmic Pro can be programmed to de-squeeze the footage properly.

You can really dive in with Filmic Pro’s library of tutorials here.

Gnarbox 1.0
After running around with GoPro cameras strapped to your (or your dog’s) head all day, there will be some heavy post work to get it offloaded onto your computer system. And, typically, you will have much more than just one GoPro recording during the day. Maybe you took some still photos on your DSLR and phone, shot some drone footage and had GoPro on a chest mount.

As touched on earlier, the Gnarbox 1.0 is a stand-alone WiFi-enabled hard drive and media ingestion station that has SD, microSD, USB 3.0 and USB 2.0 ports to transfer media to the internal 128GB or 256GB Flash memory. You simply insert the memory cards or the camera’s USB cable and connect to the Gnarbox via the App on your phone to begin working or transferring.

There are a bunch of files that will open using the Gnarbox 1.0 iOS and Android apps, but there are some specific files that won’t open, including ProRes, H.265 iPhone recordings, CinemaDNG, etc. However, not all hope is lost. Gnarbox is offering up the Gnarbox 2.0 via IndieGogo and can be pre-ordered. Version 2.0 will offer compatibility with file types such as ProRes, in addition to having faster transfer times and app-free backups.

So while reading this review of the Gnarbox 1.0, keep Version 2 in the back of your mind, since it will likely contain many new features that you will want… if you can wait until the estimated delivery of January 2019.

Gnarbox 1.0 comes in two flavors: a 128GB version for $299.99, and the version I was sent to review, which is 256GB for $399.99. The price is a little steep, but the efficiency this product brings is worth the price of admission. Click here for all the lovely specs.

The drive itself is made to be used with an iPhone or Android-based device primarily, but it can be put into an external hard drive mode to be used with a stand-alone computer. The Gnarbox 1.0 has a write speed of 132MB/s and read speed of 92MB/s when attached to a computer in Mass Storage Mode via the USB 3.0 connection. I actually found myself switching modes a lot when transferring footage or photos back to my main system.

It would be nice to have a way to switch to the external hard drive mode outside of the app, but it’s still pretty easy and takes only a few seconds. To connect your phone or tablet to the Gnarbox 1.0, you need to download the Gnarbox app from the App Store or Google Play Store. From there you can access content on your phone as well as on the Gnarbox when connected to it. In addition to the Gnarbox app, Gnarbox 1.0 can be used with Adobe Lightroom CC and the mobile NLE LumaFusion, which I will cover next in the review.

The reason I love the Gnarbox so much is how simply, efficiently and powerfully it accomplishes its task of storing media without a computer, allowing you to access, edit and export the media to share online without a lot of technical know-how. The one drawback to using cameras like GoPros is it can take a lot of post processing power to get the videos on your system and edited. With the Gnarbox, you just insert your microSD card into the Gnarbox, connect your phone via WiFi, edit your photos or footage then export to your phone or the Gnarbox itself.

If you want to do a full backup of your memory card, you open the Gnarbox app, find the Connected Devices, select some or all of the clips and photos you want to backup to the Gnarbox and click Copy Files. The same screen will show you which files have and have not been backed up yet so you don’t do it multiple times.

When editing photos or video there are many options. If you are simply trimming down a video clip, stringing out a few clips for a highlight reel, adding some color correction, and even some music, then the Gnarbox app is all you will need. With the Gnarbox 1.0, you can select resolution and bit rates. If you’re reading this review you are probably familiar with how resolutions and bit rates work, so I won’t bore you with those explanations. Gnarbox 1.0 allows for 4K, 2.7K. 1080p and 720p resolutions and bitrates of 65 Mbps, 45Mbps, 30Mbps and 10Mbps.

My rule of thumb for social media is that resolution over 1080p doesn’t really apply to many people since most are watching it on their phone, and even with a high-end HDR, 4K, wide gamut… whatever, you really won’t see much difference. The real difference comes in bit rates. Spend your megabytes wisely and put all your eggs in the bit rate basket. The higher the bit rates the better quality your color will be and there will be less tearing or blockiness. In my opinion a higher bit rate 1080p video is worth more than a 4K video with a lower bit rate. It just doesn’t pay off. But, hey, you have the options.

Gnarbox has an awesome support site where you can find tutorial GIFs and writeups covering everything from powering on your Gnarbox to bitrates, like this one. They also have a great YouTube playlist that covers most topics with the Gnarbox, its app, and working with other apps like LumaFusion to get you started. Also, follow them on Instagram for some sweet shots they repost.

LumaFusion
With Filmic Pro to capture your video and with the Gnarbox you can lightly edit and consolidate your media, but you might need to go a little further in the editing than just simple trims. This is where LumaFusion comes in. At the moment, LumaFusion is an iOS only app, but I’ve heard they might be working on an Android version. So for this review I tried to get my hands on an iPad and an iPad Pro because this is where LumaFusion would sing. Alas, I had to settle for my wife’s iPhone 7 Plus. This was actually a small blessing, because I was afraid the app would be way too small to use on a standard iPhone. To my surprise it was actually fine.

LumaFusion is an iOS-based nonlinear editor, much like Adobe Premiere or FCPX, but it only costs $19.99 in the App store. I added LumaFusion to this review because of its tight integration with Gnarbox (by accessing the files directly on the Gnarbox for editing and output), but also because it has presets for Filmic Pro aspect ratios: 1.66:1, 17:9, 2.2:1, 2.39:1, 2.59:1. LumaFusion will also integrate with external drives like the Western Digital wireless SSD, as well as cloud services like Google Drive.

In the actual editing interface LumaFusion allows for advanced editing with titles, music, effects and color correction. It gives you three video and audio tracks to edit with, allowing for J and L cuts or transitions between clips. For an editor like me who is so used to Avid Media Composer that I want to slip and trim in every app, LumaFusion allows for slips, trims, insert edits, overwrite edits, audio track mixing, audio ducking to automatically set your music levels — depending on when dialogue occurs — audio panning, chroma key effects, slow and fast motion effects, titles with different fonts and much more.

There is a lot of versatility inside of LumaFusion, including the ability to export different frame rates between 18, 23.976, 24, 25, 29.97, 30, 48, 50, 59.94, 60, 120 and 240 fps. If you are dealing with 360-degree video, you can even enable the 360-degree metadata flag on export.

LumaFusion has a great reference manual that will fill you in on all the aspects of the app, and it’s a good primer on other subjects like exporting. In addition, they have a YouTube playlist. Simply, you can export for all sorts of social media platforms or even to share over Air Drop between Mac OS and iOS devices. You can choose your export resolution such as 1080p or UHD 4K (3840×2160), as well as your bit rate, and then you can select your codec, whether it be H.264 or H.265. You can also choose whether the container is a MP4 or MOV.

Obviously, some of these output settings will be dictated by the destination, such as YouTube, Instagram or maybe your NLE on your computer system. Bit rate is very important for color fidelity and overall picture quality. LumaFusion has a few settings on export, including: 12Mbps, 24Mbps, 32Mbps and 50Mbps if in 1080p, otherwise 100 Mbps if you are exporting UHD 4k (3840×2160).

LumaFusion is a great solution for someone who needs the fine tuning of a pro NLE on their iPad or iPhone. You can be on an exotic vacation without your laptop and still create intricately edited highlight reels.

Summing Up
In the end, technology is amazing! From the ultra-high-end camera app Filmic Pro to the amazing wireless media hub Gnarbox and even the iOS-based nonlinear editor LumaFusion, you can film, transfer and edit a professional-quality UHD 100Mbps clip without the need for a stand-alone computer.

If you really want to see some amazing footage being created using Filmic Pro you should follow Richard Lackey on all social media platforms. You can find more info on his website. He has some amazing imagery as well as tips on how to shoot more “cinematic” video using your iPhone with Filmic Pro.

The Gnarbox — one of my favorite tools reviewed over the years — serves a purpose and excels. I can’t wait to see how the Gnarbox 2.0 performs when it is released. If you own a GoPro or any type of camera and want a quick and slick way to centralize your media while you are on the road, then you need the Gnarbox.

LumaFusion will finish off your mobile filmmaking vision with titles, trimming and advanced edit options that will leave people wondering how you pulled off such a professional video from your phone or tablet.


Brady Betzel is an Emmy-nominated online editor at Margarita Mix in Hollywood, working on Life Below Zero and Cutthroat Kitchen. You can email Brady at bradybetzel@gmail.com. Follow him on Twitter @allbetzroff.

Quick Chat: ATK PLN’s David Bates on alliance with Butcher Post

By Randi Altman

Creative group ATK PLN, which focuses on design, animation and live action, has partnered with LA-based editorial and post shop Butcher Post. ATK PLN will represent Butcher’s editors in the Texas market, and Butcher will represent ATK PLN’s editors in their markets. While ATK PLN is headquartered in Dallas, they have offices in LA and Montreal as well.

We reached out to ATK PLN managing director David Bates to find out more about the partnership.

ATK PLN has multiple offices. Is this partnership only with the Dallas facility? If so, why only Dallas and not across the board?
This is a strategic first step. Butcher hasn’t had representation in the Texas market, and this gave us a way to begin Phase 1 in a manageable way, while still making a big impact by bringing national talent into our Texas market.

The flip side is that we do have multiple brick and mortar offices that allow Butcher to have locations to work at as the need arises. ATK PLN is specifically representing Butcher in the Texas market, but operationally, our relationship goes much deeper than that.

Are the editors going to work in Texas or from where they are based? If remotely, what will that review and approval process look like?
One of the things we love the most about Butcher is their flexibility. We love that they can work on set, in a hotel suite or at a client’s office. They have already honed the skill of doing very high-quality work in whatever location they are called upon to do it. So much of the work that both Butcher and ATK PLN does is reviewed remotely.

The days of clients having the time to sit in a suite for hours or days on end to review work in progress are long gone. The key becomes setting clear expectations for both calendars and the content to be reviewed. We’re basically bringing the work to the client instead of asking them to come to us. We understand that agencies are continually asked to run leaner and meaner, and our aim is to be as supportive and as beneficial to them as possible. We’re mapping our workflow to their needs.

What systems does Butcher use?
They work on Avid Media Composer or Adobe Premiere, depending on the specific needs of the project. Both are easily portable.

Why was now the right time to partner, and why Butcher? There are many editorial houses out there.
So much of harnessing opportunity is just keeping your eyes open and being bold enough to leap when the opportunities present themselves. Our EP Jim Riche has had a long relationship with the team at Butcher and said, “David, you need to meet these guys.”

Our partnership began with a simple conversation… a discussion of how we think, and of what we do and how we do it. We discovered that our philosophies overlap, yet our skills are different enough to significantly extend the reach of the other. We had actually brought up the idea to other editorial houses in the past, but it was almost as if they couldn’t grasp the idea of being stronger together, while still retaining individuality. Butcher immediately understood the idea because they’re already in that mindset, and have been thinking in new strategic ways.

And conversely for Butcher, why partner with ATL PLN?
This partnership allows both companies to offer complete solutions without the long arduous process of building it from scratch. We allow Butcher to have three additional bases to operate from, as well as access to our young editorial talent. We provide them with representation in a significant market, and offer a level of design, animation, and general finishing that allows us to tackle potential work together and in a more strategic and efficient way.

What have they partnered on so far? Any projects to date? If so, what and how was the workflow on that?
We are at the very beginning of our relationship, and we’ve just begun the process of letting the marketplace know about it. Step one was to create awareness, letting the marketplace know that we are bringing something different to the table.

We have been approached by a Dallas agency for a project, but it never materialized. Butcher has successfully worked in two other markets with local agencies there. In one city, they had the editor set up in a hotel suite close to the client, in another they four-walled at a local edit company. In most cases the finishing, conform and color are all done at a facility local to the client. Here in Dallas, we offer all of the finishing needed, conform, Flame VFX, color and audio.

Review: Blackmagic’s Resolve 15

By David Cox

DaVinci Resolve 15 from Blackmagic Design has now been released. The big news is that Blackmagic’s compositing software Fusion has been incorporated into Resolve, joining the editing and audio mixing capabilities added to color grading in recent years. However, to focus just on this would hide a wide array of updates to Resolve, large and small, across the entire platform. I’ve picked out some of my favorite updates in each area.

For Colorists
Each time Blackmagic adds a new discipline to Resolve, colorists fear that the color features take a back seat. After all, Resolve was a color grading system long before anything else. But I’m happy to say there’s nothing to fear in Version 15, as there are several very nice color tweaks and new features to keep everyone happy.

I particularly like the new “stills store” functionality, which allows the colorist to find and apply a grade from any shot in any timeline in any project. Rather than just having access to manually saved grades in the gallery area, thumbnails of any graded shot can be viewed and copied, no matter which timeline or project they are in, even those not explicitly saved as stills. This is great for multi-version work, which is every project these days.

Grades saved as stills (and LUTS) can also be previewed on the current shot using the “Live Preview” feature. Hovering the mouse cursor over a still and scrubbing left and right will show the current shot with the selected grade temporarily applied. It makes quick work of finding the most appropriate look from an existing library.

Another new feature I like is called “Shared Nodes.” A color grading node can be set as “shared,” which creates a common grading node that can be inserted into multiple shots. Changing one instance, changes all instances of that shared node. This approach is more flexible and visible than using Groups, as the node can be seen in each node layout and can sit at any point in the process flow.

As well as the addition of multiple play-heads, a popular feature in other grading systems, there is a plethora of minor improvements. For example, you can now drag the qualifier graphics to adjust settings, as opposed to just the numeric values below them. There are new features to finesse the mattes generated from the keying functions, as well as improvements to the denoise and face refinement features. Nodes can be selected with a single click instead of a double click. In fact, there are 34 color improvements or new features listed in the release notes.

For Editors
As with color, there are a wide range of minor tweaks all aimed at improving feel and ergonomics, particularly around dynamic trim modes, numeric timecode entry and the like. I really like one of the major new features, which is the ability to open multiple timelines on the screen at the same time. This is perfect for grabbing shots, sequences and settings from other timelines.

As someone who works a lot with VFX projects, I also like the new “Replace Edit” function, which is aimed at those of us that start our timelines with early drafts of VFX and then update them as improved versions come along. The new function allows updated shots to be dragged over their predecessors, replacing them but inheriting all modifications made, such as the color grade.

An additional feature to the existing markers and notes functions is called “Drawn Annotations.” An editor can point out issues in a shot with lines and arrows, then detail them with notes and highlight them with timeline markers. This is great as a “note to self” to fix later, or in collaborative workflows where notes can be left for other editors, colorists or compositors.

Previous versions of Resolve had very basic text titling. Thanks to the incorporation of Fusion, the edit page of Resolve now has a feature called Text+, a significant upgrade on the incumbent offering. It allows more detailed text control, animation, gradient fills, dotted outlines, circular typing and so on. Within Fusion there is a modifier called “Follower,” which enables letter-by-letter animation, allowing Text+ to compete with After Effects for type animation. On my beta test version of Resolve 15, this wasn’t available in the Edit page, which could be down to the beta status or an intent to keep the Text+ controls in the Edit page more streamlined.

For Audio
I’m not an audio guy, so my usefulness in reviewing these parts is distinctly limited. There are 25 listed improvements or new features, according to the release notes. One is the incorporation of Fairlight’s Automated Dialog Replacement processes, which creates a workflow for the replacement of unsalvageable originally recorded dialog.

There are also 13 new built-in audio effects plugins, such as Chorus, Echo and Flanger, as well as de-esser and de-hummer clean-up tools.
Another useful addition both for audio mixers and editors is the ability to import entire audio effects libraries, which can then be searched and star-rated from within the Edit and Fairlight pages.

Now With Added Fusion
So to the headline act — the incorporation of Fusion into Resolve. Fusion is a highly regarded node-based 2D and 3D compositing software package. I reviewed Version 9 in postPerspective last year [https://postperspective.com/review-blackmagics-fusion-9/]. Bringing it into Resolve links it directly to editing, color grading and audio mixing to create arguably the most agile post production suite available.

Combining Resolve and Fusion will create some interesting challenges for Blackmagic, who say that the integration of the two will be ongoing for some time. Their challenge isn’t just linking two software packages, each with their own long heritage, but in making a coherent system that makes sense to all users.

The issue is this: editors and colorists need to work at a fast pace, and want the minimum number of controls clearly presented. A compositor needs infinite flexibility and wants a button and value for every function, with a graph and ideally the ability to drive it with a mathematical expression or script. Creating an interface that suits both is near impossible. Dumbing down a compositing environment limits its ability, whereas complicating an editing or color environment destroys its flow.

Fusion occupies its own “page” within Resolve, alongside pages for “Color,” “Fairlight” (audio) and “Edit.” This is a good solution in so far that each interface can be tuned for its dedicated purpose. The ability to join Fusion also works very well. A user can seamlessly move from Edit to Fusion to Color and back again, without delays, rendering or importing. If a user is familiar with Resolve and Fusion, it works very well indeed. If the user is not accustomed to high-end node-based compositing, then the Fusion page can be daunting.

I think the challenge going forward will be how to make the creative possibilities of Fusion more accessible to colorists and editors without compromising the flexibility a compositor needs. Certainly, there are areas in Fusion that can be made more obvious. As with many mature software packages, Fusion has the occasional hidden right click or alt-click function that is hard for new users to discover. But beyond that, the answer is probably to let a subset of Fusion’s ability creep into the Edit and Color pages, where more common tasks can be accommodated with simplified control sets and interfaces. This is actually already the case with Text+; a Fusion “effect” that is directly accessible within the Edit section.

Another possible area to help is Fusion Macros. This is an inbuilt feature within Fusion that allows a designer to create an effect and then condense it down to a single node, including just the specific controls needed for that combined effect. Currently, Macros that integrate the Text+ effect can be loaded directly in the Edit page’s “Title Templates” section.

I would encourage Blackmagic to open this up further to allow any sort of Macro to be added for video transitions, graphics generators and the like. This could encourage a vibrant exchange of user-created effects, which would arm editors and colorists with a vast array of immediate and community sourced creative options.

Overall, the incorporation of Fusion is a definite success in my view, whether used to empower multi-skilled post creatives or to provide a common environment for specialized creatives to collaborate. The volume of updates and the speed at which the Resolve software developers address the issues exposed during public beta trials, remains nothing short of impressive.


David Cox is a VFX compositor and colorist with 20-plus years of experience. He started his career with MPC and The Mill before forming his own London-based post facility. Cox recently created interactive projects with full body motion sensors and 4D/AR experiences.

Edit house PS260 launches content studio, We Know the Future

Creative editorial house PS260 has launched its own creative content studio. We Know the Future offers in-house production capabilities and advertising solutions across all screens. These offerings will be available in NYC and LA.

JJ Lask, PS260’s co-founder, partner and editor, is leading the new content studio from the company’s LA office, with support from all PS260 editors and staff across both offices.

Currently, PS260’s We Know the Future partners with various creatives, from writers and directors to social media influencers, to support its content production with plans to build out the team in the next year. The first project from We Know the Future is American Counselor, which launched during the first week of July on PS260’s YouTube channel timed to the Fourth of July holiday. The link to the first episode is here, and the subsequent episodes will post each week throughout the summer.

PS260 and We Know the Future edited and produced American Counselor, respectively, and worked with the director of the 14-episode digital series, Brendan Gibbons. The series personifies both the liberal and conservative sides of the US as a husband and wife going through marriage counseling. Actors include Annie Sertich (2 Broke Girls, The Office), Ptolemy Slocum (Westworld, The Sopranos) and Marc Evans Jackson (Brooklyn Nine-Nine, Jumanji), who plays the American counselor.

In addition to American Counselor, Lask is working on a show directed at dads, called That Dad Show. It will appear on Facebook this fall and will be produced by the new content studio.

“The launch of PS260’s content studio is a response to a new advertising landscape,” says Lask. “PS260’s advantage is our visual storytelling talent. We are now leveraging that talent to develop, create and produce longer format episodic content combined with advertising solutions distributed across all the leading social channels.”

Roundtable: Director Autumn McAlpin and her Miss Arizona post team

By Randi Altman

The independent feature film Miss Arizona is a sort of fish out of water tale that focuses on Rose Raynes, former beauty queen and current bored wife and mother who accepts an invitation to teach a life skills class at a women’s shelter. As you might imagine, the four women who she meets there don’t feel they have much in common. While Rose is “teaching,” the women are told that one of their abusers is on his way to the shelter. The women escape and set out on an all-night adventure through LA and, ultimately, to a club where the women enter Rose into a drag queen beauty pageant — and, of course, along the way they form a bond that changes them all.

L-R: Camera operator Eitan Almagor, DP Jordan McKittrick and Autumn McAlpin.

Autumn McAlpin wrote and directed the film, which has been making its way through the film festival circuit. She hired a crew made up of 70 percent women to help tell this tale of female empowerment. We reached out to her, her colorist Mars Williamson and her visual effects/finishing artist John Davidson to find out more.

Why did you choose the Alexa Mini? And why did you shoot mostly handheld?
Autumn McAlpin: The Alexa Mini was the first choice of our DP Jordan McKittrick, with whom I frequently collaborate. We were lucky enough to be able to score two Alexa Mini cameras on this shoot, which really helped us achieve the coverage needed for an ensemble piece in which five-plus key actors were in almost every shot. We love the image quality and dynamic range of the Alexas, and the compact and lightweight nature of the Mini helped us achieve an aggressive shooting schedule in just 14 days.

We felt handheld would achieve the intimate yet at times erratic look we were going for following an ensemble of five women from very different backgrounds who were learning to get along while trying to survive. We wanted the audience to feel as if they were going on the journey along with the women, and thus felt handheld would be a wise approach to accomplish this goal.

How early did post — edit, color — get involved?
McAlpin: We met with our editor Carmen Morrow before the shoot, and she and her assistant editor Dustin Fleischmann were integral in delivering a completed rough cut just five weeks after we wrapped. We needed to make key festival deadlines. Each day Dustin would drive footage from set over to Carmen’s bay, where she could assemble while we were shooting so we could make sure we weren’t missing anything crucial. This was amazing, as we’d often be able to see a rough assembly of a scene we had shot in the morning by the end of day. They cut on Avid Media Composer.

My DP Jordan and I agreed on the overall look of the film and how we wanted the color to feel rich and saturated. We were really excited about what we saw in our colorist’s reel. We didn’t meet our colorist Mars Williamson until after we had wrapped production. Mars had moved from LA to Melbourne, so we knew we wouldn’t be able to work in close quarters, but we were confident we’d be able to accomplish the desired workflow in the time needed. Mars was extremely flexible to work with.

Can you talk more about the look of the film.
McAlpin: Due to the nature of our film, we sought to create a rich, saturated look color wise. Our film follows a former pageant queen on an all-night adventure through LA with four unlikely friends she meets at a women’s shelter. In a way, we tried to channel an Oz-like world as our ensemble embarks into the unknown. We deliberately used color to represent the various realities the women inhabit. In the film’s open, our production design (by Gabriel Gonzales) and wardrobe (by Cat Velosa) helped achieve a stark, cold world — filled with blues and whites — to represent our protagonist Rose’s loneliness.

As Rose moves into the shelter, we went with warmer tones and a more eclectic production design. A good portion of Act II takes place in a drag club, which we asked Gabe to design to be rich and vibrant, using reds and purples. Toward the end of the film as Rose finds resolution, we went with more naturalistic lighting, primarily outdoor shots and golden hues. Before production, Jordan and I pulled stills from films such as Nick & Norah’s Infinite Playlist, Black Swan and Short Term 12, which provided strong templates for the looks we were trying to achieve.

Is there a particular scene or look that stands out for you?
McAlpin: There is a scene when our lead Rose (Johanna Braddy) performs a ventriloquist act onstage with a puppet and they sing Shania Twain’s “Man, I Feel Like a Woman.”  Both Rose and the puppet wore matching cowgirl wardrobe and braids, and this scene was lit to be particularly vibrant with hot pinks and purples. I remember watching the monitors on set and feeling like we had really nailed the rich, saturated look we were going for in this offbeat pageant world we had created.

L-R: Dana Wheeler-Nicholson, Shoniqua Shandai, producer De Cooper, Johanna Brady, Autumn McAlpin, Otmara Marrero and Robyn Lively.

Can you talk about the workflow from set to post?
McAlpin: As a low-budget indie, many of our team work from home offices, which made collaboration friendly and flexible. For the four months following production, I floated between the workspaces of our talented and efficient editor Carmen Morrow, brilliant composer Nami Melumad, dedicated sound designer Yu-Ting Su, VFX and online extraordinaire John Davidson, and we used Frame.io to work with our amazing colorist Mars Williamson. Everyone worked so hard to help achieve our vision in our timeframe. Using Frame.io and Box helped immensely with file delivery, and I remember many careful drives around LA, toting our two RAID drives between departments. Postmates food delivery service helped us power through! Everyone worked hard together to deliver the final product, and for that I’m so grateful.

Can you talk about the type of film you were trying to make, and did it turn out as you hoped?
McAlpin: I volunteered in a women’s shelter for several years teaching a life skills class, and this was an experience that introduced me to strong, vibrant women whose stories I longed to tell. I wrote this script very quickly, in just three weeks, though really, the story seemed to write itself. It was the fall of 2016, at a time where I was agitated by the way women were being portrayed in the media. This was shortly before the #metoo movement, and during the election and women’s march. The time felt right to tell a story about women and other marginalized groups coming together to help each other find their voices and a safe community in a rapidly divisive world.

I’m not going to lie, with our budget, all facets of production and post were quite challenging, but I was so overwhelmed by the fastidious efforts of everyone on our team to create something powerful. I feel we were all aligned in vision, which kept everyone fueled to create a finished product I am very proud of. The crowning moment of the experience was after our world premiere at Geena Davis’ Bentonville Film Fest, when a few women from the audience approached and confided that they, too, had lived in shelters and felt our film spoke to the truths they had experienced. This certainly made the whole process worthwhile.

Autumn, you wrote as well as directed. Did the story change or evolve once you started shooting or did you stick to the original script?
McAlpin: As a director who is very open to improv and creative play on set, I was quite surprised by how little we deviated from the script. Conceptually, we stuck to the story as written. We did have a few actors who definitely punched up scenes by making certain lines more their own (and much more humorous, i.e. the drag queens). And there were moments when location challenges forced last-minute rewrites, but hey, I guess that’s one advantage to having the writer in the director’s chair! This story seemed to flow from the moment it first arrived in my head, telling me what it wanted to be, so we kind of just trusted that, and I think we achieved our narrative goals.

You used a 70 percent female crew. Can you talk about why that was important to you?
McAlpin: For this film, our producer DeAnna Cooper and I wanted to flip the traditional gender ratios found on sets, as ours was indeed a story rooted in female empowerment. We wanted our set to feel like a compatible, safe environment for characters seeking safety and trusted female friendships. So many of the cast and crew who joined our team expressed delight in joining a largely female team, and I think/hope we created a safe space for all to create!

Also, as women, we tend to get each other — and there were times when those on our production team (all mothers) were able to support each other’s familial needs when emergencies at home arose. We also want to give a shout-out to the numerous woman-supporting men we had on our team, who were equally wonderful to work with!

What was everyone’s favorite scene and why?
McAlpin: There’s a moment when Rose has a candid conversation with a drag queen performer named Luscious (played by Johnathan Wallace) in a green room during which each opens up about who they are and how they got there. Ours is a fish out of water story as Rose tries to achieve her goal in a world quite new to her, but in this scene, two very different people bond in a sincere and heartfelt way. The performances in this scene were just dynamite, thanks to the talents of Johanna and Johnathan. We are frequently told this scene really affects viewers and changes perspectives.

I also have a personal favorite moment toward the end of the film in which a circle of women from very different backgrounds come together to help out a character named Leslie, played by the dynamic Robyn Lively, who is searching for her kids. One of the women helping Leslie says, “I’m a mama, too,” and I love the strength felt in this group hug moment as the village comes together to defend each other.

If you all had to do it again, what would you do differently?
McAlpin: This was one fast-moving train, and I know, as is the case in every film, there are little shots or scenes we’d all love to tweak just a little if given the chance to start over from scratch. But at this point, we are focusing on the positives and what lies in store for Miss Arizona. Since our Bentonville premiere and LA premiere at Dances With Films, we have been thrilled to receive numerous distribution offers, and it’s looking like a fall worldwide release may be in store. We look forward to connecting with audiences everywhere as we share the message of this film.

Mars Williamson

Mars, can you talk about your process and how you worked with the team? 
Williamson: Autumn put us in touch, and John and I touched based a little bit before I was going to start color. We all had a pretty good idea of where we were taking it from the offline and discussed little tweaks here and there, so it was fairly straightforward. There were a couple of things like changing a wall color and the last scene needing more sunset than was shot. Autumn and John are super easy and great to work with. We found out pretty early that we’d be able to collaborate pretty easily since John has DaVinci Resolve on his end in the states as well.  I moved to Melbourne permanently right before I really got into the grade.

Unbeknownst to me, Melbourne was/is in the process of upgrading their Internet, which is currently painfully slow. We did a couple of reviews via Frame.io and eventually moved to me just emailing John my project. He could relink to the media on his end and all of my color grading would come across for sessions in LA with Autumn. It was the best solution to contend with the snail pace uploads of large files. From there it was just going through it reel by reel and getting notes from the stateside team. I couldn’t have worked on this with a better group of people.

What types of projects do you work on most often?
Williamson: My bread and butter has always been TV commercials, but I’ve worked hard to make sure I work on all sort of formats across different genres. I like to make sure I’ve got a wide range of stuff under my belt. The pool is smaller here in Australia than it is in LA (where I moved from) so TV commercials are still the bill payers, but I’m also still dipping into the indie scene here and trying to diversify what I work on. Still working on a lot of indie projects and music videos from the states as well so thank you stateside clients! Thankfully the difference in time hasn’t hindered most of them (smiles). It has led to an all-nighter here and there for me, but I’m happy to lose sleep for the right projects.

How did you work with the DP and director on the look of the film? What look did you want and how did you work to achieve that look or looks?
John Davidson: Magic Feather is a production company and creative agency that I started back in 2004. We provide theatrical marketing and creative services for a wide variety of productions. From the 3D atomic transitions in Big Bang Theory to the recent Jurassic World Fallen Kingdom week-long event on Discovery, we have a pretty great body of work. I came onboard Miss Arizona very much by accident. Last year, after working with Weta in New Zealand, we moved to Laguna Niguel and connected with Autumn and her husband Michael via some mutual friends. I was intrigued that they had just finished shooting this movie on their own and offered to replace a few license plates and a billboard. Somehow I turned that into coordinating the post-Avid workflow across the planet and creating 100-plus visual effects shots. It was a fantastic opportunity to use every tool in our arsenal to help a film with a nice message and a family we have come to adore.

John Davidson

Working with Jordan and Autumn for VFX and final mastering was educational for all of us, but definitely so with me. As I mentioned to Jordan after the showing in Hollywood, if I did my job right you would never know. There were quite a few late nights, but I think that they are both very happy with the results.

John, I understand there were some challenges in the edit? Relinking the camera source footage? Can you talk about that and how you worked around it?
Davidson: The original Avid cut was edited off of the dailies at 1080p with embedded audio. The masters were 3.2k Arri Alexa Mini Log with no sync sound. There were timecode issues the first few days on set and because Mars was using DaVinci Resolve to color, we knew we had to get the footage from Avid to Resolve somehow. Once we got the footage into DaVinci via AAF, I realized it was going to be a challenge relinking sources from the dailies. Resolve was quite the utility knife, and after a bit of tweaking we were able to get the silent master video clips linked up. Because 12TB drives are expensive, we thought it best to trim media to 48-frame handles and ship a smaller drive to Australia for Mars to work with. With Mars’s direction we were able to get that handled and shipped.

While Mars was coloring in Australia, I went back into the sources and began the process of relinking the original separate audio to the video sources because I needed to be able to adjust/re-edit a few scenes that had technical issues we couldn’t fix with VFX. Resolve was fantastic here again. Any clip that couldn’t be automatically linked via timecode was connected with clap marks using the waveform. For safety, I batch-exported all of the footage out with embedded audio and then relinked the film to that. This was important for archival purposes as well as any potential fixes we might have to do before the film delivered.

At this point Mars was sharing her cuts on Frame.io with Jordan and Autumn. I felt like a little green shift was being introduced over H.264 so we would occasionally meet here to review a relinked XML that Mars would send for a full quality inspection. For VFX we used Adobe After Effects and worked in flat color. We then would upload shots to box.com for Mars to incorporate into her edit. There were also two re-cut scenes that were done this way as well which was a challenge because any changes had to be shared with the audio teams who were actively scoring and mixing.

Once Mars was done we put the final movie together here, and I spent about two weeks working on it. At this point I took the film from Resolve to FCP X. Because we were mastering at 1080p, we had the full 3.2K frame for flexibility. Using a 1080p timeline in FCP X, the first order of business was making final on-site color adjustments with Autumn.

Can you talk about the visual effects provided?
Davidson: For VFX, we focused on things like the license plates and billboards, but also took a bit of initiative and reviewed the whole movie for areas we could help. Like everyone else, I loved the look of the stage and club scenes, but wanted to add just a little flare to the backlights so the LED grids would be less visible. This was done in Final Cut Pro X using the MotionVFX plugin mFlare2. It made very quick work of using its internal Mocha engine to track the light sources and obscure them as needed when a light went behind a person’s head, for example. It would have been agony tracking so many lights in all those shots using anything else. We had struggled for a while getting replacement license plates to track using After Effects and Mocha. However, the six shots that gave us the most headaches were done as a test in FCP X in less than a day using CoreMelt’s TrackX. We also used Final Cut Pro X’s stabilization to smooth out any jagged camera shakes as well as added some shake using FCP X’s handheld effect on a few shots that needed it for consistency.

Another area we had to get creative with was with night driving shots that were just too bright even after color. By layering a few different Rampant Design overlays set to multiply, we were able to simulate lights in motion around the car at night with areas randomly increasing and decreasing in brightness. That had a big impact on smoothing out those scenes, and I think everyone was pretty happy with the result. For fun, Autumn also let me add in a few mostly digital shots, like the private jet. This was done in After Effects using Trapcode Particular for the contrails, and a combination of Maxon Cinema 4D and Element 3D for the jet.

Resolve’s face refinement and eye brightening were used in many scenes to give a little extra eye light. We also used Resolve for sky replacement on the final shot of the film. Resolve’s tracker is also pretty incredible, and was used to hide little things that needed to be masked or de-emphasized.

What about finishing?
Davidson: We finalized everything in FCP X and exported a full, clean ProRes cut of the film. We then re-imported that and added grain, unsharp masks and a light vignette for a touch of cinematic texture. The credits were an evolving process, so we created an Apple Numbers document that was shared with my internal Magic Feather team, as well as Autumn and the producers. As the final document was adjusted and tweaked we would edit an Affinity Photo file that my editor AJ Paschall and I shared. We would then export a huge PNG file of the credits into FCP X and set position keyframes to animate the scroll. Any time a change was made we would just relink to the new PNG export and FCP X would automatically update the credits. Luckily, that was easy because we did that probably 50 times.

Lastly, our final delivery to the DCP company was a HEVC 10-bit 2K encode. I am a huge fan of HEVC. It’s a fantastic codec, but it does have a few caveats in that it takes forever to encode. Using Apple Compressor and a 10-core iMac Pro, it took approximately 13 hours. That said, it was worth it because the colors were accurately represented and gave us a file that 5.52GB versus 18GB or 20GB. That’s a hefty savings on size while also being an improvement in quality over H.264.

Photo Credit: Rich Marchewka

 

Editor Paul Zucker on cutting Hotel Artemis

By Zack Wolder

The Drew Pearce-directed Hotel Artemis is a dark action-thriller set in a riot-torn Los Angeles in the not-too-distant future. What is the Hotel Artemis? It’s a secret members-only hospital for criminals run by Jodie Foster with the help of David Bautista. The film boasts an impressive cast that also includes Sterling K. Brown, Jeff Goldblum, Charlie Day, Sofia Boutella and Jennie Slate.

Hotel Artemis editor Paul Zucker, ACE, has varied credits that toggle between TV and film, including Trainwreck, This is 40, Eternal Sunshine of a Spotless Mind, Girls, Silicon Valley and many others.

We recently reached out to Zucker, who worked alongside picture editor Gardner Gould, to talk about his process on the film.

Paul Zucker and adorable baby.

How did you get involved in this film?
This was kind of a blind date set-up. I wasn’t really familiar with Drew, and it was a project that came to me pretty late. I think I joined about a week, maybe two, before production began. I was told that they were in a hurry to find an editor. I read the script, I interviewed with Drew, and that was it.

How long did it take to complete the editing?
About seven months.

How involved were you throughout the whole phase of production? Were you on set at all?
I wasn’t involved in pre-production, so I wasn’t able to participate in development of the script or anything like that, but as soon as the camera started rolling I was cutting. Most of the film was shot on stages in downtown LA, so I would go to set a few times, but most of the time there was enough work to do that I was sequestered in the edit room and trying to keep up with camera.

I’m an editor who doesn’t love to go to set. I prefer to be uninfluenced by whatever tensions, or lack of tensions, are happening on set. If a director has something he needs me for, if it’s some contribution he feels I can make, I’m happy, able and willing to participate in shot listing, blocking and things like that, but on this movie I was more valuable putting together the edit.

Did you have any specific deadlines you had to meet?
On this particular movie there was a higher-than-average number of requests from director Drew Pearce. Since it was mostly shot on stages, he was able to re-shoot things a little easier than you would if we were on location. So it became important for him to see the movie sooner rather than later.

A bunch of movies ago, I adopted a workflow of sending the director whatever I had each Friday. I think it’s healthy for them to see what they’re working on. There’s always the chance that it will influence the work they’re doing, whether it’s performance of the actors or the story or the script or really anything.

As I understand it from the directors I’ve worked for, seeing the editor’s cut can be the worst day of the process for them. Not because of the quality of the editing, but because it’s hard in that first viewing to look past all the things that they didn’t get on set. Its tough to not just see the mistakes. Which is totally understandable. So I started this strategy of easing them into it. I just send scenes; I don’t send them in sequence. By the time they get to the editors cut, they’ve seen most of the scenes, so the shock is lessened and hopefully that screening is more productive

Do you ever get that sense that you may be distracting them or overwhelming them with something?
Yes, sometimes. A couple of pictures ago, I did my normal thing — sending what I had on a Friday — and the director told me he didn’t want to watch them. For him, issues of post were a distraction while he was in production. So to each his own.

Drew Pearce certainly benefitted. Drew was the type of director who, if I sent it at 9pm, he would be watching it at 9:05pm, and he would be giving me notes at 10:05pm.

Are you doing temp color and things like that?
Absolutely. I do as much as the footage I’m given requires. On this particular movie, the cinematographer, the DIT and the lab were so dialed in that these were the most perfect-looking dailies I think I’ve ever gotten. So I had to do next to nothing. I credit DP Chung-Hoon Chung for that. Generally, if I’m getting dailies that are mismatched in color tone, I’m going to do whatever it takes to smooth it out. Nothing goes in front of the director until it’s had a hardcore sound and color pass. I am always trying to leave as little to the imagination as possible. I try to present something that is as close to the experience that the audience will have when they watch the movie. That means great color, great sound, music, all of that.

Do you ever provide VFX work?
Editorial is typically always doing simple VFX work like split-screens, muzzle-flashes for guns, etc. Those are all things that we’re really comfortable doing.

On this movie, theres a large VFX component, so the temp work was more intense. We had close to 500 VFX shots, and there’s some very involved ones. For example, a helicopter crashes into a building after getting blasted out of the sky with a rocket launcher. There are multiple scenes where characters get operated on by robotic arms. There’s a 3D printer that prints organs and guns. So we had to come up with a large number of temp shots in editorial.

Editor Gardner Gould and assistant editors Michael Costello and Lillian Dawson Bain were instrumental in coming up with these shots.

What about editing before the VFX shots are delivered?
From the very beginning, we are game-planning — what are the priorities for the movie vis-a-vis VFX? Which shots do we need early for story reasons? Which shots are the most time consuming for the VFX department? All of these things are considered as the entire post production department collaborates to come up with a priorities list.

If I need temp versions of shots to help me edit the scene, the assistants help me make them. If we can do them, we’ll do them. These aid in determining final VFX shot length, tempo, action, anything. As the process goes on, they get replaced by shots we get from the VFX department.

One thing I’m always keeping in mind is that shots can be created out of thin air oftentimes. If I have a story problem, sometimes a shot can be created that will help solve it. Sometimes the entire meaning of a scene can change.

What do you expect from your assistant editors?
The first assistant had to have experience with visual effects. The management of workflow for 500 shots is a lot, and on this job, we did not have a dedicated VFX editor. That fell upon (my co-editor) editor Gardner Gould.

I generally kick a lot of sound to the assistant, as I’m kind of rapidly moving through cutting picture. But I’m also looking for someone who’s got that storytelling bone that great editors have. Not everybody has it, not every great assistant has it.

There is so much minutiae on the technical side of being an assistant editor that you run the risk of forgetting that you’re working on a movie for an audience. And, indeed, some assistants just do the assistant work. They never cut scenes, they never do creative work, they’re not interested or they just don’t. So I’m always encouraging them to think like an editor at every point.

I ask them for their opinions. I invite them into the process, I don’t want them to be afraid to tell me what they think. You have to express yourself artistically in every decision you make. I encourage them to think critically and analytically about the movie that we’re working on.

I came up as an assistant and I had a few people who really believed in me. They invited me into the room with the director and they gave me that early exposure that really helped me learn my trade. I’m kind of looking to pay back that favor to my assistants.

Why did you choose to edit this film on Avid? Are you proficient in any other NLEs?
Oh, I’d say strictly Avid. To me, a tool, a technology, should be as transparent as possible. I want to have the minimum of time in between thought and expression. Which means that if I think of an edit, I want to automatically, almost without thinking, be able to do a keystroke and have that decision appear on the monitor. I’m so comfortable with Avid that I’m at that point.

How is your creative process different when editing a film versus a TV show?
Well first, a TV show is going to have a pre-determined length. A movie does not have a pre-determined length. So in television you’re always wrangling with the runtime. The second thing that’s different is in television schedules are a little tighter and turnaround times are a little tighter. You’re constantly in pre-production, production and post at the same time.

Also, television is for a small screen. Film, generally speaking, is for the big screen. The venue matters for a lot of reasons, but it matters for pacing. You’re sitting in a movie theater and maybe you can hold shots a little bit longer because the canvas is so wide and there’s so much to look at. Whereas with the small screen, you’re sitting closer to the television, the screen itself is smaller, maybe the shots are typically not as wide or you cut a little quicker.

You’re a very experienced comedic editor. Was it difficult to be considered for a different type of film?
I guess the answer is yes. The more famous work I’ve done in the last couple of years has been for people like Lena Dunham and Judd Apatow. So people say, “Well, he’s a comedy editor.” But if you look at my resume dating back to the very first thing I did in 2001, I edited my first movie — a pretty radical film for Gus Van Sant called Gerry, and it was not a comedy. Eternal Sunshine was not a comedy. Before Girls, I couldn’t get hired on comedies.

Then I got pulled on by Judd to work on some of his movies, and he’s such a brand name that people see that on your resume and they say, “Well, you must be a comedy editor.” So, yes, it does become harder to break out of that box, but that’s the box that other people put you in, I don’t put myself in that. My favorite filmmakers work across all types of genre.

Where do you find inspiration? Music? Other editors? Directors?
Good question. I mean… inspiration is everywhere. I’m a movie fan, I always have been, that’s the only thing I’ve ever wanted to do. I’m always going to the movies. I watch lots of trailers. I like to keep up with what people are doing. I go back and re-watch the things that I love. Listening to other editors or reading other editors speak about their process is inspiring to me. Listening and speaking with people who love what they do is inspiring.

For Hotel Artemis, I went back and watched some movies that were an influence on this one to get in the tone-zone. I would listen to a lot of the soundtracks that were soundtracks to those movies. As far as watching movies, I watched Assault on Precinct 13, for instance. That’s a siege movie, and Hotel Artemis is kind of a siege movie. Some editors say they don’t watch movies while they’re making a movie, they don’t want to be influenced. It doesn’t bother me. It’s all in the soup.


Zack Wolder is a video editor based in NYC. He is currently the senior video editor at Billboard Magazine.  Follow him on Instagram at @thezackwolder.

Nomad adds editor Jojo King to its New York roster

Editorial house Nomad has expanded its New York roster with the addition of editor Jojo King. King brings a diverse resume and has cut music videos for Janelle Monae’s new single Pynk and Moses Sumney’s Worth It, as well as films and spots for Vogue, Tommy Hilfiger, Adidas Originals, Marc Jacobs and Victoria’s Secret.

He recently edited a music video for indie star Lykke Li (directed by Iconoclast’s Anton Tammi) and wrapped jobs with Droga5 and Johannes Leonardo. Adobe Premiere is his editing tool of choice.

“Jojo coming on was perfect timing,” explains Nomad executive producer/partner Jennifer Lederman. “When we expanded Nomad New York, we were determined to make it a place that focuses on the creativity of our team. We just celebrated our one-year anniversary in our new space, and we’ve grown our VFX and support staff a lot in the past year, so it was the ideal time to add on a new editor. We got so lucky that Jojo found us, as he brings a new style to our offerings. He combines this intense artistry with the narrative arc, which leads to his cuts being fun and surprising. He brings that artistic sensibility into our office every day, and his reel is something I love to show.”

Nomad also has offices in Santa Monica and London.

LACPUG hosting FCP and Premiere creator Randy Ubillos

The Los Angeles Creative Pro User Group (LACPUG) is celebrating its 18th anniversary on June 27 by presenting the official debut of Bradley Olsen’s Off the Tracks, a documentary about Final Cut Pro X. Also on the night’s agenda is a trip down memory lane with Randy Ubillos, the creator of Final Cut Pro, Adobe Premiere, Aperture, iMovie 08 and Final Cut Pro X.

The event will take place at the Gallery Theater in Hollywood. Start time is 6:45pm. Scheduled to be in the audience and perhaps on stage, depending on availability, will be members of the original FCP team: Michael Wohl, Tim Serda and Paul Saccone. Also on hand will be Ramy Katrib of DigitalFilm Tree and editor and digital consultant Dan Fort. “Many other invites to the ‘superstars’ of the digital revolution and FCP have been sent out,” says Michael Horton, founder and head of LACPUG.

The night will also include food and drinks, time for questions and the group’s “World Famous Raffle.”
Tickets are on sale now on the LACPUG website for $10 each, plus a ticket fee of $2.24.

The Los Angeles Creative Pro User Group, formerly the LA Final Cut Pro User Group, was established in June of 2000 and hosts a membership of over 6,000 worldwide.

EditFest London sets lineup

The American Cinema Editors (ACE) have set its lineup of editors for EditFest London, which takes place on June 30 at BFI Southbank. In addition to film panels, this year’s event will feature editors drilling down on their experiences editing television crime dramas, followed by a panel discussion focusing on the jump from assistant editor to editor.

EditFest, which was launched in Los Angeles in 2008, allows attendees to talk with panelists and colleagues throughout the day, over lunch, and then during a post-event reception.

The editors at EditFest will share experiences and insights from their work on a variety of feature films, documentaries and broadcast and streaming content. The day’s schedule includes:

Cutting for Crime / Editing Crime Dramas for Television
Moderated by Adrian Pennington, International Editor, American Cinema Editor magazine
• Andrew John McClelland – Line of Duty, In Plain Sight
• Úna Ní Dhonghaíle – Three Girls, The Missing
• Stephen O’Connell – The Name of the Rose, Howard’s End
• Elen Pierce Lewis – Rellik, Luther, Marcella

Making the Jump/Assistant to Editor
Moderated by Robbie Gibbon (Assistant Editor, Mission Impossible-Fallout, Dr. Strange)
• Eve Doherty – Hang Ups (Assistant, Game of Thrones)
• Adam Gough – Roma (Assistant, X-Men First Class)
• Charlene Short – Dagenham (Assistant, Peaky Blinders)
• John Venzon, ACE – The South Park Movie, Storks (Assistant, Fight Club, The Game)
• Steven Worsley – Jamestown, War & Peace (Assistant, War Book, War & Peace)

From Dailies to Delivery/ Editing Features
Moderated by Stephen Rivkin, ACE (ACE President; Editor, Avatar)
• Eddie Hamilton, ACE – Mission Impossible: Fallout
• Alex Mackie, ACE – Out of Blue
• Tania Redden – Denmark, Cordelia
• Martin Walsh, ACE – Wonder Woman
• Joe Walker, ACE – Blade Runner 2049, Arrival

One on One/A Conversation with Chris Lebenzon, ACE
Chris will be joined in conversation by journalist Carolyn Giardina

Award-winning editor Chris Lebenzon, ACE, (Sweeney Todd: The Demon Barber of Fleet Street, Charlie & The Chocolate Factory, Ed Wood, Top Gun, Armageddon) will talk about his work, collaborations and perceptions from his career. He is currently in London working on Dumbo with his long-time collaborator Tim Burton.

EditFest takes place during one day at BFI Southbank. Panels, box lunch and a cocktail reception at the end of the day are included. EditFest LA will take place in Los Angeles on 25 August at the Walt Disney Studios.

Behind the Title: Uppercut Editor Alvaro del Val

NAME: Alvaro del Val

COMPANY: Uppercut

CAN YOU DESCRIBE YOUR COMPANY?
Uppercut is an editing boutique based in Manhattan. It was founded three years ago by editor Micah Scarpelli and now has five editors who have been carefully selected to create a collaborative atmosphere.

We share a love for creating emotionally driven stories and challenging each other to get the most out of our creativity. It’s important to us that our clients, as well as staff, experience the camaraderie and familial vibe at our office. We want them to feel at home here.

WHAT’S YOUR JOB TITLE?
Editor

WHAT DOES THAT ENTAIL?
Editing is storytelling. Generally, we jump into a project once the shoot is finished. We get the dailies and start thinking about how to get the best out of the footage, and what’s the best way is to tell the story. It’s a very creative process with endless possibilities, and it’s non-stop decision making. You have to decide which elements create a memorable piece, not only visually, but also in the way the story unfolds.

Kicking Yoda

It is often said that a film is written three times: When it is written, when it is shot and when it is edited. Editing can completely change the direction of a film, commercial or music video. It establishes the way we understand a plot, it sets the rhythm and, most importantly, it delivers the emotions felt by the audience — this is what they ultimately remember. A year after watching a film, you may forget details of plot, or the name of the director, but you’ll remember how it made you feel.

WHAT WOULD SURPRISE PEOPLE THE MOST ABOUT WHAT FALLS UNDER THAT TITLE?
Many people think that editing is just putting images together, that we follow a storyboard that has been done previously, but it is much more nuanced than that. The script is a starting point, a reference, but from there, the possibilities are endless. You can give the same footage to a hundred editors and they will give you a hundred different stories.

People are also surprised by the amount of footage you have for a 30-second commercial, which can easily be five or six hours. Once, I was given fifteen hours of footage for a sixty second commercial.

As Walter Murch said, “Every frame you see in front of you is auditioning to make it into the final piece.” You are making millions of decisions every day, selecting only the best few frames to tell the story the way you want.

WHAT’S YOUR FAVORITE PART OF THE JOB?
In some ways, editing is like a sculptor carving a block of marble and discovering the figure that has been contained inside, working little by little, knowing where they are going, but at same time, letting the story unfold before them. That creative process is my favorite part. It is so exciting in the moment when you are alone in the room and everything starts to make sense; you can feel it all coming together. It’s a really special and beautiful moment.

I also love that every project is a new experience. It’s amazing to work at something you love that brings you a new challenge every day. What you can offer creatively changes along with your evolution as a person. It’s a field that demands that you learn and evolve constantly.

WHAT’S YOUR LEAST FAVORITE?
My least favorite part is that it can be hard to balance your personal life with your professional life. As an editor, you often need to work long nights and weekends or change plans unexpectedly, which affects the people in your life. But it’s part of the job, and I have to accept it to be able to do what I do.

WHAT IS YOUR MOST PRODUCTIVE TIME OF THE DAY?
It depends on where I am in the project. If I’m starting to build a story, the evening is definitely my most creative and focused time. There are less distractions in terms of phone calls and emails, and I’ve always been a night person. But I love mornings in order to judge something I’ve done the night before. Coming to the edit room with fresh eyes gives me more objective vision.

IF YOU DIDN’T HAVE THIS JOB, WHAT WOULD YOU BE DOING INSTEAD?
I would definitely work as a photographer. I got my first camera when I was seven years old and haven’t stopped taking pictures since. I used to work as a photographer in Madrid, years ago. I loved it, but I didn’t have time to do both, and I loved editing too much to let it go.

Editing is what brought me to the most creative city in the world, so I’m really thankful for that. Walking around the city with my camera is definitely one of my favorite things to do.

HOW EARLY ON DID YOU KNOW THIS WOULD BE YOUR PATH?
Since I was a kid I’ve been obsessed with visuals, photography and films. I had a natural connection with that way of communicating. My camera was a way to express myself… my diary. In college, I started studying cinema, working on TV and making my own films, which is when I discovered the magic of editing and knew that it was my place. I felt that editing was the most special, creative part of the process and felt so lucky to be the one doing it. I couldn’t believe that not everyone wanted to be the editor.

CAN YOU NAME SOME RECENT PROJECTS YOU HAVE WORKED ON?
One of my more recent projects is a short documentary film called Kicking Yoda, which is doing the festival circuit and received a Los Angeles Film Award for Best Documentary. It’s the story of Doug Blevins who, after being born with cerebral palsy, became an NFL kicking coach nominated to the Hall of Fame. I love stories of overcoming obstacles because they are relatable to everyone in one way or another.

Fitbit

I recently worked on a Fitbit campaign called Find Your Reason, which was comprised of true stories about people finding their path in life through athletics. It has been nominated for best editing in the 2018 AICE Awards, which are coming up this month.

YOU HAVE WORKED ON ALL SORTS OF PROJECTS. DO YOU PUT ON A DIFFERENT HAT WHEN CUTTING FOR A SPECIFIC GENRE?
Absolutely. To begin with, it’s completely different to edit a 30-second commercial than a short film or a music video. What drives the story changes; the rhythm and the structure differ so much.

In long pieces, you have more time to create a different, more profound kind of interest. I think advertising is moving more toward longer format pieces because they create a stronger connection with the audience. Television commercials are becoming the teaser, allowing you to discover the whole story online later.

The visual language also has to adapt to the genre. The audience needs to understand what kind of story you are telling, or you’ll lose them. You always need to have the audience in mind, understanding to whom your piece is addressed and on which platform it will be released. Your attention span differs depending on whether you are eating dinner in front of the TV, sitting at your computer or watching in a theater. You need to adapt with those circumstances in mind.

WHAT IS THE PROJECT THAT YOU ARE MOST PROUD OF?
The project I’m most proud of is Volvo S90, Song of the Open Road. It’s a beautiful campaign that was awarded Best Editing in Automotive in the 2017 AICE Awards (Association of Independent Commercial Editors). It was very special for me, not only because I was able to be part of a team with world-class artists, like composer Dan Romer, DP Jeff Cronenweth and actor Josh Brolin, but also because of the freedom I had in the creative process. I think that collaboration, as well as the nonlinear storytelling I was able to use, is why the campaign has the poetry and emotion I always pursue in my edits. Additionally, the story inspires you to live freely and pursue your chosen path. I feel it’s a story that makes you think and stays with you after watching it.

WHAT DO YOU USE TO EDIT?
It depends on the needs of the project, but typically I use Avid Media Composer. I sometimes use Premiere, but I really prefer editing in Avid. I find it’s faster, deals better with large amounts of footage and is generally a much more stable software. It’s true that if you want to end your project in the edit suite, Premiere does a much better job in terms of using effects and exporting. But in a workflow with external color grading and conforming later (in a Flame for example), I would definitely go with Avid.

WHAT IS YOUR FAVORITE PLUGIN?
It’s not strictly a plugin, but the Motion Effect Editor is fantastic in Avid. The freedom and control you have over the speed curves when creating time warps is really outstanding. The tool is really visual, which helps me in terms of creating nice speed changes. For me, it’s an important tool, as I love editing sports commercials. For action scenes with a lot of movement, it’s a key resource to have.

ARE YOU OFTEN ASKED TO DO MORE THAN EDIT?
Nowadays, mostly in the American market, the editor has become kind of the director in post. We are involved in the sound design, the mix, the color grading, the conform and the final deliverables; we have to be in control of the whole process. This happens because the director is normally not around, which doesn’t happen in Europe. But here, the market asks for quick turnarounds and editors work hand in hand with agencies to get things done in the right amount of time for the client.

Due to this model, I increasingly prefer to be involved in preproduction when the idea is conceived. That way, I have a better understanding of the project and I can get the director’s insight so I am able to maintain the essence of his vision later on. It is also a good opportunity to share ideas that will help later in the editing and post process.

NAME THREE PIECES OF TECHNOLOGY YOU CAN’T LIVE WITHOUT.
Of course, we all feel nowadays that we cannot live without our phone and our computer. All our music, films, photos and social world are contained there. It is amazing to think that we used to live without all that in the ‘90s, but technology has changed the game.

Besides those, my cameras are my main pieces of technology. I love my versatile Fuji X-T10 that I bring everywhere, but also my Canon 5D, which I use for portraits and trips.

WHAT DO YOU DO TO DE-STRESS FROM IT ALL?
We all need to disconnect from time to time, and sports are my first escape from stress. I do rock climbing and cycling and I love to ride my bicycle to my beloved Prospect Park. And as a good Spaniard, soccer and tennis are my main sports. I’m a big Rafa Nadal fan.

Besides sports, I love taking advantage of all this city has to offer culturally. I love going to the Bowery Ballroom or Brooklyn Steel for live music, checking out what’s going on at The New Museum or The Whitney and enjoying the opera at The Met every time I have the chance. BAM is also one of my go-tos, as their program is outstanding all year long, from cinema to dance and theater.

Carla Gutierrez on editing the Ruth Bader Ginsburg doc, RBG

By Amy Leland

We live in very interesting times. Specifically, when an 85-year-old Supreme Court justice has become a viral sensation. Ruth Bader Ginsburg, the Notorious RBG, the queen of the dissent, is the subject of memes, t-shirts and coffee mugs. She has earned the ardent following of a younger generation that sees her as a somewhat-unlikely pop icon and an inspirational figure.

Carla Gutierrez

She is also now the subject of an equally surprising documentary, called RBG. When one thinks of a film about a Supreme Court justice, it would be easy to assume the result would be something mostly academic and serious. But RBG is delightfully entertaining and funny, and unexpectedly emotional and touching.

After seeing the movie, I had the additional pleasure of speaking with the film’s editor, Carla Gutierrez, about the story and how she and the rest of the creative team brought it to life.

How did you become an editor?
I went to grad school to study film. I had a big interest in the production of art and social issue stuff, and I was watching on a lot of documentaries after college. I applied to grad school, and I quickly realized that the stress of producing wasn’t for me. I started gravitating toward the craft of editing, and I just loved it so much.

It’s interesting because there are a lot of editors that ultimately want to jump into the director’s role, but I never had the desire to do that. I love the collaboration that happens in the edit. I feel really lucky to be doing this kind of work, and to get a project like this… I’m incredibly lucky.

How did you end up focused on documentary work?
Before getting into film, I knew I wanted to focus on documentaries. I knew that a very structured educational setup always worked best for me. There are a lot more now that focus on non-fiction, but at the time there were fewer. So I went to the Stanford graduate documentary program, which is a very small program. And we were taught to be a one-person band: produce, develop and do everything on your own.

Before I got into actual filmmaking, I didn’t really have any experience. The biggest lessons I learned, and that I still learn, are from watching all the films. Whenever I need to get inspired or to be shaken up a little bit, or think about things in a different way, I go back to film.

How did you end up involved in RBG?
Somebody at CNN Films recommended me to the directors, Julie Cohen and Betsy West. We met, and from the first email exchange, I knew I really wanted this job. I was lucky because I was working on another film that also had a lot of interview and archival material. They seemed to like it, and they hired me.

The film is surprisingly funny, both because of how much everyone talks about how funny her husband is, but also how witty she is. When I see a job for something that’s comedic, they almost always say editors must have experience working in comedy. Did you find that it required a different skill set?
You do have to think about rhythm — to give people time to actually react to things. But I think it’s very similar to the way I tackle all the work that I do. I pay attention when I’m watching the footage early on. I pay attention to what makes me laugh, and to the things that make me feel something. Then I build around those moments.

That was the same with this film. I remember watching the Saturday Night Live imitation of her — I don’t know how many times that day — because it was so incredibly funny. RBG cracked up when she watched Kate McKinnon’s impression for the first time. We played her laughing at it in a loop for a whole day. It makes me so happy, and you have to laugh. When we watched the interview with her high school classmates, it was really clear that these moments made us giggle.

I’m as aware as I can be when I am watching the dailies for whatever touches me — whether it’s a sad moment, an emotional moment or funny moment — and I try really hard to make room for that in the film.

I’m happy her husband was such an important part of the story. The way you kept weaving him throughout showed the important role he played in supporting her through everything — it was really beautiful.
Again, you just have to remember what moves you when you see the dailies. There is a moment in the confirmation hearing, his reaction when she’s speaking about him, and he’s smiling and just kind of looking down. That was the moment where it felt like he needed to be completely central to the story. We had a very clear idea that we had a great love story, so that needed to be very present in the film. When I saw that, and when he touches her hair when she got confirmed, I thought, “Okay, its not only the love story, its not only something that we have to touch on, but its something we can beautifully see in the footage.”

Did you feel a sense of responsibility making a film about a person who’s still alive, and also someone who is such an important person in the world right now?
It was an interesting time. They started shooting the film before the election, so people in the interviews were aware, and they were reflecting on what was going on.

Also we were leading to the first days of the #metoo movement when we were editing the film. So there was definitely a sense of responsibility. But with every story you do, you have to have a focus. And when they shot this film, they had a very sharp focus on her work toward the advancement of women’s rights. She has been involved in so many more cases, and there’s so much more about her life that just didn’t make sense to put in this particular story.

As I was working on the film, I found a new, deeper understanding of what women were going through, only about 50, 40 or even 30 years ago. I hope that shines through in the story that we told. Academically, I understood the women’s movement, and I understood the kind of inequality that people experienced, but working on this film really made me feel emotionally close to that reality. I hope that we’re doing that for the audience.

The sense of responsibility was very strong throughout the entire process. When we were getting close to the premiere, it was the first time that the Justice was going to see the film. We were very nervous about how she was going to react. It was like we had an audience of one in that theater that first time, and we were all looking at her while she was watching the film. She really loved it. I think we did justice to the Justice, as Betsy West likes to say. I think that we portrayed her life the way that she would have liked it to be told.

Not only is this a film about a pioneer of women’s rights, but you also had a creative team that was entirely female. How did that affect the experience of making this particular film?
I think that we all came with immense amounts of respect for the subject matter, because the subject matter has to do with our lives. I knew her as Notorious RBG and The Dissenter. Then I discovered what she had done for all of us in the ‘70s. So there was a special sense of responsibility, but also respect toward the subject matter that we were working on.

There was a special sense of pride when you’re working next to women who have achieved so much already. It was a great learning opportunity for me to work with Julie and Betsy. I gained so much from that collaboration and seeing how they work and how they carry themselves. Being on an all-female team, doing a female-centered film… yeah, it was a really rewarding and special experience.

To get a little more technical, what software did you use to cut the film?
We edited in Adobe Premiere Pro. This was a film with a lot of archival material, and it was like a puzzle, with lots of tiny pieces. We had a large amount of material, and the way my mind works, I throw a lot of clips in my timeline. I find Premiere to be incredibly simple, but it also has a lot of complexity — you can do a lot with it. With a film like this, which is kind of massive, it also opens up a lot of simplicity to be able to navigate that… placing the material really quickly and easily.

Also, I work with an amazing associate editor — Grace Mendenhall. I like to be very organized at the beginning because that speeds up the process as you keep going. We were very, very careful at the beginning with our media organization and our workflow.

In the credits, you had an online assistant listed, but no assistant editor. Instead, you worked with an associate editor? Was that relationship different than the traditional editor/assistant editor one?
Grace actually set up the project as our assistant editor. She was doing all of the organizing of the media at the very beginning. I started like that. I actually started as a translator for a film that had an incredibly generous and experienced editor. To me it’s really important to be able to give opportunities to people who are serious, and people who really want to learn about the process.

From the moment we met, that’s something that we talked about. Grace really wanted to be in the room and learn from the process, so she quickly moved from doing only assistant editing work to handling scenes. She would also give me notes on the work that I was doing. Just like the film’s all-female team of collaborators, we had that with the post process, but with the two of us.

What would be your advice to somebody who wanted to get started in the world of documentary editing?
Find a mentor. I think tenacity is the main thing. It’s asking to be present in the room. That is really important for people who are just starting out. If they have a lot of technical knowledge, that’s really great, but I’ve heard a lot of people get stuck in the assistant editor position. Yes, you need to know how to use the program, but you really need to understand the decisions you are making with all of these technical resources that you have. And that comes from learning about storytelling. Long-form documentary storytelling is a bit of a beast; you’re talking about hours and hours of footage, and you’re writing the film for the first time in the edit room. There can be numerous films within that footage.

I learned editing by being around all the time, by being quiet and respectful. Then they would ask for my opinion, and I would give my opinion, and I could see how people think about structure and long-form story telling.

The worst thing that you can get from asking to be in the room is a “no,” but if you get in the room, you can learn and absorb so much from just being present during the process.


Amy Leland is a film director and editor. Her short film, “Echoes”, is now available on Amazon Video. She also has a feature documentary in post, a feature screenplay in development, and a new doc in pre-production. She is an editor for CBS Sports Network and recently edited the feature “Sundown.” You can follow Amy on social media on Twitter at @amy-leland and Instagram at @la_directora.

Making the indie short The Sound of Your Voice

Hunt Beaty is a director, producer and Emmy Award-winning production sound recordist based in Brooklyn. Born and raised in Nashville, this NYU Tisch film school grad spent years studying how films got made — and now he’s made his own.

The short film The Sound of Your Voice was directed by Beaty and written and produced by Beaty, José Andrés Cardona and Wesley Wingo. This thriller focuses a voiceover artist who is haunted by a past relationship as she sinks deep into the isolation of a recording booth.

Hunt Beaty

The Sound of Your Voice was shot on location at Silver Sound, a working audio post house, in New York City.

What inspired the film?
This short was largely reverse-engineered. I work with Silver Sound, a production and post sound studio in New York City, so we knew we had a potential location. Given access to such a venue, Andrés lit the creative fuse with an initial concept and we all started writing from there.

I’ve long admired the voiceover craft, as my father made his career in radio and VO work. It’s a unique job, and it felt like a world not often portrayed in film/TV up to this point. That, combined with my experience working alongside VO artists over the years, made this feel like fertile ground to create a short film.

The film is part of a series of shorts my producers and I have been making over the past few months. We’re all good friends who met at NYU film undergrad. While narrative filmmaking was always our shared interest and catalyst for making content, the realities of staying afloat in NYC after graduation prompted a focus on freelance commercial work in our chosen crafts in order to make a living. It’s been a great ride, but our own narrative work, the original passion, was often moved to the backburner.

After discussing the idea for years — we drank too many beers one night and decided to start getting back into narrative work by making shorts within a particular set of constrained parameters: one weekend to shoot, no stunts/weapons or other typical production complicators, stay close to home geographically, keep costs low, finish the film fast and don’t stop. We’re getting too old to remain stubbornly precious.

Inspired by a class we all took at NYU called “Sight and Sound: Film,” we built our little collective on the idea of rotating the director role while maintaining full support from the other two in whatever short currently in production.

Andrés owns a camera and can shoot, Wesley writes and directs and also does a little bit of everything. I can produce and use all of my connections and expertise having been in the production and post sound world for so long.

We shot a film that Wesley directed at the end of November and released it in January. We shot my film in January and are releasing it here and now. Andrés just directed a film that we’re in post-production on right now.

What were you personally looking to achieve with the film?
My first goal was to check my natural inclination to overly complicate a short story, either by including too many characters or bouncing from one location to another.
I wanted to stay in one close-fitting place and largely focus on one character. The hope was I’d have more time to focus on performance nuance and have multiple takes for each setup. Realistically, with indie filmmaking, you never have the time you want, but being able to work closely with the actors on variations of their performances was super important. I also wanted to be able to focus on the work of directing as opposed to getting lost in the ambition of the production itself.

How was the film made?
The production was noticeably scrappy, as all of these films inevitably become. The crew was just the three of us, in addition to a rotating set of production sound recordists and an HMU artist (Allison Brooke), who all agreed to help us out.

We rented from Hand Held films, which is a block away from Silver Sound, so we knew we could just wheel over all of the lights and grip equipment without renting a vehicle. Wesley would would primarily focus on camera and lighting support for Andrés, but we were all functioning within an “all hands on deck” framework. It was never pretty, but we made it all happen.

Our cast was incredibly chill, and we had worked with Harry, the engineer, on our first short Into Quiet. We shot the whole thing over a weekend, (again, one of our parameters) so we could do our best to get back to our day-to-day.

Also, a significant amount of re-writing was done to the off-screen voices in post based on the performance of our actress, which gave us some interesting room to play around while writing to the edit, tweaking the edit itself to fit new script, and in the recording of our voice actors to the cut. Meta? Probably.

We’ve been wildly fortunate to have the support of our post-sound team at Silver Sound. Theodore Robinson and Tarcisio Longobardi, in particular, gave so much of themselves to the sound design process in order to make this come to life. Given my background as a production recordist, and simply due to the storyline of this short, sound design was vital.

In tandem with that hard work, we had Alan Gordon provide the color grading and Brent Ferguson the VFX.

What are you working on now?
Mostly fretting about our cryptocurrency investments. But once that all crashes and burns, we’re going to try and keep the movie momentum going. We’re all pretty hungry to make stuff. Doing feels better than sitting idly and talking about it.

L-R: Re-recording mixer Cory Choy, Hunt Beaty and supervising sound editor Tarcisio Longobardi.

We’re currently in post for Andrés’ movie, which should be coming out in a month or so. Wesley also has a new script and we’re entering into pre-production for that one as well so that we can hopefully start the cycle all over again. We’re also looking for new scripts and potential collaborators to roll into our rotation while our team continues to build momentum towards potentially larger projects.

On top of that, I’m hanging up the headphones more often to transition out of production sound work and shift to fully producing and directing commercial projects.

What camera and why?
The Red Weapon Helium because the DP owns one already (laughs). But in all seriousness, it is an incredible camera. We also shot on elite anamorphic glass. Only had two focal lengths on set, a 50mm and a 100mm plus a diopter set.

How involved were you in the edit?
DP Andres Cardona singlehandedly did the first pass at a rough cut. After that, myself and my co-producer Wes Wingo gave elaborate notes on each cut thereafter. Also, we ended up re-writing some of the movie itself after reconsidering the overall structure of the film due to our lead actress’ strong performance in certain shots.

For example, I really loved the long close-up of Stacey’s eyes that’s basically the focal point of the movie’s ending. So I had to reconfigure some of the story points in order to give that shot its proper place in the edit to allow it to be the key moment the short is building up to.

The grade what kind of look were you going for?
The color grade was done by Alan Gordon at Post Pro Gumbo using a DaVinci Resolve. It was simply all about fixing inconsistencies and finessing what we shot in camera.

What about the sound design and mix?
The sound design was completed by Ted Robinson and Tarcisio Longobardi. The final mix was handled by Cory Choy at Silver Sound in New York. All the audio work was done in Reaper.

Pacific Post adds third LA location servicing editorial

Full-service editorial equipment rental and services provider Pacific Post has expanded its footprint with the opening of a new 10,000 square-foot facility in Sherman Oaks, California. This brings the total locations in the LA area to three, including North Hollywood and Hollywood.

The new location offers 25 Avid suites with 24/7 technical support, alongside a writer’s room and several production offices. Pacific Post has retrofitted the entire site, which is supported by Avid Nexis shared storage and 1GB of dedicated Fiber internet connectivity.

“We recently provided equipment and services to the editorial team on Game Over, Man! for Netflix in Sherman Oaks, and continued to receive inquiries from other productions in the area,” says Pacific Post VP Kristin Kumamoto. “The explosion we’ve seen in scripted production, especially for streaming platforms, prompted our decision to add this building to our offerings.”

Kumamoto says a screening room is also close to completion. It features a 150-inch screen and JVC 4K projector for VFX reviews and an enhanced, in-house viewing experience. Additional amenities at Pacific Post Sherman Oaks include MPAA-rated security, reserved parking, a full kitchen and lounge, VoIP phone systems and a substantial electrical infrastructure.

We reached out to Kumamoto to find out more.

Why the investment in Avid over some of the other NLE choices out there currently?
It really stems from the editorial community — from scripted and non-scripted shows that really want to work in shared project environments. They trust the media management with Avid’s shared storage, making it a clear choice when working on projects with the tightest deadlines.

How do you typically work with companies coming in looking for editing space? What is your process?
It usually starts with producers looking for a location that meets the needs of the editors in terms of commute or the proximity to studios for executives.  After that, it really comes down to having a secure and flexible layout along with a host of other requirements.”

With cutting rooms in North Hollywood/Universal City and in Hollywood, we feel Sherman Oaks is the perfect location to complement the other facilities and really give more choices to producers looking to set up cutting rooms in the San Fernando Valley area of LA.

Behind the Title: Versus Partner/CD Justin Barnes

NAME: Justin Barnes

COMPANY: Versus (@vs_nyc)

CAN YOU DESCRIBE YOUR COMPANY?
We are “versus” the traditional model of a creative studio. Our approach is design driven and full service. We handle everything from live action to post production, animation and VFX. We often see projects from concept through delivery.

WHAT’S YOUR JOB TITLE?
Partner and Creative Director

WHAT DOES THAT ENTAIL?
I handle the creative side of Versus. From pitching to ideation, thought leadership and working closely with our editors, animators, artists and clients to make our creative — and our clients’ creative vision — the best it can be.

WHAT WOULD SURPRISE PEOPLE THE MOST ABOUT WHAT FALLS UNDER THAT TITLE?
There’s a lot of business and politics that you have to deal with being a creative.

Adidas

WHAT’S YOUR FAVORITE PART OF THE JOB?
Every day is different, full of new challenges and the opportunity to come up with new ideas and make really great work.

WHAT’S YOUR LEAST FAVORITE?
When I have to deal with the business side of things more than the creative side.

WHAT IS YOUR MOST PRODUCTIVE TIME OF THE DAY?
For me, it’s very late at night; the only time I can work with no distractions.

IF YOU DIDN’T HAVE THIS JOB, WHAT WOULD YOU BE DOING INSTEAD?
Anything in the creative world.

HOW EARLY ON DID YOU KNOW THIS WOULD BE YOUR PATH?
It’s been a natural progression for me to be where I am. Working with creative and talented people in an industry with unlimited possibilities has always seemed like a perfect fit.

CAN YOU NAME SOME RECENT PROJECTS YOU HAVE WORKED ON?
– Re-brand of The Washington Post
– Animated content series for the NCAA
– CG campaign for Zyrtec
– Live-action content for Adidas and Alltimers collaboration

Zyrtec

WHAT IS THE PROJECT THAT YOU ARE MOST PROUD OF?
I am proud of all the projects we do, but the ones that stick out the most are the projects with the biggest challenges that we have pulled together and made look amazing. That seems like every project these days.

NAME THREE PIECES OF TECHNOLOGY YOU CAN’T LIVE WITHOUT.
My laptop, my phone and Uber.

WHAT SOCIAL MEDIA CHANNELS DO YOU FOLLOW?
I can’t live without Pinterest. It’s a place to capture the huge streams of inspiration that come at us each day.

DO YOU LISTEN TO MUSIC WHILE YOU WORK?
We have music playing in the office 24/7, everything from hip-hop to classical. We love it all. When I am writing for a pitch, I need a little more concentration. I’ll throw on my headphones and put on something that I can get lost in.

WHAT DO YOU DO TO DE-STRESS FROM IT ALL?
Working on personal projects is big in helping de-stress. Also time at my weekend house in Connecticut.

A conversation with film and TV editor Brian A. Kates

By Amy Leland

In 2004, Manhattan Edit Workshop began a four-week editing workshop for aspiring professional editors. In 2006, it became their six-week workshop. During the six weeks, the students receive training on the most-used editing tools of the industry. They are also given a chance to explore the art of editing. An important aspect of the workshop is the Artist in Residence. A successful professional editor visits the class to offer some insights into their own career, as well as look at the work the students are doing and provide them with some feedback.

Brian A. Kates was the artist in residence for the January/February 2018 workshop. He is an Emmy award-winning editor for his work on Taking Chance, as well as a two-time Eddie award winner for his work on Bessie and Lackawanna Blues. He is also known for his work on The Savages, Shortbus, Killing Them Softly, How to Talk to Girls at Parties and The Marvelous Mrs. Maisel.

How to Talk to Girls at Parties

We recently reached out to him to find out more.

How did you become an editor? Was this something you wanted to do as a kid?
I had a very charismatic counselor at summer camp, named Cecily, who was an NYU student at the time. She taught little six to 12 year olds how to use a video camera and cut images together by playing from the camera and recording onto a deck. I became infatuated with the fact that you could control the story after the fact. The idea of the technology being at the forefront rather than a sidebar was exciting to me. I was a nerd. So just knowing how to use the equipment, knowing how to press the button at the right time… there’s a thing called roll-down time, which is the amount of time it takes between pressing the button and the recording happening. Knowing how to feel that rhythm… practicing until you could feel that rhythm intuitively without thinking about it was something I took pride in.

I was also into computers and programming and making games and little art pieces on my computer. It was all related. Eventually, I figured out how to plug my home video camera into my computer and record, or into my VCR, and then I could edit them. It was a little factory of creation. I was alone most of the time, which I liked because I was an introvert.

Did you follow a straight path from there to seeing it as a career?
I knew I wanted to go to NYU because my video counselor went to NYU. The three films schools at the time that were notable were USC, UCLA and NYU. I was from the East Coast. If I wanted to stay on the East Coast, I would try to go to NYU. And I was gay, and NYU was in Greenwich Village. So that was enticing as well.

And at NYU, did you specifically aim toward editing?
NYU really tries to groom writer/directors. You weren’t encouraged to focus on a craft. You had a cursory cinematography class, you had an acting class, you had a screenwriting class, as well as some cinema studies electives. I was much more excited by cinema studies than by production, and by cinema as a part of cultural studies. When I was a junior, I tried to steer my commitments toward editing other people’s films more than writing and directing my own. I didn’t even have enough of a strong script idea to get to that stage. I knew that I wanted to build films, which is editing.

I wanted to sit in that room with the Steenbeck and figure out how to stay in sync and figure out what sound fill is, and figure out what leader is, and figure out a mark with the grease pencil. These were very, very nuts and bolts skills that you needed to learn if you were going to edit movies. That was a lot of time and a lot of practice that I wouldn’t have been doing if I were writing.

Did you start working in films and editing right out of school?
I had a friend who was a PA and also working in the office at Christine Vachon’s production company, which subsequently became Killer Films. He introduced me to that office, and I worked for free answering phones there when I was a junior. I was a PA on a few films that year, but I really wanted to get into the editing room.

The film that Christine was producing with Lauren Zalaznick, which was shot between my junior year and senior year, was Todd Haynes’ Safe. It was shot in LA, but was cut in New York. And because I had been a set PA on other stuff that they shot in New York, I was able to just transfer that connection to getting into the cutting room. I met the first assistant editor, Sakae Ishikawa, who needed PAs to staff the editing room for Jim (editor James Lyons). It was mainly a job rewinding and reconstituting trims. Reconstituting is putting the trims back into the reel in order, so that any time you pick up a reel of dailies, all of the pieces that are not in the film are back in the dailies. You put something in, and then you have to replace it in the reel with fill, which keeps it in sync with a blank piece of film. If you take anything out of the movie, you have to put it back into the reel, take out the fill and put back in the actual film. It takes at least one, but maybe two people. It’s all cleaning, keeping order, organizing and never losing anything.

Were there specific films or filmmakers that influenced the kind of work you wanted to be doing when you started editing?
Robert Altman’s 3 Women, which is the first movie I saw as a kid that expanded my taste. I had been into popular stuff. I was obsessed with Star Wars. I was obsessed with Spielberg. I felt like Spielberg started to take a turn away from popcorn films into dramatic films as my taste was changing: from E.T. to The Color Purple to Empire of the Sun. It was a small jump from that to discovering Todd Haynes, because his first feature film, Poison, was one of the first things that I saw when I got to NYU as a freshman.

I was queer and identified with the queer new wave that was happening in the early ‘90s. It was a New York-based community of filmmakers who were making films that were not beholden to popular ideas of what’s entertainment. Instead they explored the film form and the connections between literature, art, film and performance. So when I had the opportunity to work in the editing room for that and for the next film it was like, “Yes.” I was the second assistant editor. Because I came in during the first cut and left after the sound mix, I got to see everything from after the production until final delivery. It was a second film school, and it was happening my senior year in college and the six months after that.

The Marvelous Mrs. Maisel

You’ve edited for both film and television. Do you get different things out of each as an editor?
For TV, I’ve mostly cut pilot episodes: The Big C, Believe, The Marvelous Mrs. Maisel. A pilot has the same process as a movie, just very, very fast. So you have to harness the ability to make choices really quickly. I also worked on three episodes of Treme. On episodic TV, so many things are already figured out — who the characters are, what the tone is — and you need to really quickly make choices that conform to what the show’s identity is. But within that, of course, there are countless creative choices.

On Treme we would get entire live musical numbers with live vocals, many takes, three cameras, and an hour of footage would end up in the show for maybe a minute. That is actually a long time to play a musical number on TV, but that was one of the hallmarks of that show. They wanted to respect the music as music, and it didn’t have to just be local texture; it required a lot of condensing of material.

So, as an editor, you prefer being able to shape the whole story.
Yeah, it’s also about ongoing collaborations with directors that continue to make work. That’s very fulfilling because you figure out your style of working together and also your shorthand. I feel like a lot of the interests of the directors I work with on a regular basis are my own interests. I worked with Tamara Jenkins on two films, George C. Wolfe on two films, Lee Daniels three times and John Cameron Mitchell on four films in various capacities. That history means a lot to me.

What was your experience like with this six-week workshop, and getting to meet the students?
I liked that they were cutting actual footage. It’s the only way to learn, because real footage has that X factor of the coverage being weird, incomplete, overshot, undershot, whatever. And there were different genres. Some people were doing documentaries. Some people were doing what appeared to be a commercial. Some people were doing short narrative stuff.

They had watched the pilot of The Marvelous Mrs. Maisel, and they watched Killing Them Softly. The reason I wanted to show those two pieces is because they’re two different universes in terms of genre, in terms of tone… everything. But I edited them both, and to me, they actually have similarities in terms of musicality and sense of rhythm. It was fun to show that a very bloody crime drama and a whimsical period comedy are maybe connected somehow. So we talked about that for a bit.

I’m sure that they all wanted to pick your brain as well?
It’s about the director/editor relationship. So you need to find your directors. Those relationships are precious. They could be your friends. They could not be your friends, and that’s okay too. It’s about taste. I had told the students that I was rather unenthusiastic about crime movies before I edited Killing Them Softly. One of the students told me he took it to mean that an editor’s individual taste is less important than staying employed. I said, “No, not really. To me, the lesson is that you can find something exciting in material that you didn’t expect.”

While editing Killing Them Softly, director Andrew Dominik suggested that the film (which takes place during the 2008 economic crisis) had roots in the Great Depression. So we began listening to music of that time. And for me — being interested in the history of the American Songbook and musical theater — that opened up a door to a whole world of inspiration. And thinking of the violent montages with the same sense of rhythm and drama and flourishes that songs have made me more excited about shaping them.

So part of being an editor is having strong ideas, but also flexibility. The connections between styles, genres, historical periods, philosophies are infinite.


Amy Leland is a film director and editor. Her short film, “Echoes”, is now available on Amazon Video. She also has a feature documentary in post, a feature screenplay in development, and a new doc in pre-production. She is an editor for CBS Sports Network and recently edited the feature “Sundown.” You can follow Amy on social media on Twitter at @amy-leland and Instagram at @la_directora.

Creative editorial and post boutique Hiatus opens in Detroit

Hiatus, a full-service, post production studio with in-house creative editorial, original music composition and motion graphics departments, has opened in Detroit. Their creative content offerings cover categories such as documentary, narrative, conceptual, music videos and advertising media for all video platforms.

Led by founder/senior editor Shane Patrick Ford, the new company includes executive producer/partner Catherine Pink, and executive producer Joshua Magee, who joins Hiatus from the animation studio Lunar North. Additional talents feature editor Josh Beebe, composer/editor David Chapdelaine and animator James Naugle.

The roots of Hiatus began with The Factory, a music venue founded by Ford while he was still in college. It provided a venue for local Detroit musicians to play, as well as touring bands. Ford, along with a small group of creatives, then formed The Work – a production company focused on commercial and advertising projects. For Ford, the launch of Hiatus is an opportunity to focus solely on his editorial projects and to expand his creative reach and that of his team nationally.

Leading up to the launch of Hiatus, the team has worked on projects for brands such as Sony, Ford Motor Company, Acura and Bush’s, as well as recent music videos for Lord Huron, Parquet Courts and the Wombats.

The Hiatus team is also putting the finishing touches on the company’s first original feature film Dare to Struggle, Dare to Win. The film uncovers a Detroit Police decoy unit named STRESS and the efforts made to restore civil order in 1970s post-rebellion Detroit. Dare to Struggle, Dare to Win makes its debut at the Indy Film Festival on Sunday April 29th and Tuesday May 1st in Indianapolis, before it hits the film festival circuit.

“Launching Hiatus was a natural evolution for me,” says Ford. “It was time to give my creative team even more opportunities, to expand our network and to collaborate with people across the country that I’ve made great connections with. As the post team evolved within The Work, we outgrew the original role it played within a production company. We began to develop our own team, culture, offerings and our own processes. With the launch of Hiatus, we are poised to better serve the visual arts community, to continue to grow and to be recognized for the talented creative team we are.”

“Instead of having a post house stacked with people, we’d prefer to stay small and choose the right personal fit for each project when it comes to color, VFX and heavy finishing,” explains Hiatus EP Catherine Pink. “We have a network of like-minded artists that we can call on, so each project gets the right creative attention and touch it deserves. Also, the lower overhead allows us to remain nimble and work with a variety of budget needs and all kinds of clients.”

Behind the Title: Lucky Post editor Elizabeth V. Moore

NAME: Elizabeth V. Moore

COMPANY: Lucky Post

CAN YOU DESCRIBE YOUR COMPANY?
The studio combines creative editorial, graphic design, sound design, mixing, color, compositing,VFX and finish

I feel very lucky to call Lucky my home for the past five and a half years. It’s a collection of driven co-workers who truly interact like a team. Together, we infuse art and care into the projects that come through our office.

WHAT’S YOUR JOB TITLE?
I am one of the four editors here.

WHAT DOES THAT ENTAIL?
I work with clients to take their concept and make it a reality. With the footage I’m provided, I get to be a storyteller. I add my creative perspective and collaborate with clients to craft a story or message that is hopefully even better than what they had envisioned possible.

WHAT WOULD SURPRISE PEOPLE THE MOST ABOUT WHAT FALLS UNDER THAT TITLE?
A big part of my job includes spending a lot of time with my clients as we work toward a cut we’re all happy with. It’s not just me in a room by myself, editing. There’s a responsibility to your clients not just to edit something for them, but also to help facilitate a space where they feel comfortable and are happy to come to every day. My goal is to have them leave Lucky Post at the end of the day confident in the cut and feeling good in general… with smiles on their faces.

WHAT’S YOUR FAVORITE PART OF THE JOB?
My favorite part of the job is seeing the edit take shape… to get to the end of a project and see the final resul, and reflect on what it took for that to manifest. That is a very satisfying feeling.

This CostaDelMar Slam spot is a recent project edited by Moore.

WHAT’S YOUR LEAST FAVORITE?
I try not to focus too much on my least favorite aspects of anything, but if pressed I’d have to say going through footage and making selects. I feel anxious to start my favorite part of the job — seeing the edit take shape — but in order to get the best result you have to focus and find the best pieces amidst all the content.

WHAT IS YOUR MOST PRODUCTIVE TIME OF THE DAY?
I wouldn’t consider myself a morning person, so I’d have to say early afternoon. When I have a deadline to hit, however, late at night is when I can really surprise myself with the amount and quality of work I can produce under pressure.

IF YOU DIDN’T HAVE THIS JOB, WHAT WOULD YOU BE DOING INSTEAD?
I’ve asked myself that question, and I honestly can’t think of a better answer than what I’m doing now. Even though I had no idea when I was younger that this is where I’d end up, in retrospect, it makes the most sense.

My personal set of talents and interests throughout my development have helped give me the arsenal of skills it takes to enjoy editing and do it well.

SO YOU DIDN’T KNOW THIS WOULD BE YOUR PATH?
I didn’t have any idea I would end up in this career until college. I was originally a business major with a minor in film, because I always loved movies. Quickly into my first semester it dawned on me that I could actually pursue a career in something I was passionate about, not just what I thought was expected of me. I switched to film and, as I learned more about all the different departments, I knew editing was where my talents and skills could thrive. And the more I did it, the more I fell in love with the art.

AS A WOMAN EDITOR, WHO DID YOU LOOK UP TO WHEN STARTING OUT?
I didn’t think too much about who I looked up to based on being a woman. I had my films and editors that inspired me and I aspired to emulate editorially. However, I would say that my biggest female inspiration was editor Sally Menke (who died in an accident in 2010). Pulp Fiction was one of my favorite movies at the time, and the way the story was edited and structured was a large part of that.

Once I looked deeper into her career, I realized she was the editor for all of Quentin Tarantino’s films. It inspired me greatly that she was able to not only be an editor during a time that was very much a male-dominated field, but also maintain an ongoing, collaborative relationship that shaped both of their careers. I wanted to be the kind of editor that was not only worth working with, but worth working with again and again.

HOW DO YOU FEEL ABOUT THE MEDIA CHAMPIONING MORE FEMALE CREATIVES AND LEADERS IN OUR INDUSTRY?
I think it’s extremely important. To continue to push our industry to greater heights, new and different perspectives are needed to keep things evolving and growing. Media plays a big role in our society and culture, and women need to be well represented and their voices heard. Similar to my own story, a lot of opportunities are missed if they’re unknown or seem impossible. More women in leadership and creative positions will help young women see themselves in these roles.

WHAT SHOULD OR CAN WE DO TO ENCOURAGE MORE WOMEN TO BECOME EDITORS?
To be an editor, you have to be passionate about it and love the process. We can’t make women be interested in the art, but we can reinforce the confidence in the ones who are. We have to be the ones to say, “There’s no reason to be intimidated by pursuing this career path. This industry is always looking for fresh, original perspectives and we, as women, have a unique voice to offer. The quality of your craft will speak for itself and that is what will draw clients to work with you.”

CAN YOU NAME SOME RECENT PROJECTS YOU HAVE WORKED ON?
Within the past year I’ve worked on campaigns for Crate & Barrel, Charles Schwab, AT&T and Soraa.

YOU HAVE WORKED ON ALL SORTS OF PROJECTS. DO YOU PUT ON A DIFFERENT HAT WHEN CUTTING FOR A SPECIFIC GENRE?
I wouldn’t say that I wear a different hat when working on different genres, because at the end of the day the goal is the same: to tell a good story in as creative a way as the content allows.

However, what I’m looking for out of the footage will change depending on the type of project. So much of my select-making process is based on feelings that arise while viewing a scene. I select the pieces that give me the reaction I want the audience to feel based on the genre of the piece.

WHAT IS THE PROJECT THAT YOU ARE MOST PROUD OF?
I have a different sense of pride for all the projects I work on. Sometimes it’s because of the level of quality of the work, and sometimes it’s because of the challenges that had to be overcome. But I’d say that I’m still most proud of one of my first pieces I did at Lucky Post. It was back when I was an assistant editor; I was given access to footage for a music video for a musician named Jesse Woods and was told to just have fun with it and use it as an opportunity to practice.

Even though I wasn’t the official editor on it, I took the challenge seriously and spent hours exploring possibilities, pushing my craft farther than I ever had to that point. The director was impressed enough that it became the final cut he and the artist used. I still look back on that as one of the most beautiful pieces I’ve produced. It was the turning point in my career, where not only did others see and recognize my talent, but I saw what I was capable of and this gave me the confidence that led me to where I am now.

WHAT DO YOU USE TO EDIT?
I’ve used a few different editing software programs throughout my career and my favorite, and what I currently use, is Adobe Premiere Pro.

ARE YOU OFTEN ASKED TO DO MORE THAN EDIT?
Even though I’m only asked to edit, a big part of my job includes spending a lot of time with my clients as we work toward a final cut. Sometimes that means being a good listener or a positive force for them when things get stressful.

NAME THREE PIECES OF TECHNOLOGY YOU CAN’T LIVE WITHOUT.
A computer is number one, since I can’t edit without it. I’d like to believe I’d still be interested in the art of editing if I had to do it via the cut and splice method, but it would be a very different process and experience for me. Second would be my television. I love watching great movies, shows and well-done commercials, so it’s both a leisure activity and it inspires me as an editor. Lastly, my cell phone because we now live in a society where it’s becoming hard to work and stay connected without it.

WHAT DO YOU DO TO DE-STRESS FROM IT ALL?
Besides my passion for the visual arts, like movies, my favorite escape is music. I love to go to shows to see live bands or get lost in music being played by DJs and dance. When I’m in those moments, all the stress from the week is forgotten and I’m living in the present.

NYC’s Wax adds editor Kate Owen

Kate Owen, an almost 20-year veteran who has cut both spots and films, has joined the editorial roster of New York’s Wax. The UK-born but New York-based Owen has edited projects across fashion, beauty, lifestyle and entertainment for brands such as Gucci, Victoria Beckham, Vogue, Adidas, Sony, Showtime and Virgin Atlantic.

Owen started editing in her teens and subsequently worked with top-tier agencies like Mother, Saatchi NY, McGarryBowen, Grey Worldwide and Y&R. She has also worked at editing houses Marshall Street Editors and Whitehouse Post.

In terms of recognition, Owen had been BAFTA-nominated for her short film Turning and has won multiple industry awards, including One Show, D&AD, BTAA as well as a Gold Cannes Lions for her work on the “The Man Who Walked Around the World” campaign for Johnnie Walker.

Owen believes editing is a “fluid puzzle. I create in my mind a somewhat Minority Report wall with all the footage in front of me, where I can scroll through several options in my mind to try out and create fluid visual mixes. It’s always the unknown journey at the start of every project and the fascination that comes with honing and fine tuning or tearing an edit upside down and viewing it from a totally different perspective that is so exciting to me”.

Regarding her new role, she says, “There is a unique opportunity to create a beauty, fashion and lifestyle edit arm at Wax. The combination of my edit aesthetic and the company’s legacy of agency beauty background is really exciting to me.”

Owen calls herself “a devoted lifetime Avid editor.” She says, for her, it’s the most elegant way to work. “I can build walls of thumbnails in my Selects Bins and create living mood boards. I love how I can work in very detailed timelines and speed effects without having to break my workflow.”

She also gives a shout out to the Wax design and VFX team. “If we need to incorporate After Effects or Maxon Cinema 4D, I am able to brief and work with my team and incorporate those elements into my offline. I also love to work with the agency or director to work out a LUT before the shoot so that the offline looks premium right from the start.”

Tips for Editors: How to get the job

By David Jasse

As a veteran editor and video producer, I’ve held many different positions since I started in the industry — I’ve been the hired help and I’ve been the one doing the hiring. Looking back on these experiences has put me in a good position to share my wisdom. Some of these might seem super-obvious, but they are all based on my recent experience interviewing editors for job openings at my studio…

1. Do your homework about the company you’re meeting with, and think about the client first. Before you tell them where you became really good at your craft (which you should do at the right time) and certainly before you tell them that you’ve been making films since you were five years old, talk about their needs first and read the ad carefully. Research the company and the work they do before you go. Help them make the connection between your skill set and what they do. Sounds obvious, but it’s scary how many editors show inappropriate work for what we do here.

2. Know the software. Go beyond intuitive editing. A lot of people can cut around the timeline. Do you know the shortcuts? Do you have your own personal settings? Maybe you don’t even know what personal setting are. It’s frightening to see people who call themselves professional editors need three key strokes to do something that should take one. Learn the software not just how to edit.

3. Know templates. If you want to be a professional editor, you should leverage templates out there and practice using them. It’s important to employers that you give them a polished look without having to pay for an expensive graphic artist. On the other hand if you’re the storyteller, predator type and you know how to create good content while being the editor, then its fine stick to that – your ability for graphics is irrelevant. I highly recommend becoming expert at templates, whether they be for show opens, lower thirds, or just throughout the video.

4. Living things must grow. Show that you too are growing and advancing. Do you read books? Do you do online tutorials? Do you get to seminars? Software changes all the time. Are you keeping up and advancing?

5. Be tech savvy. You should know how to use a computer and get around the keyboard and Internet. Sounds incredibly obvious, but when an editor sits down at the computer it only takes about 10 seconds to know if they are comfortable. Also, keep your hands on the controls when at a computer or edit station. Take your hands out of your pockets and be ready to edit. It’s like a PA on a set with their hands in their pockets. It’s bad set etiquette… the same goes for editing. Be ready to make changes in the edit.

6. Be prepared to show your work. The “Oh wait, I just have to download it” doesn’t impress.

In addition to the above here are some more general tips:

  • Don’t dress like a slob. Sure you’re creative, and maybe you can work your way to slob once you have the job, but when you come in for the first time dress respectively. Some people get grossed out by bad personal grooming, so don’t rub the person the wrong way with something that later on won’t matter. Look presentable.
  • Stay in touch. When I interview you, I’m immersed in you and getting to know you. Once you’re out the door I’m focused on things that make me money. I don’t remember everybody who comes in the door. There’s a good chance I might forget you, no matter how friendly and engaged I was when you were in my office. If you think you’re a good fit, stay in touch and send work from time to time.
  • Ask questions. I expect candidates to have questions for me, just not ones like this: “Do you pay for my train ticket?” I’m expecting you to ask about what is required of the position, and typical turnaround times, not about your days off and if I will I pay for this or that for you. Ask about advancement in the company, maybe performance-based raises.

 


David Jasse is the owner and creative director of New York-based DMJ Studios.

Kathrin Lausch joins Uppercut as EP

New York post shop Uppercut has added Kathrin Lausch as executive producer. Lausch has over two decades of experience as an executive producer for top production and post production companies such as MPC, Ntropic, B-Reel, Nice Shoes, Partizan and Compass Films, among others. She has led shops on the front lines for the outset of digital, branded content, reality television and brand-direct production.

“I joined Uppercut after being very impressed with Micah Scarpelli’s clear understanding of the advertising market, its ongoing changes and his proactive approach to offer his services accordingly,” explains Lausch. “The new advertising landscape is offering up opportunities for boutique shops like Uppercut, and interesting conversations and relationships can come out of having a clear and focused offering. It was important to me to be part of a team that embraces change and thrives on being a part of it.”

Half French, half German-born, Lausch followed dual pursuits in law and art in NYC before finding her way to the world of production. She launched Passport Films, which later became Compass Films. After selling the company, she followed the onset of the digital advertising marketplace, landing with B-Reel. She made the shift to post production, further embracing the new digital landscape as executive producer at Nice Shoes and Ntropic before landing as head of new business at MPC.

Behind the Title: Arcade Edit’s Ali Mao

NAME: Ali Mao

COMPANY: Arcade Edit in New York City

CAN YOU DESCRIBE YOUR COMPANY?
Arcade is a film and television editorial house with offices located in Los Angeles and New York City.

WHAT’S YOUR JOB TITLE?
Editor

WHAT DOES THAT ENTAIL?
Being an editor is all about storytelling. Whether that means following the script and boards as designed or playing outside the parameters of those guidelines, we set the pace and tone of a piece in hopes that our audience reacts to it. Sometimes it’s super easy and everything just falls into place. Other times it requires a bit more problem solving on my end, but I’m always striving to tell the story the best I can.

WHAT WOULD SURPRISE PEOPLE THE MOST ABOUT WHAT FALLS UNDER THAT TITLE?
For a lot of people who don’t work in the industry, they think editors just sit in a dark room alone all the time, and we do sometimes! But what I love most about editing is how collaborative a process it is. So much of what we do is working with the director and the creatives to find just the right pieces that help tell their story the most effectively.

Aflac

Once in awhile the best cuts are not even what was originally boarded or conceived, but what was found through the exploration of editing. When you fall in love with a character, laugh at a joke, or cry at an emotional moment it’s a result of the directing, the acting and the editing all working perfectly in sync with one another.

WHAT’S YOUR FAVORITE PART OF THE JOB?
I love going through dailies for the first time and seeing how the director and the cinematographer compose a particular scene or how an actor interprets lines, especially when you pick up on something in a take that you as an editor love – a subtle twitching of an eye or the way the light captures some element of the image – that everyone forgot about until they see it in your edit.

WHAT’S YOUR LEAST FAVORITE?
Not having enough time to really sit with the footage before I start working with the director or agency.

WHAT IS YOUR MOST PRODUCTIVE TIME OF THE DAY?
Early in the morning even though I’m not really a morning person…but in our industry, that’s probably the quietest time of the day.

IF YOU DIDN’T HAVE THIS JOB, WHAT WOULD YOU BE DOING INSTEAD?
Bumming it at the beach back home in Hawaii.

WHY DID YOU CHOOSE THIS PROFESSION?
During the summer before my junior year of high school, I stumbled upon Vivacious Lady (with Jimmy Stewart and Ginger Rogers) on AMC. I don’t know what it was about that movie, but I stayed up until 2am watching the whole thing.

For the next two years, every Sunday I’d grab the TV guide from the morning newspaper and review the AMC and TCM lineups for the week. Then I’d set my VCR to record every movie I wanted to see, which at the time were mostly musicals and rom-coms. When my dad asked me what I wanted to study in college I said film because at 5’4” getting paid to play basketball probably wasn’t going to happen, and those old AMC and TMC movies were my next favorite thing.

When I got to college, I was taught the basics of FCP in a digital filmmaking class and fell in love with editing instantly. I liked how there was a structure to the process of it, while simultaneously having a ton of creative freedom in how to tell the story.

Tide

CAN YOU NAME SOME RECENT PROJECTS YOU HAVE WORKED ON?
In January I worked with Saatchi on their Tide Super Bowl Campaign, editing the television teasers and 15s. This was the second year in a row that I got to work with them for the Super Bowl, and it’s one of my favorite jobs every year. They do some really fun and creative work for their teasers, and there’s so much opportunity to experiment and get a little weird

There was the Aflac Ski Patrol spot, and I also just finished a Fage Campaign with Leo Burnett, which went incredibly well. Matt Lenski from Arts & Science did such an incredible job with the shoot and provided me with so many options of how to tell the story for each spot.

DO YOU PUT ON A DIFFERENT HAT WHEN CUTTING FOR A SPECIFIC GENRE?
I think you put on a different hat whenever you start any project, regardless of genre. Every comedy piece or visual piece is unique in its story, rhythm, etc. I definitely try to put myself in the right head space for editing a specific genre, whether that be from chatting with the director/agency or doing a deep dive on the Internet looking for inspiration from films, ads, music videos — anything really.

WHAT IS THE PROJECT THAT YOU ARE MOST PROUD OF?
I worked as an editor on a documentary called Undroppable. It was about the school dropout rate across the US and followed students from different parts of the country, focusing on the challenges of graduating high school.

The film had already been edited by the time I got involved, but the producer felt it needed fresh eyes. I loved a lot of what the previous editors had done, and felt like the one thing I could bring to the film was focus. There were so many compelling stories that it sometimes felt like you never had a chance to really take any of it in. I wanted the audience to not just fall in love with these students and root for them, but to also leave the theater in active pursuit of ways they could be involved in our country’s education system.

As someone who was cutting mostly commercials and short films in Final Cut Pro at the time, doing a feature length documentary on Avid Media Composer was daunting, but so very, very exciting and gratifying.

WHAT DO YOU EDIT ON THESE DAYS?
Avid Media Composer.

ARE YOU EVER ASKED TO DO MORE THAN EDIT?
Every once in awhile I get a job where I’m asked to create an edit that is not in line with the footage that was shot. In those instances, I’ll have to comp takes together in order to get a desired set of performances or a desired shot. I try not to make the comps too clean because I don’t want to put our Flame artist out of a job.

NAME THREE PIECES OF TECHNOLOGY YOU CAN’T LIVE WITHOUT.
iPhone, computer, Roomba

WHAT DO YOU DO TO DE-STRESS FROM IT ALL?
I just had a baby, so coming home to my son and my baby daddy is a great way to end the day. I also play on an all-women’s flag football team in a co-ed league on the weekends. The first game we ever won I QB’d while I was eight weeks pregnant; it was my Serena Williams moment!

Cutter Mark Burnett returns to his Australian roots and The Editors

Editor Mark Burnett has returned home to Australia and The Editors after nine years of cutting in London, most recently at The Whitehouse. Launching his career in Sydney, working at The Post Office before joining The Editors back in 2007, Burnett moved to London in 2009 to edit at Speade, joining The Whitehouse in 2014.

Burnett’s style and comedic timing have brought him industry recognition with Clios, BTA Arrows, Cannes Lions and APA Crystal Awards. Last year he won a Bronze Kinsale Shark Award for his work on McCain’s We Are Family and his quirky approach has seen him cut for comedy directors such as Jim Hosking, Zach Math and Hamish Rothwell.

Also behind this year’s Sundance film An Evening With Beverly Luff and the Palm Springs Film Festival 2017 opening film Edmund The Magnificent, Burnett is no stranger to longform and has delivered on past Sundance hits The Greasy Strangler (2016) and the LCD Soundsystem documentary Shut Up and Play The Hits (2012).

On his recent signing, Burnett says, “After nine years in the UK and after many long winters, many teas, many pints, many new friends, a child, a lot of travel and a bit of whinging, the time felt right to head home. It made sense to head back to the company that has always been a home away from home, and I am stoked to be welcomed back to The Editors and to be surrounded by not only amazing talent, but amazing people.”

Oscar-winner Jordan Peele on directing Get Out

By Iain Blair

Get Out, the feature film debut of comedian-turned-director Jordan Peele, is chock full of shocks and surprises. This multi-layered horror film also shocked a lot of people in the industry when it went on to gross over a quarter of a billion dollars — on a $4.5 million budget — making it one of the most profitable films in Hollywood history. But those shocks are nothing compared to the ones Peele and his movie generated when it scooped up four major Oscar nominations, including Best Picture and Best Director (in a very strong Best Director year, Peele beat out the likes of Steven Spielberg, Ridley Scott and Martin McDonagh). He won for Best Original Screenplay.

The writer/director honed his cinematic skills on the Comedy Central sketch show Key and Peele, which quickly became a television and Internet sensation, earning 12 Primetime Emmy Award nominations and over 900 million online hits. For his first film, which stars Daniel Kaluuya, Allison Williams, Catherine Keener and Bradley Whitford, he assembled a stellar group of collaborators, including director of photography Toby Oliver (Insidious: Chapter 4), production designer Rusty Smith (Meet the Fockers), editor Gregory Plotkin (the Paranormal Activity series), costume designer Nadine Haders (Into the Badlands) and composer Michael Abels.

With the huge critical and commercial success of Get Out, Peele has now joined the big leagues. I recently caught up with Peele who talked about the Oscars, making the film, and his love of post.

This is your directorial movie debut, and it’s not only Oscar-nominated for Best Picture but also for Best Director. Are you still pinching yourself?
Oh yeah, 100 percent! It’s not something I feel I’ll ever get used to. It’s way beyond any expectations I had.

You were also Oscar-nominated for Best Original Screenplay, making you only the third person ever — after Warren Beatty and James L. Books — to score that and Best Director, Best Picture nods for your debut film. You realize it’s all downhill from here?
(Laughs) Yeah, I might as well quit making movies now while I’m still ahead, because I’m in big trouble. And that’s pretty ironic as the best award and reward for making my first movie is the fact that I get to make another.

You’re only the fifth African-American filmmaker to earn a Best Director nom and none have won. Is change coming fast enough?
I think change should have come a long time ago, but at least now we see some real progress, with such directors as Ryan Coogler, Ava DuVernay, Gary Gray, Barry Jenkins and Dee Rees. It’s this new class of amazing black directors, and people have worked very hard to get to this point, and it’s thanks to all the work of previous filmmakers. What’s blossoming in the industry now is very beautiful, so I’m very hopeful for the future.

When it comes to the Oscars, horror and comedy are two genres that don’t seem to get much respect. Why do you think that is?
I think it’s because they’re genres that are typically focused on getting a monetary return, so they get put in that box and are seen as lightweight and movies that are not art — even though there are many examples of elevated horror and elevated comedy that are extremely artistic films. So there’s that stigma. And if people don’t like horror, they just don’t like it, so it’s not a genre that you can expect everyone to want to see, unlike comedy. Everyone pretty much loves comedy, but when people tell me they don’t like horror, I tell them to seek it out, that it won’t scare them that much, and that it might surprise them.

Did you write this thinking, “I want to direct it too?”No, I never planned to direct it, but then about half-way through writing it I realized I was the only person who could actually direct it. I feel that being both the writer and director is easier than not doing both, because they’re done at separate times, so you don’t have to overlap, and then later if you want to change something on set, you know that you’re not missing or mistaking what the writer intended.

What sort of film did you set out to make, because it’s not just a straightforward horror film, is it?
No. I wanted to make a film I’d never seen before. It’s been called many things, and I myself have called it both a horror film and a social thriller. I was aiming at the genre somewhere between Rosemary’s Baby and Scream, so it’s about a lot of things — the way America deals with race and the idea that racism itself is a monster, and that we can’t neglect abuses and just stand by while atrocities happen. So I tried to incorporate a lot of layers and make something people would want to see more than once.

How did you prepare for directing your first film? It’s got to be pretty daunting.
It’s actually terrifying since you don’t know what you don’t know. I talked to everyone I could — Edgar Wright, Ben Affleck, Leigh Whannell, Peter Atencio who did our show and Keanu, and any other director I could — to try and prepare as much as possible.

How was the shoot?
We shot in Mobile, Alabama, and it was probably the most fun I’ve ever had working on anything. It was so hard and so intense. I was very prepared, but then you also have to be open to adapting and making changes, and too much preparation can work against you if you’re not careful.

Do you like the post process?
I absolutely loved it, and one big reason is because after so long just imagining what the film might look like, all of a sudden you have all the pieces of the puzzle in front of you, and you’re finally making the film. Post teaches you so much about what the film is meant to be and what it wants to be.

Where did you edit and post this?
At Blumhouse in LA.

Tell us about working with editor Gregory Plotkin, who cut most of the Paranormal Activity franchise for Paramount and Blumhouse Productions.
He’s a very accomplished editor and a real horror fan like me, so we bonded immediately over that. He could break down the script and all my influences from Hitchcock and Kubrick to Spielberg and Jonathan Demme. He did his pass and then I came in and did my director’s pass, and then we went over it all with a fine-tooth comb, tightening scenes up and so on and focusing on pace and timing, which are crucial in horror and comedy.

Is it true you shot multiple endings for the film? How did you decide on the right one?
We actually shot two, and the first one was not a happy one. When we edited it all together we realized it wasn’t working for an audience. They thought it was a downer, and then I realized it needed a hero and a happy ending instead, so that after going through all the stress, the audience could come out happy. So we asked for more money and went off and did a reshoot of the ending, which added another layer and worked far better.

Sound and music are so important in horror. Can you talk about that?
I look at it as at least half the movie since you can scare audiences so much with just clever sound design. I paid a lot of attention to it during the writing process, and then once we got into post it all became a very meticulous process. We were careful not to overdo all the sound design. We did it all at Wildfire, and they are such pros and were up for trying anything. They really understood my vision.

Can you talk about the VFX?
Ingenuity Studios did them and the big one was creating “The Sunken Place,” and it was tricky to do it as we didn’t have a bearing on this world apart from what I’d originally imagined. There was no up or down. Should the camera be fixed or floating? In the end, we shot Daniel Kaluuya against a black background on cables, and then Gregory played around in the Avid a lot, resizing the image. Then we added some CG stuff to give it that sort of underwater feel. We had a bunch of other shots, like the car hitting the deer and the father being impaled on the deer horns, which was all CGI.

Who was the colorist, and where did you do the DI?
It was all at Blumhouse, with Aidan Stanford, and I was pretty involved. It was tricky, and you can quickly go overboard with color, but the DP, Toby, did such a great job on the shoot that we mainly just tried to match his original color and not push it too far.

I assume you can’t wait to direct again?
Oh yeah! There’s nothing more fun. It’s the biggest artistic collaboration I can imagine, with all these moving parts, and I loved every minute of it.

What’s next?
I’m working on another screenplay, which I’ll direct for Universal. I just love Hitchcockian thrillers, so I’m staying in the same genre and zone.


Industry insider Iain Blair has been interviewing the biggest directors in Hollywood and around the world for years. He is a regular contributor to Variety and has written for such outlets as Reuters, The Chicago Tribune, The Los Angeles Times and the Boston Globe.

David Walton Smith joins digital agency Grow as head of film

Norfolk, Virginia-based digital agency Grow has expanded its film and production capabilities with the addition of David Walton Smith, who will take on the newly created role of head of film. Walton Smith will be charged with overseeing all content development and video production for the agency’s clients, which include Google, Spotify, Adidas and Adult Swim.

A multidisciplinary filmmaker and creative, Walton Smith has produced commercials, as well as branded and documentary content, for brands like Google, Volvo, Mass Mutual, Hyundai and Aleve. Prior to joining Grow, he was a director and producer at CNN’s branded content division, Courageous Studio, where he created broadcast and web content for CNN’s global audiences. He was also editor of Born to Explore with Richard Wiese, an Emmy Award-winning show that aired on ABC, as well as creative lead/director at London and Brooklyn-based LonelyLeap, where he spearheaded campaigns for Google and Tylenol.

Grow works with brands including Google, Spotify, NBC, Adidas, Homes.com, Oxygen Network and Adult Swim, to create digital experiences, products and interactive installations. Notable recent projects include Window Wonderland for Google Shopping, Madden Giferator for EA Sports, as part of Google’s Art, Copy & Code initiative, as well as The Pursuit, an interactive, crime thriller game created with Oxygen Media.

Configuring an iMac Pro for video editing

By Larry Jordan

Ever since Apple released the iMac Pro, my inbox has been clogged with people asking advice on how to configure their system. This article is designed to help you make more informed decisions when you don’t have an unlimited budget. Also, while the iMac Pro is designed for many different markets, I’m focusing here on digital media.

If money is no object, buy the top of the line. It will be blindingly fast, it will work great and you’ll have enormous bragging rights. But… if money IS an object, then you need to make trade-offs, balancing the performance you need with the money you have. The good news is that you don’t need to buy the top-of-the-line to get a system today that can meet your editing needs for the next several years.

Some background
When Apple rebuilt Final Cut to create FCP X, they focused on upgrading its underlying architecture to take advantage of coming advances in hardware. This includes an all-64-bit architecture, optimization for core technologies including Metal, tight integration with both CPU and GPU and the ability to take advantage of faster I/O — both to the processors and storage.

There are no optimizations in Final Cut, Motion or Compressor that focus specifically on the iMac Pro. Instead, Apple’s media apps take advantage of whatever technology or performance benefits are provided in the hardware. In other words, there are no new features in FCP X that appear if it is running on an iMac Pro. What does appear is faster performance.

This is from the Apple website, comparing the iMac Pro to the fastest Quad core iMac:

“The iMac Pro takes Mac performance to a new level, even when compared to our fastest quad-core iMac.”

  • Photographers can work with enormous files and perform image processing up to 4.1 times faster.
  • Music producers can export massive multi-track projects up to 4.6 times faster and use up to 12.4 times as many real-time plug-ins.
  • Video editors can edit up to eight streams of 4K video, or edit 4.5K RED RAW video and 8K ProRes 4444 at full resolution in realtime without rendering. The iMac Pro can also export HEVC video three times faster.

Keep in mind that Apple reports these performance numbers are based on: “Testing conducted by Apple in November 2017 using pre-production 2.3GHz 18-core Intel Xeon W-based 27-inch iMac Pro systems with 128GB of RAM and pre-production 3.0GHz 10-core Intel Xeon W-based 27-inch iMac Pro systems with 64GB of RAM, both configured with Radeon Pro Vega 64 graphics with 16GB of HBM2.”

Do You Really Need an iMac Pro?
Well, “need” is a relative term. If you principally work with SD or HD material, an iMac will be perfectly fine. The performance benefits of the iMac Pro don’t justify the expense. If you are hobbyist, no, you don’t need an iMac Pro. You might “want” one, but you don’t “need” one.

However, if the bulk of your work involves 4K or greater frame sizes, 360-degree VR, RAW files, or HDR, the performance benefits of this new system make it worth considering, because the design of the iMac Pro significantly speeds working with larger frame sizes, faster frame rates, more effects and more processor-intensive codecs (such as HEVC).

With that being said, let’s take a look at the specific components to see which ones make the most sense for video editing.

Display
The iMac Pro uses the same display technology as the 5K iMac. So everything you see on a current iMac looks the same on the iMac Pro:

– 5K display
– One billion colors
– P3 wide color gamut
– 500 nits

But, while the display of the iMac Pro is the same as an iMac, the display capability of the iMac Pro is greater:
– It can drive two other 5K displays or up to four other 4K displays.
– It has enhanced external connectivity and more Thunderbolt 3 ports (so you still have Thunderbolt ports left over for other accessories after connecting a display).

CPU
Before the shouting starts, let me say again that if money is no object, buy the top-of-the-line iMac Pro. However, for most of the editing that most of us are doing, we don’t need to buy the top-of-the-line system to get significantly improved editing performance.

The 8-core system is fine for most editing and compression. For example, H.264 compression takes advantage of a hardware encoder that is built into all current Macs. This hardware encoder is independent of CPU cores. However, there are benefits to more cores, especially when decoding and encoding heavily threaded codecs like ProRes or HEVC. Also, the 10-core system offers a higher Turbo Boost speed of 4.5GHz versus 4.2GHz for the 8-core CPU. This additional speed benefits rendering and exporting.

The 14- and 18-core systems are designed for applications other than video editing. I would invest my money elsewhere in the system because video editors will see greater benefits in upgrading RAM and GPU when using Final Cut Pro on an iMac Pro.

An exception to staying within a 10-core system is that editors using Red Raw media or working with multiple streams of ProRes — for example, multicam work — will see improved performance with higher-core systems.

I recommend 8 cores for general editing and 10 cores for multicam editing and RAW video workflows.

Performance vs. Heat 
One of the issues I’ve heard about the current Mac Pro is that it has a problem with heat under heavy load. What I discovered is that, even more than the Mac Pro, the iMac Pro internals are designed specifically to dissipate heat under heavy load.

Outside, the iMac Pro is millimeter for millimeter the same size and shape as a standard 27-inch iMac with Retina 5K display; outside of the space gray color and a few extra vents on the back. But, on the inside, it’s radically different.

One of the key things Apple was able to do is make the system all flash-based; 3GB/s of fast SSD is pretty darn fast! Switching to all flash allowed Apple to remove the 3.5” hard drive and use that large space for a dual blower design and a massive heatsink and heat pipe architecture.

This delivers 75% more airflow and 80% more thermal capacity, enabling far more CPU and GPU power in the box over a traditional iMac. It is also worth noting that it does all this while still being super quiet (it is an iMac, after all), letting you focus on your work.

GPUs
In general, cutting video tends to use more of the CPU while effects and graphics tend to rely more heavily on the GPU. Increasingly, both FCP X and Premiere rely on the GPU for more and more tasks. Also, the greater the VRAM, the better the GPU performance. Whether you use Motion, After Effects, Premiere or Final Cut, investing in the best GPU will be a wise choice.

While VRAM is important, it is not the only determinant of a superior graphics card. For example, the Vega 64 is significantly faster in addition to the larger amount of VRAM. Also, more VRAM offers benefits when working with large frame sizes, multiple video streams (i.e. multicam), multiple displays and complex motion graphics.

RAM
The 32GB default RAM is fine for virtually all editing. If, on the other hand, you run multiple applications at once — say FCP X, Motion, Compressor, Photoshop and a web browser — 64GB of RAM is better.

While there is value in more RAM beyond 6GB, you won’t get enough bang for your buck to justify the additional cost.

Storage
The iMac Pro ships with a 1TB SSD. I haven’t measured it, but it is probably way past blindingly fast. (Apple says 3GB/second!) The problem is that most media projects today far exceed 1TB in storage. You will need an external high-speed, Thunderbolt 3 RAID system for even medium-sized projects.

Video Compression
Unlike video editing, video compression has its own requirements for system resources. While this is worth its own article here are some thoughts.

Both H.264 and HEVC are relatively highly compressed formats. This compression, of course, leads to smaller file sizes, but the resulting compression requires more processing power. With H.264 and HEVC, decoding and most encoding actions are processed via dedicated H.264 hardware within the system.

A select set of custom H.264 encodes in Compressor may use the H.264 software encoder, which is threaded across multiple cores. So while ProRes encoding benefits from faster, higher-core CPUs, H.264 and HEVC are not similarly CPU bound. Also, it’s important to note that video compression often includes other operations including retiming, scaling, and color conversion — all of which use the GPU.

If you are interested in HDR, 8-bit HEVC does, in fact, support HDR. Still, 10-bit encoding is recommended for the highest quality HDR output when using the HEVC codec. The reason this is important is that current Macs only support hardware acceleration of 8-bit HEVC. This makes the iMac Pro about 3x faster in HEVC encoding than an iMac.

For 10-bit encoding, the HEVC software codec is threaded and can therefore take advantage of multiple CPU cores when encoding; more cores means faster video encoding.

Wait, What About the Mac Pro?
First, Apple has announced and reiterated that they are working on a new, modular Mac Pro. However, they haven’t announced specs nor a release date.

The current Mac Pro is getting long in the tooth. In terms of performance, the iMac Pro is a better choice.

That being said, there are still two reasons to consider the existing Mac Pro:
– You can add any monitor you want
– Many of the components inside are upgradeable

For me, while these benefits are not trivial, the hardware inside the system has not be upgraded in several years. If you are focused on video editing, the existing Mac Pro is not the best current choice.

Summary
Here are my two recommendations for an iMac Pro for video editing: A budget version and a top-of-the-line version for editors. (The mouse and keyboard come standard, so I make no recommendations about either of these.)

Budget Version:


Top of the Line

Here are two other configuration articles you may find useful:


Larry Jordan is a trainer, writer, editor, producer and director who’s been explaining technology since, well, forever.This article first appeared in his website: LarryJordan.com

Behind the Title: Weta Workshop editor Betsy Bauer

NAME: Betsy Bauer

COMPANY: Weta Workshop (@WetaWorkshop)

CAN YOU DESCRIBE YOUR COMPANY?
The official company description is a creative development that creates weapons, props, creatures, make-up, miniatures, public art and merchandise for films such as The Lord of the Rings, The Hobbit, Avatar, Elysium, District 9, Godzilla and The Amazing Spider-Man 2.

My description is it’s a hive of creativity and creation, filled with the most talented and humble people I have ever met. It’s a place that, as a 13-year-old girl in rural England, I dreamed of catching a glimpse of one day — and now I get to stroll right in every day!

WHAT’S YOUR JOB TITLE?
Editor

WHAT DOES THAT ENTAIL?
At Workshop my role involves many aspects, but first and foremost it’s about supporting the crew and company however I can. I create production videos for our crew and clients to review the progress of things like props and costumes; promotional videos to show off our creations and collectibles; AV content for our CEO’s presentations around the world; video content for internal and external clients, such as our Tourism department or the National Museum of New Zealand; and managing and maintaining the beast that is our media server.

WHAT WOULD SURPRISE PEOPLE THE MOST ABOUT WHAT FALLS UNDER THAT TITLE?
I think the breadth of influence an editor can have over the final product would surprise many people. Though each job has a creative director and producer, more often than not the story is found, firmed or finalized within the edit. Something else people might not realize is that a big part of editing is problem-solving. On any given day you’re up against seemingly endless technical issues or difficulties with the script, performances and story. As editor, it’s my job to wade through it all and come out the other side with solutions.

WHAT’S YOUR FAVORITE PART OF THE JOB?
There’s always that turning point in every job where it goes from chaos to order, from a thousand muddled-up jigsaw pieces to starting to see the picture it’s supposed to form. I love that moment of clarity when you can knuckle down and craft the story that you can see amongst the footage. There’s also a great satisfaction in delivering a product that exceeds your client’s expectations.

WHAT’S YOUR LEAST FAVORITE?
The anti-social nature of the job can be a bit of a downside. Especially at Workshop, where I literally spend all day looking at footage of my colleagues, who are in the same building as me, but in many instances I have never even met them!

WHAT IS YOUR FAVORITE TIME OF THE DAY?
Unfortunately, my internal clock is out of whack with my work schedule and I find so often I obtain clarity on a project in the late afternoon, when everything magically clicks into place and I only have a few short hours to put this newfound purpose into action. Inevitably, I just end up staying late.

IF YOU DIDN’T HAVE THIS JOB, WHAT WOULD YOU BE DOING INSTEAD?
I haven’t a clue! I never thought I’d find a “career,” so I consider myself beyond lucky to have stumbled into my craft. I think I would still want to work in the entertainment business, possibly in some kind of organizational or production role as that would suit my strengths.

WHY DID YOU CHOOSE THIS PROFESSION?
I think this profession chose me. I knew I wanted to work in film and live in New Zealand so I chose a film internship in Wellington at the production house Martinsquare. Within the first week I knew that editing was it for me. It all clicked into place like nothing ever had before. I was also fortunate enough to have a wonderful mentor, Jeff Hurrell, whose endless patience and generosity helped kick-start my career from nothing.

Cleaver

CAN YOU NAME SOME RECENT PROJECTS YOU HAVE WORKED ON?
I recently had a great time editing the short film Cleaver with the brilliant Alex McKenna which should hopefully be released early this year. I’m also very excited that Status Pending, a feature film I edited, will be having it’s world premiere at Cinequest festival in March. And I’ve just signed on to edit a short documentary called Finding Venus with an amazing team of people. At Weta Workshop recently I have worked on videos for master sculptor Sabin Howard, Tencent Games’ Path of Exile and Thor: Ragnarok.

WHAT IS THE PROJECT THAT YOU ARE MOST PROUD OF?
All of them. No matter the job and the content I always strive to achieve work I’m proud of. I love storytelling, be that in the classic drama cutting of the short films and feature I have edited, telling the story of an incredible piece of art our artisans at Workshop have made or bringing a smile to my colleagues’ faces by visually capturing their journey throughout the year.

NAME THREE PIECES OF TECHNOLOGY YOU CAN’T LIVE WITHOUT.
Bose noise-cancelling headphones, my Wacom tablet (my wrists thank you!) and big-ass monitors.

WHAT SOCIAL MEDIA CHANNELS DO YOU FOLLOW?
I try not to become too reliant on social media, but on Facebook I do follow some editing/filmmaking groups, which, when working in such an isolated role, can really help make you feel part of the larger community. I also probably spend far too much time on Reddit.

WHAT DO YOU DO TO DE-STRESS FROM IT ALL?
Try to laugh it off as much as possible. It may be stressful, but it doesn’t need to be life threatening. Another editor friend of mine recently showed me the benefits of popping to the gym in our lunch breaks to de-stress. I try to switch off in the evenings and not take my work home with me… but that doesn’t stop me from often waking up in the night thinking about “that edit.” I find the best solution is talking to people, getting perspective and remembering that I do this job because I love it.

ACE crowns Eddie winners

On Friday evening, the American Cinema Editors held its 68th Annual ACE Eddie awards at the Beverly Hilton Hotel with over 1,000 in attendance to celebrate. ACE president Stephen Rivkin presided over the evening’s festivities with actress/comedian Tichina Arnold serving as the evening’s host. Trophies were handed out recognizing the best editing of 2017 in 10 categories of film, television and documentaries.

Dunkirk, edited by Lee Smith, ACE, and I, Tonya, edited by Tatiana S. Riegel, ACE, won Best Edited Feature Film (Dramatic) and Best Edited Feature Film (Comedy), respectively.

Coco, edited by Steve Bloom, won Best Edited Animated Feature Film, and Jane, edited by Joe Beshenkovsky, ACE, Will Znidaric and Brett Morgen, won Best Edited Documentary (Feature).

Television winners included Black-ish — Lemons (edited by John Peter Bernardo and Jamie Pedroza) for Best Edited Comedy Series for Commercial Television, Curb Your Enthusiasm — The Shucker (edited by Jonathan Corn, ACE) for Best Edited Comedy Series for Non-Commercial Television, Fargo — Who Rules The Land of Denial (edited by Andrew Seklir, ACE) for Best Edited Drama Series for Commercial Television, The Handmaid’s Tale — Offred (edited by Julian Clarke, ACE & Wendy Hallam Martin) for Best Edited Drama Series for Non-Commercial Television, Genius:  Einstein Chapter One (edited by James D. Wilcox) for Best Edited Miniseries or Motion Picture for Television,Vice News Tonight — Charlottesville: Race & Terror (edited by Tim Clancy, Cameron Dennis, John Chimples & Denny Thomas) for Best Edited Non-Scripted Series and Five Came Back: The Price of Victory (edited by Will Znidaric) for Best Edited Documentary (Non-Theatrical), making Znidaric a two-time winner.

(L-R) Mariska Hargitay and Career Achievement Honoree Leon Ortiz-Gil, ACE

Producer Gale Anne Hurd presented the Student Editing award honor to Mariah Zenk of Missouri State University, who beat out hundreds of competitors from film schools and universities around the country.

Writer, producer, creator and showrunner of such hits as Breaking Bad and Better Call Saul, Vince Gilligan, received the organization’s ACE Golden Eddie honor, which was presented to him by his long-time collaborator, film editor Skip MacDonald, ACE. Gilligan joins an impressive list of industry luminaries who have received ACE’s highest honor, including Norman Jewison, Nancy Meyers, Francis Ford Coppola, Clint Eastwood, Robert Zemeckis, Alexander Payne, Ron Howard, Martin Scorsese, George Lucas, Kathleen Kennedy, Steven Spielberg, Christopher Nolan, Frank Marshall and Richard Donner.

Other presenters at the ACE Eddie Awards included director Denis Villeneuve (Blade Runner 2049) and film editor Joe Walker, ACE, filmmaker Edgar Wright (Baby Driver), actress Parminder Nagra, Sam Lerner (The Goldbergs), actress Betty Gabriel (Get Out), actor Brett Gelman (Stranger Things, Lemon) and Lady Bird cast members Jordan Rodriguez and Marielle Scott.

Leon Ortiz-Gil, ACE, and Mark Goldblatt, ACE, were presented with Career Achievement awards by actress Mariska Hargitay and filmmaker Joe Dante, respectively. Ortiz-Gil is a three-time ACE Eddie Awards nominee whose list of credits includes TV series’ Law & Order, 24 and Dragnet. Goldblatt is an Oscar-nominated editor for Terminator 2: Judgment Day who also edited the original Terminator and other blockbusters such as X-Men: The Last Stand, Pearl Harbor, True Lies and Chappie, among many others. His latest project is Eli Roth’s upcoming Death Wish.

(L-R) Dunkirk: Jordan Rodrigues, Lee Smith, ACE, Marielle Scott

Here is a full list of winners:

BEST EDITED FEATURE FILM (DRAMATIC):
Dunkirk
Lee Smith, ACE

BEST EDITED FEATURE FILM (COMEDY):
I, Tonya
Tatiana S. Riegel, ACE

BEST EDITED ANIMATED FEATURE FILM:
Coco
Steve Bloom

BEST EDITED DOCUMENTARY (FEATURE):
Jane
Joe Beshenkovsky, ACE, Will Znidaric, Brett Morgen

BEST EDITED DOCUMENTARY (NON-THEATRICAL)
Five Came Back: The Price of Victory
Will Znidaric

BEST EDITED COMEDY SERIES FOR COMMERCIAL TELEVISION:
Black-ish: “Lemons”
John Peter Bernardo, Jamie Pedroza

BEST EDITED COMEDY SERIES FOR NON-COMMERCIAL TELEVISION:
Curb Your Enthusiasm: “The Shucker”
Jonathan Corn, ACE

BEST EDITED DRAMA SERIES FOR COMMERCIAL TELEVISION:
Fargo: “Who Rules the Land of Denial”
Andrew Seklir, ACE

BEST EDITED DRAMA SERIES FOR NON-COMMERCIAL TELEVISION:
The Handmaid’s Tale: “Offred”
Julian Clarke, ACE, and Wendy Hallam Martin

(L-R) Genuis: Denis Villeneue, James D. Wilcox, Joe Walker, ACE

BEST EDITED MINISERIES OR MOTION PICTURE FOR TELEVISION:
Genius: Einstein “Chapter One”
James D. Wilcox

BEST EDITED NON-SCRIPTED SERIES:
Vice News Tonight: “Charlottesville: Race & Terror”
Tim Clancy, Cameron Dennis, John Chimples and Denny Thomas

STUDENT COMPETITION WINNER
Mariah Zenk — Missouri State University

Main Image Caption: (l-R) I,Tonya: Nat Sanders, ACE, Tatiana S. Riegel, ACE, Joi McMillon, ACE, Brett Gelman.

Review: Blackmagic’s DaVinci Resolve 14 for editing

By Brady Betzel

Resolve 14 has really stepped up Blackmagic’s NLE game with many great new updates over the past few months. While I typically refer to Resolve as a high-end color correction and finishing tools, this review will focus on the Editing tab.

Over the last two years, Resolve has grown from a high-end color correction and finishing app to include a fully-capable nonlinear editor, media organizer and audio editing tool. Fairlight is not currently at the same level as Avid Pro Tools, but it is still capable, and with a price of free or at most $299 you can’t lose. For this review, I am using the $299 version, which has a few perks — higher than UHD resolutions; higher than 60 frames per second timelines; the all-important spatial and/or temporal noise reduction; many plugins like the new face tracker; multi-user collaboration; and much more. The free version will work with resolutions up to UHD at up to 60fps and still gives you access to all of the powerful base tools like Fairlight and the mighty color correction tool set.

Disclaimer: While I really will try and focus on the Editing tab, I can’t make any promises I won’t wander.

Digging In
My favorite updates to Resolve 14’s Editing tab revolve around collaboration and conforming functions, but I even appreciate some smaller updates like responsiveness while trimming and video scopes on the edit page. And don’t forget the audio waveforms being visible on the source monitor!

With these new additions, among others, I really do think that Resolve is also becoming a workable nonlinear editor much like industry standards such as Avid Media Composer, Adobe Premiere Pro and Apple Final Cut Pro X. You can work from ingest to output all within one app. When connected to a collaborative project there is now bin-locking, sharing bins and even a chat window.

Multicam works as expected with up to 16 cameras in one split view. I couldn’t figure out how to watch all of the angles in the source monitor while playing down the sequence in the record monitor, so I did a live switch (something I love to do in Media Composer). I also couldn’t figure out how to adjust the multi-cam after it had been created, because say, for instance, audio was one frame out of sync or I needed to add another angle later on. But the multicam worked and did its job by allowing me to sync by in point, out point, timecode, sound or marker. In addition, you can make the multicam a different frame rate than your timeline, which is handy.

[Editor’s Note: Blackmagic says: “There are a few ways to do that. You can right click on the multicam clip and select ‘open in timeline.’ Or you can pause over any segment of a multicam clip, click on a different angle and swap out the shots. Most importantly, you get into multicam edit mode by clicking on the drop down menu on the lower left hand corner of the source viewer and selecting Multicam mode.”]

Another addition is the Position Lock located in the middle right, above the timeline. The Position Lock keeps all of your clips locked in time in your timeline. What is really interesting about this is that it still allows you to trim and apply other effects to clips while locking the position of your clips in place. This is extremely handy when doing conforms and online passes of effects when you don’t want timing and position of clips to change. It’s a great safety net. There are some more fancy additions like re-time curves directly editable in the timeline. But what I would really love is a comprehensive overhaul of the Title Tool that would allow for direct manipulation of the text on top of the video. It would be nice to have a shortcut to use the title as a matte for other footage for some quick and fancy titling effects, but maybe that is what Fusion is for? The title tool works fine and will now give you nice crisp text even when blown up. The bezier curves really come in handy here to make animations ease in and out nicely.

If you start and finish within Resolve 14, your experience will most likely be pretty smooth. For anyone coming from another NLE — like Media Composer or Premiere — there are a few things you will have to get used to, but overall it feels like the interface designers of Resolve 14 kept the interface familiar for those “older” editors, yet also packed it with interesting features to keep the “YouTube” editors’ interest piqued. As someone who’s partial to Media Composer, I really like that you can choose between frame view in the timeline and clips-only view, leaving out thumbnails and waveform views in the timeline.

I noticed a little bit of a lag when editing with the thumbnail frames turned on. I also saw recently that Dave Dugdale on YouTube found an interesting solution to the possible bug. Essentially, one of the thumbnail views of the timeline was a little slower at re-drawing when zooming into a close view in a sequence Regardless, I like to work without thumbnails, and that view seemed to work fluidly for me.

After working for about 12 minutes I realized I hadn’t saved my work and Resolve didn’t auto-saved. This is when I remembered hearing about the new feature “Live Save.” It’s a little tricky to find, but the Live Save feature lives under the DaVinci Resolve Menu > User > Auto Save and is off by default — I really think this should be changed. Turn this fuction on and your Resolve project will continually save, which in turn saves you from unnecessary conniptions when your project crashes and you try to find the spot that was last saved.

Coming from another NLE, the hardest thing for me to get used to in a new app was the keyboard layouts and shortcuts. Typically, trimming works similar to other apps and overwriting; ripple edits, dissolves and other edit functions don’t change, but the placement of their shortcuts does. In Resolve 14, you can access the keyboard shortcut commands in the same spot as the Live Save, but under the Keyboard Mapping menu under User. From here you can get grounded quickly by choosing a preset that is similar to your NLE of choice — Premiere, FCP X, Media Composer — or Resolve’s default keyboard layout, which isn’t terrible. If this could be updated to how apps like Premiere and/or Avid have their keyboard layouts designed, it would be a lot easier to navigate. Meaning there is usually a physical representation of a keyboard that allows you to drag your shortcuts to and from it realtime.

Right now, Resolve’s keyboard mapper is text-based and a little cumbersome. Overall, Resolve’s keyboard shortcuts (when in the editing tab) are pretty standard, but it would do you well to read and go through basic moves like trimming, trimming the heads and tails of clips or even just trimming by plus or minus and the total frames you want to trim.

Something else I discovered when trimming was when you go into actual “trim mode,” it isn’t like other NLEs where you can immediately start trimming. I had to click on the trim point with my mouse or pen, then I could use keyboard shortcuts to trim. This is possibly a bug, but what I would really love to happen is when you enter “trim mode,” you would see trimming icons at the A and B sides of the nearest clips on the selected tracks. This would allow you to immediately trim using keyboard shortcuts without any mouse clicks. In my mind, the more mouse clicks I have to use to accomplish a task means time wasted. This leads to having less time to spend on “important” stuff like story, audio, color, etc. When time equals money, every mouse click means money out of my pocket. [Note from Blackmagic: “In our trim tools you can also enter trim mode by hitting T on the keyboard. We did not put in specific trim tool icons on purpose because we have an all-in-one content sensitive trim tool that changes based on where you place the cursor. And if you prefer trimming with realtime playback, hit W for dynamic trim mode, and then click on the cut you want to trim with before hitting JKL to play the trim.”]

I have always treated Resolve as another app in my post workflow — I wasn’t able to use it all the way from start to finish. So in homage to the old way of working, a.k.a. “a round trip workflow,” I wanted to send a Media Composer sequence to Resolve by way of a linked AAF, then conform the media clips and work from there. I had a few objectives, but the main one was to make sure my clips and titles came over. Next was to see if any third-party effects would translate into Resolve from Media Composer and, finally, I wanted to conform an “updated” AAF to the original sequence using Resolve’s new “Compare with Current Timeline” command.

This was a standard 1080p, 23.98 sequence (transcoded to one mezzanine DNx175x codec with 12 frame handles) with plenty of slates, titles, clips, speed ramps, Boris Continuum Complete and Sapphire Effect. Right off the bat all of the clip-based media came over fine and in its correct time and place in the timeline. Unfortunately, the titles did not come over and were offline — none of them were recognized as titles so they couldn’t be edited. Dissolves came over correctly, however none of the third-party BCC or Sapphire effects came across. I didn’t really expect the third-party effects to come over, but at some point, in order to be a proper conforming application, Resolve will need to figure out a way to translate those when sending sequences from an NLE to Resolve. This is more of a grand wish, but in order to be a force in the all-in-one app for the post finishing circle, this is a puzzle that will need to be solved.

Otherwise, for those who want to use alternative nonlinear editing systems, they will have to continue using their NLE as the editor, Resolve as a color-only solution, and the NLE as their finisher. And from what I can tell Blackmagic wants Resolve to be your last stop in the post pipeline. Obviously, if you start your edit in Resolve and use third-party OpenFX (OFX) like BCC or Sapphire, you shouldn’t have any problems.

Last on my list was to test the new Compare with Current Timeline command. In order for this option to pop up when you right click, you must be in the Media tab with the sequence you want to compare to the one loaded. You then need to find the sequence you want to compare from, right click on it and click Compare with Current Timeline. Once you click the sequences you want to compare, a new window will pop up with the option to view the Diff Index. The Diff Index is a text-based list of each new edit next to the timeline that visually compares your edits between the two sequences. This visual representation of the edits between the sequences is where you will apply those changes. There are marks identifying what has changed, and if you want to apply those changes you must right click and hit Apply Changes. My suggestion is to duplicate your sequence before you apply changes (actually you should be constantly duplicating your sequence as a backup as a general rule). The Compare with Current Timeline function is pretty incredible. I tested it using an AAF I had created in Media Composer and compared it against an AAF made from the same sequence but with some “creative” changes and trimmed clips — essentially a locked sequence that suddenly became unlocked while in Online/Color and needed to reflect the latest changes from the offline edit.

I wasn’t able to test Resolve 14 in a shared-project environment, so I couldn’t test a simultaneous update coming from another editor. But this can come in really handy for anyone who has to describe any changes made to a particular sequence or for that pesky online editor that needs to conform a new edit while not losing all their work.

I can’t wait to see the potential of this update, especially if we can get Resolve to recognize third-party effects from other NLEs. Now don’t get me wrong, I’m not oblivious to the fact that asking Resolve engineers to figure out how to recognize third-party effects in an AAF workflow is a pie-in-the-sky scenario. If it was easy it probably would have already been done. But it is a vital feature if Blackmagic wants Resolve to be looked at like a Flame or Media Composer but with a high-end coloring solution and audio finishing solution. While I’m at it, I can’t help but think that Resolve may eventually include Fusion as another tab maybe as a paid add-on, which would help to close that circle to being an all-in-one post production solution.

Summing Up
In the end, Resolve 14 has all the makings of becoming someone’s choice as a sole post workflow solution. Blackmagic has really stepped up to the plate and made a workable and fully functional NLE. And, oh yeah not to mention it is one of the top color correction tools being used in the world.

I did this review of the editing tab using Blackmagic Design’s DaVinci Resolve 14.2. Find the latest version here. And check out our other Resolve review — this one from a color and finishing perspective.


Brady Betzel is an Emmy-nominated online editor at Margarita Mix in Hollywood, working on Life Below Zero and Cutthroat Kitchen. You can email Brady at bradybetzel@gmail.com. Follow him on Twitter @allbetzroff.

Tatiana Riegel on editing the dark comedy I, Tonya

By Randi Altman

I, Tonya is sad and funny and almost unbelievable in the sense that this — or a version of this — actually did happen. It’s also a fantastic movie.

Some of us are old enough to remember when the Tonya Harding/Nancy Kerrigan “Why?!” incident took place. I think we all knew at the time that what was playing out was more like a soap opera and less like figure skating. Thanks to the Craig Gillespie-directed I, Tonya, everyone gets a behind-the-scenes glimpse of what led up to that assault, and it’s not pretty. What the public didn’t know back in 1993 was the abuse that Tonya Harding was enduring via her mother, her husband Jeff Gillooly and even the figure skating community, who viewed her as too working class to represent them.

Tatiana S. Riegel, ACE

I, Tonya’s editor, Tatiana S. Riegel, ACE, is a long-time collaborator of Gillespie’s, having worked with him now on five features (Lars and the Real Girl, The Finest Hours, Fright Night and Million Dollar Arm) and the pilot for the TV series United States of Tara for Showtime. She says the shorthand they’ve developed over 10 years “is thrilling and makes life very, very easy.”

We spoke to newly minted Oscar-nominee Riegel about working with Gillespie and her workflow on the film, which was nominated for a number of Golden Globes and has earned Riegel her own ACE Eddie and Independent Spirit award nods as well.

When were you brought on I, Tonya?
Craig told me about it the fall of 2016, and I officially began when they started shooting in January 2017.

Were you on set, near set? How did that work?
I was far from set. I was in Los Angeles, and they were shooting in Atlanta. It was very nice for me to be able to stay home. That is one of those advantages that I can have with Craig because we do have such a shorthand. And while I have traveled with him on location many times, this time, from a budget standpoint, it was prohibitive. Plus, we were going to be in New York for the six months of post, and I didn’t want to go away for nine months. This was our compromise.

You worked out of Harbor Picture Company in New York, where the post was being done?
Yes. It was lovely. They’re so nice. I really — I have to say — I miss it and I hope I get to go back to New York and work there again. I felt like I was at home, even though I wasn’t.

Can you talk about how you and Craig work together? Does he shoot a lot of coverage?
The short answer is yes. The longer answer is he is very prepared and very disciplined. The schedule on this was quite short. It was 31 days, and I think there were 260 or 265 scenes. So it was compact, but he was so wonderfully prepared. For certain scenes, he didn’t shoot as much coverage, but for other scenes, much more. But always with lots of options, which makes editors very happy.

What did he shoot on?
Craig shot most of it on film, which was lovely. It gave it a great look. He shot 2- and 3-perf, 35mm film, but then he did do some stuff digitally. The interviews were shot digitally, just because of the amount of coverage. It was three hours, per person, for the interviews. And then, obviously, some of the extreme slow-motion stuff was shot with a Phantom camera.

Did Harbor do the dailies?
They did not. We did the DI at Company 3. That’s where we finished, and the dailies were processed at Crawford in Georgia.

Who is your assistant, and how do you work together? Are they covering the technical stuff? Are they another eye?
They’re both. This was probably our sixth or seventh film together. Dan Boccoli is fantastic. For this film he was on with me during dailies, because when we went to New York I had to hire a local. His name was Steve Jacks, who was also superb.

Dan and all of my assistants are a wonderful combination of creative and technical. They are preparing everything, communicating with all of the different departments, making sure I have everything I need, and they keep me out of those loops that I don’t want to get involved in.

I show them scenes and get their feedback, which is wonderful for me — this allows me to show somebody before I show the director or anybody else. Just to make sure everything’s being comprehended properly, and I’m getting the reaction that I want. It’s also a teaching process for them; they get to understand the whole process, and learn for their own future.

Was Craig looking at scenes you were editing?
With all directors, I like to stay up to camera as much as possible. I want to start that conversation sooner rather than later to make sure we’re all on the same page tonally, performance-wise and story-wise. Then there are the practical things like, is all the coverage there? I try to put the scenes together quickly, the best that I can, and send them off on a daily basis, sometimes a couple times a week, sometimes once a week. It depends on what’s being shot.

Another advantage is that when shooting is finished and they come in for the first time to watch the assembly, they’re not surprised by anything. It’s not anywhere close to being done, but they are clear about what they have and how we’re doing tonally and performance-wise.

How were you physically getting scenes to Craig?
A variety of ways, but usually it was a system like Pix or DAX because of piracy issues. It’s very secure, and he was able to watch it online.

Were there any instances where you thought coverage was missing?
Yes, there was one situation. Shawn, the bodyguard, doesn’t really show up in the movie until the second half — there are only some interviews early on. I actually asked for a couple more instances to be added so we would have an introduction to him. This way it wasn’t a new character popping up and the audience thinking, “Oh, I think I saw him once.” I called Craig and he agreed, and the writer Steven Rogers agreed.

Can you talk about editing the skating scenes? I know that VFX was used for some of that and there was a double, but how did that work?
There are four or five larger skating sequences, and Craig and the DP talked very early on about each having their own personality. For example, the first one, the ZZ Top one, is earlier in Tonya’s career, and she’s got an attitude and gruffness and a strength that wants to be portrayed in that sequence. Especially after coming off of the Vivaldi Four Seasons, and emphasizing how Tonya Harding was not the typical ice skater. She didn’t fit the mold, and she really did skate to ZZ Top.

Craig and the DP Nicolas Karakatsanis watched the original skating sequences for the choreography and tried to get as close as possible. They had to do some pretty serious planning for these seamless transitions between Margot and the double. Margot had trained for about five months, so she did a fair amount of spectacular stuff where you have to be an Olympian type moves. She did do some of the dancing and getting on and off the ice, and the beginning and ends of routines.

Then it was a question of following this choreography map they had set up, but also spicing it up and giving each of the scenes their own personality and energy. The ZZ Top scene is very energetic and a bit show-off-y. The one at the end of the film, at Lillehammer, is all done in one shot, or it plays as one shot. We go in and out of Margot and the double, and that’s purposely done to build the tension, the anxiety and the stress she’s going through at that moment with her shoelace having broken.

The soundtrack is fun. Can you talk about that?
There was nothing about music in the script. This is all something that Craig brought to it. He had gotten a lot of music from the music supervisor, prior to shooting, and we began listening to stuff. But after I had the whole thing together, we sat down, about a week into it, and started throwing music against it and figuring out what worked for energy, for pacing, for fun and for emotion. We just kept trying things, moving them around. Sometimes we cut in or out of songs very quickly, for momentum, and that became a lot of what we did in the post process. Experimenting.

There was a scene where Gillooly is on the floor of his house, and then the camera sort of backs away and takes you down a street. Was that one shot?
It plays as one, but it was actually shot as four different parts. He starts on the bed, which I just love. He’s distraught and hunched over, but looking right at the camera. Then the camera pulls away from him and goes into the hallway, and then we find him again in the kitchen, where he’s obviously trying to talk to her but get mad, so he throws the phone. Then it pulls out of the kitchen and into the living room, and he’s sitting alone on the floor. Then it pulls out of the living room onto the front yard and down the whole block. It was all these different shots that were stitched together quite beautifully.

While there was obvious violence and abuse, there was also humor, so it was a fine line you needed to walk. How did you tackle that as an editor?
Craig spoke with Margot and everybody about it very early on, because it was really important to not sugarcoat that stuff. This is what made her who she is and made her react how she did. This is the reality of her life. There’s a documentary about her when she’s 15 years old, and she’s very matter-of-factly talking about her mother hitting her. She says it in a very detached, unemotional way that really struck a chord in Craig. That’s when he came up with this idea of breaking the fourth wall and having the characters talk directly to the camera. It allowed the characters to separate emotionally from that moment in a way that felt very lifelike to us. Although it’s not a lifelike moment, talking to the camera, it gives it detachment. It also shows survival. It’s the 45-year-old Tonya talking back about that moment having survived.

You cut this film on Avid Media composer. What about it do you like, and did you use ScriptSync?
I find it to be just a fantastic tool for sharing media. I know how to use it very well, so I don’t have to think, which is terrific. I did use ScriptSync for the very first time on this film. I just haven’t felt the need for it before, but this time it was helpful because of the way the interviews were shot, which were, for the most part, very long takes. The interviews are spaced throughout the script, so the actors would read all the way through them, doing some retakes within a take, but then continue on. So, just from an organizational standpoint, ScriptSync was a lifesaver. It was just brilliant. I don’t know how I would have done it without it, to be perfectly honest. It would have been excruciatingly time consuming.

Is there any scene that you are most proud of, or that was most challenging?
The film as a whole was very challenging in terms of balancing the very serious with the very funny. There are moments that portray that, like the knife scene where she’s having dinner with her mother. The conversation grows into this terrible fight, and they are screaming at each other. Then the mother’s throwing stuff, and then she throws the knife, and it’s this amazingly shocking moment.

There is that fantastic pause. You don’t know how Tonya’s going to react or how LaVona is going to react. Then Tonya takes the knife out, but you still don’t know what she’s going to do. She walks over, slams it into the table, and we see LaVona’s reaction as Tonya walks off. I just loved that. It’s about holding that moment as long as possible, almost until it breaks, and then breaking it with this fantastic joke — where LaVona, in her interview says, all families have problems. When we screened it you could hear a pin could drop, and then it just breaks into this great relief of laughter. It’s just a really fun thing to put together.

What’s next for you?
I am going to Berlin to work on The Girl in the Spider’s Web for director Fede Alvarez. It’s part of The Girl With the Dragon Tattoo series. This is something that’s very different, which I find very appealing. I like doing different types of films. I think editors often get pigeonholed very quickly — “They’re a comedy person, they’re a drama person, they’re an action person.” I like to shake it up a bit whenever possible, because I like working on different kinds of films just as I like going to see different kinds of films, and.

A Conversation: Veteran editor Lawrence Jordan, ACE

By Randi Altman

Lawrence Jordan’s fate was essentially sealed upon birth. His father and his grandfather made a living working in post and film editing in New York City.

He grew up around it; it encircled him. His path became pretty clear at a very young age. “I was very fortunate to be born into a film editing family. The running joke is that a trim bin was my first playpen,” he laughs.

Even with his rich family history, Jordan wasn’t handed a job. He started the way many did, as a runner. “I learned all the things that someone in that job learns about the cutting room — while trying to hone editing skills in my spare time. I then got into the union and became very focused on feature film editing.”

Some of those feature films include Jack Frost, Deuce Bigalow: Male Gigolo, Riding in Cars With Boys, Fallen and Are We There Yet? He also embraced dramatic television series such as NYPD Blue and CSI Miami. He most recently cut a feature for Netflix, called Naked.

Naked

Not long ago, we threw some questions at Jordan, about his love for editing, how he evolved with the technology of industry and his online class, Master the Workflow.

What was your path to editing?
My father, Morton Fallick was a film editor who started Cinemetric, one of the first integrated commercial post companies in New York in the 1960s. He followed in the footsteps of my grandfather, a projection and sound engineer, who helped organize the unions in New York. He worked for CBS News for many years. Because of this history and my love of movies, I knew I wanted to work in film from a very young age.

Many of the film editors who I ended up really admiring came out of my father’s shop. They were young guys who wanted to get into film, and his commercial house was one way to learn the craft. People like Richard Marks, Barry Malkin, Craig McKay and Evan Lottman — they went on to become some of the most respected feature film editors of the ‘70s, ‘80s and beyond.

My first job was as an apprentice in the Warner Bros. film library. Soon after that I got a job as an apprentice sound editor working on a picture the legendary Dede Allen was cutting. It was called Mike’s Murder directed by James Bridges. I worked directly for supervising sound editor Norval Crutcher.

How has editing evolved since you started in the industry?
I started back in the days of 35mm film. It was a completely different industry. The editing community was incredibly small back then. I think there were only about 1,000 or 1,500 people in the entire guild, and we all edited on Moviolas or flatbed machines like the Kem or Steenbeck. Back then, editing was a much slower and more deliberate process. Things were done by hand and ideas were executed at a different pace.

I saw videotape becoming a popular means of editing. Videotape annoyed me because it seemed that it had a lot to do with punching numbers into a keyboard and timecode. Kind of ironic isn’t it? I wasn’t particularly fond of that way of approaching editing. I liked the visceral and physical feeling of handling the actual film. And with the exception of experiments by Francis Coppola, back then, nobody else was cutting features on videotape, so I focused on working in 35mm.

But as time went by, I couldn’t really avoid the technological change. New systems were being developed that used multiple videotapes to approximate the nonlinear nature of editing on film. Then there were systems that worked off of laserdisc, but I was building a career as an assistant in features and none of these new systems really seemed like they were “there” yet.

Then, in 1991, while I was working as additional editor on Jodie Foster’s directorial debut, Little Man Tate, I got a call from my dad who said, “They’re editing off of hard drives now!” He went on to tell me about the Avid Media Composer and how it was being used in commercials. This was very exciting to me because I had started to get into computers in my personal life, and in those days we were all awed by the power of even the most rudimentary computer systems.

I went down to the Avid offices in Burbank and got a demo of Media Composer. I think there were maybe four or five of us in the room, and when I saw the demo, I was floored by the power and simplicity of digital editing. I knew this was what my future was going to be if I was to continue to pursue a career as a film editor.

I spent a year learning everything I could about the Avid system and digital video — the hardware, software and compression algorithms. At the same time, an editor friend of mine, Steve Cohen, who was also into nonlinear editing, asked if I’d be interested in doing a show on the Montage Picture Processor. It was a hybrid/digital version of their multi-deck Betacam system, and just not up handling the demands of a feature-length project. About a week into dailies we decided to make the switch and cut on the Avid. That project was Teamster Boss: The Jackie Presser Story.

How did that change the way you worked as an editor?
With the speed and flexibility of digital, editors were soon expected to do many of the tasks that traditionally were given to other departments. More complex sound editing was first. On films, temp dubs were prepared by the sound department, but this became something you could do pretty well on the Avid. As digital editing evolved and CPU speeds accelerated, it became more common for the film editor to rough-out visual effects. The way it is now, the spectacular VFX that are being done with CGI and the like still have to be subbed out to the VFX team. But you can do an awful lot, especially for temp in the offline.

Today, directors, producers and studios all expect these tasks to be accomplished in the offline. Although you can execute ideas much faster, there’s a ton more work. Additionally, with digital cinematography, editors are getting more footage than ever before. Whereas an average-budget feature might have had 200,000 or 300,000 feet of film on 35mm, now that same project — not even one of the large tent-poles films — could easily have a million feet of dailies. Think about it. By comparison, it took Francis Coppola three years to shoot a million feet of dailies on Apocalypse Now!

Do you have a particular editing philosophy?
If I did, it would be that I let the dailies speak to me. I say this because, of course, we’ve all read the script and talked to the director about his or her vision, but once you actually get the dailies —for any number of reasons — you could be looking at something totally different from what you expected.

This could be affected by whatever the conditions were on the day of production. Or whatever discussions might have gone on between the actors and the director in terms of how they approached a scene or interpreted the script.

So I let the material in front of me dictate how I’m going to make my initial cut on a particular scene. Then it’s a process of looking at the film as a whole and going back to the script and finding the best way to tell the story with the material you have.

You have worked on TV and film. Do you wear a different hat depending on what you are working on?
In television you’re dealing with much tighter schedules. The workflow is highly structured, and although you don’t get as much film every day, you really need to bang scenes out quickly. TV is also a writer/producer’s medium. You only get to work with the director of each episode for a few days and then the producers come in and give you their notes. All of this is usually done in a few weeks’ time.

On feature films, it’s completely different because you’re the head of the department. And even if you’re working with an additional editor, you are communicating directly with the director on a regular basis. A feature film can often go in many more directions than a television show. In the case of comedy, there can be all kinds of improvisation and you are dealing with different situations each day.

When cutting a feature, you’re much more intimately involved in the DNA of the film because you’re living with it for a much longer period of time.

Then, of course, you get into the director’s cut period, which usually lasts around 10 weeks. During this time, you’re typically developing tone, and not only with the story, but in terms of sound effects, music and visual effects. Depending on the situation, the editor is often much more involved in the final mix, color correction and delivery. That level of involvement just doesn’t happen for editors in television.

Do you have a preference in how you work? On-set, near-set?
I guess cutting on-set is happening more often these days, but if I had my preference I’d be in a cutting room near the set. As an editor it’s always nice to have the luxury to be in a quiet space where you can really take in and sort through the material. We want to give it as much thought as possible and have the maximum amount of uninterrupted time to solve whatever problems may come up. I do know that more editors are being asked to edit on-set in real-time. And I guess that’s a necessity for certain films.

During my initial cut, I try to keep it as simple as possible. I’m focusing on two things: story and performance. I try to fill-out my cut with as much sound and music as possible, and as many temp visual effects as necessary. In regard to music, most films nowadays have music supervisors who can be of great help pulling material. Because source cues can be expensive, often they’ve had discussions with the director, even before the editor comes on board.

What system do you work on? Are there any plugins that you use regularly?
I work on the Avid Media Composer. As I said, I was involved with its introduction into feature filmmaking and television in Hollywood, and it’s still the primary tool for 99 percent of all feature films and television shows for studios and networks today.

I know that there are other pieces of software out there, and I’ve had some experience with them, but the longer you work on a tool, the more ingrained it becomes in your muscle memory. With the Avid, the speed at which I can execute ideas is much faster using software that I’ve been working with going on 25 years now.

As far as peripheral software and additional tools, I do like to use Adobe After Effects to work with temp visual effects. It’s a very powerful program. It does have its limitations in terms of getting metadata in and out of the system, but I can create temp comps and the like relatively quickly with it. Of course, there’s Photoshop. I’ve also used Boris FX pretty extensively, and their Mocha tracking tools are pretty amazing.

What are you working on now?
I just finished a feature for Netflix called Naked, starring Marlon Wayans. It’s a comedy that has a tremendous amount of improv. I worked with a great director named Mike Tiddes, with whom I had worked previously on another feature called Fifty Shades of Black.

We had a lot of fun. It was crazy, because for an editor, improv comedy is always challenging —sometimes you’re literally creating stuff that wasn’t shot! It was also exciting because it was for Netflix. Although it didn’t have a theatrical distribution, it was an original film for them and was distributed in 180 countries on the same day.

The power and possibility with the new streaming networks just amazes me. These production companies have tremendous resources and are really giving the film and television production world a shot in the arm — it’s a real boost for employment opportunities for editors and assistants. I think it holds tremendous promise for our industry in general.

How do you work with your assistant editor? Do you give them a chance to cut?
Because I spent 10 years as an assistant, I really have a lot of respect for what they do. Assistants are essentially the glue that holds the editorial process together. Without an assistant who is at the top of their game — focused, organized and generally passionate about what their role is in the process — an editor can really find himself/herself in a pickle.

Today, much of the assistant’s job has become a metadata manager. There are so many different types of media. It’s the same media that we used to have, but it is delivered digitally and in so many different formats.

I always try to give my assistants a shot at cutting at least a scene, if not a couple of scenes, on every project I do. There really is no other way to learn the editing craft, besides having it handed down to you by an editor. To me, this was something that existed when I was coming up and was essentially at the core of the apprenticeship nature of our craft from the time it started. This was how we learned to do our job.

It’s pretty much still the same way, but it’s the proverbial Catch-22. You can’t learn the actual nuts-and-bolts of the job in a cutting room, unless you have a job in a cutting room. You can’t learn this in theory while in film school. They don’t really teach the sort of inner workings of the feature film workflow, or even television workflow in film school. It’s much more of a macro approach — an overview to how the work is done. I’m not aware of any film programs that teach the job of the assistant editor.

NYPD Blue

Now, of course, there are certification courses and specialized schools, but unless you’re working on the front lines on a feature film or television show you’re really not going to get an understanding of the full spectrum of what the job entails.

So, yes, I do try to give my assistants a chance to cut. I also solicit their opinions on scenes that I have cut. I ask for their ideas. I ask for their feedback. I ask whether they remember anything in the dailies that I might have missed. That’s the nature of our work. It’s a collaborative process, and it helps me do my best work.

I hear you are doing something called Master the Workflow. Can you explain what that is?
Yes, Master the Workflow is something my assistant Richard Sanchez and I came up with on our last film, Naked. Richard had developed a comprehensive database in FileMaker that tracks all of the media and metadata created on a feature film. It made me realize how much the job of the assistant editor has changed from when I was an assistant. With the explosion of digital production and post, I thought that it would be of tremendous benefit to detail the critical role that the assistant editor plays in the editorial process.

We decided to create an online education course and named it Feature Film Assistant Editor Immersion 1.0. It takes a potential assistant editor from their initial meeting with their editor through final delivery of a finished film. I felt strongly about creating something like this, primarily because we wanted to show a way for people to learn what goes on in a cutting room in the way it used to be learned.

As I mentioned earlier, there has been an apprenticeship model in post and film editorial throughout its history, but because of digital technology, the editor and the assistants have become somewhat siloed. An assistant doesn’t get to sit in the room with the editor as they are creating the cut as much anymore. So the craft is not being handed down as it was traditionally.

The course is a detailed view of what takes place in the editing environment. For example, we discuss how you deal with the director, how an assistant deals with his editor, how to navigate the sometimes touchy political nature of dealing with producers and studios. Things as simple as when to express your opinion, and when not to.

We wanted to impart all of these things to a new generation of filmmakers and make it available online so that those who might not otherwise have the opportunity to get inside a cutting room and learn how the job is done could learn those skills. We’ve already had our first session with 50 students. They’ve been very, very positive with their feedback and we’re excited to see where it goes.

Behind the Title: Whitehouse editor David Cea

NAME: David Cea

COMPANY: Whitehouse Post in New York

CAN YOU DESCRIBE YOUR COMPANY?
Originally, we were an editorial shop that has grown into a one-stop shop for all things post production.

WHAT’S YOUR JOB TITLE?
Editor

WHAT DOES THAT ENTAIL?
Being the one responsible for expressing the creative vision in filmmaking. The film editor takes all of the hard work and ideas and gives it shape and form for the world to see.

WHAT WOULD SURPRISE PEOPLE THE MOST ABOUT WHAT FALLS UNDER THAT TITLE?
The human component. I find a large part of what I do is making my clients feel comfortable. Filmmaking is a tough and sometimes exhausting process. Just shy of the finish line is where I come in. I want to be the one that helps relieve some of the stress from the process. As a former bartender, I learned how to be a pseudo-therapist. Keeping everyone positive and showing them that all of their work will lead to a great end-product is important.

WHAT’S YOUR FAVORITE PART OF THE JOB?
Creative problem solving. Inevitably there will be a missed shot or last-minute client ask that seems impossible. Finding a way to fix it with what I have in front of me keeps things interesting.

WHAT’S YOUR LEAST FAVORITE?
Second guessing. When anyone on the creative team, myself included, begins to doubt their instincts, I feel the end product starts to suffer.

WHAT IS YOUR MOST PRODUCTIVE TIME OF THE DAY?
5:30pm… much to my wife’s chagrin.

IF YOU DIDN’T HAVE THIS JOB, WHAT WOULD YOU BE DOING INSTEAD?
In an ideal world, a surf instructor in Costa Rica.

HOW EARLY ON DID YOU KNOW THIS WOULD BE YOUR PATH?
In college I knew I wanted to work in the film industry in some capacity. I took an editing class and was sold from there. Editing also seemed to be the sanest leg of the process.

Target

CAN YOU NAME SOME RECENT PROJECTS YOU HAVE WORKED ON?
Target’s fashion forward rebranding campaign
– A short film for Mercedes featuring Mariel Hemingway and her daughter Langley Fox
– A skate film for the Loke app launching soon

YOU HAVE WORKED ON ALL SORTS OF PROJECTS. DO YOU PUT ON A DIFFERENT HAT WHEN CUTTING FOR A SPECIFIC GENRE?
I certainly have to place myself in the right mood when cutting each specific genre. It may be a certain type of music during the selection process or watching the works of the masters of the field to gain inspiration. I try to put myself in the director’s shoes: “Why was this shot done this way? What is the broad feeling he or she is trying to achieve?”

While I do get into a different headspace when cutting different genres, I definitely borrow from each style no matter the project. Not being married to a specific genre is key to keeping me engaged and making for a more well rounded end product.

WHAT IS THE PROJECT THAT YOU ARE MOST PROUD OF?
The Jeep 4×4 Ever Super Bowl spot. This a spot that went through a several evolutions until it was the final piece that won the big game spot for FCA Chrysler that year.

Ford

WHAT DO YOU USE TO EDIT?
Avid Media Composer

WHAT IS YOUR FAVORITE PLUGIN?
Waves Pitch Shift. It will make even the dullest scratch VO talent sound like Sam Elliot.

ARE YOU OFTEN ASKED TO DO MORE THAN EDIT? IF SO, WHAT ELSE ARE YOU ASKED TO DO?
Yes. Many projects you see coming through the door nowadays are comprised of found footage. Sometimes all we get is a script. This is sometimes fun because we are then in essence put in more of a directorial role.

NAME THREE PIECES OF TECHNOLOGY YOU CAN’T LIVE WITHOUT.
– Wireless silent mouse — Since I don’t use Wacom tablets to edit, this is key to not drive the people in the room nuts with constant clicking
– Noise-cancelling headphones — the streets of NYC become downright pleasant when wearing them, smells aside
– Swell bottle — that’s technology, right?

DO YOU DO TO DE-STRESS FROM IT ALL?
Plenty of screen-free time with the family.

Editor Chrissy Rabe joins BlueRock

New York-based creative editorial company BlueRock has added Chrissy Rabe as editor. Prior to joining BlueRock, she worked for Box Motion and Gloss VFX, collaborating with clients such as Nike, Prada, Calvin Klein, Louis Vuitton, Godiva, Harley Davidson, Zara, Gap, Sephora and MAC Cosmetics. Rabe also cut the Lane Bryant This Body campaign for Laird and Partners.

A Texas native, Rabe started in the business as a model at age 14. From there she went on to become a producer and photography manager before finding her way to editing. She says that modeling taught her “to not take things too personally” and how to work with a variety of personalities. As a producer and photography manager, Rabe learned to be extremely organized. “I would scour through thousands of photos to make selects to send onto the client,” she says, “which was ideal training for my future as an editor.”

“Chrissy’s unique style is reflected in the way she creates, allowing the viewer to feel pure emotional reactions while watching her pieces,” says BlueRock executive producer/managing director Courtney Ryan Law. “She is able to seamlessly blend genres, knowing just how to achieve the perfect shot at the perfect moment. That’s the beauty of her editing, and what makes her such a valuable addition to our roster.”

Cutters Chicago ups Billy Montross to editor

Billy Montross has been promoted to editor at Cutters Studio in Chicago. He joined the post house back in 2012 as an intern after working as a P.A. for director John Komnenich. By early 2013, Montross earned the role of assistant editor, supporting many of the Cutter Studio editors and key clients, but primarily working with managing editor Grant Güstafson. He edits on Avid Media Composer.

Montross has worked with agencies such as DDB, Leo Burnett, Mcgarrybowen, Ogilvy and We Are Unlimited, among many others. His reel features work for Capital One, Esurance, Fairfield Inn and Suites, McDonald’s, Oscar Mayer, Scotts, Spalding and Western Union.

Montross edited Scott’s :30 “Bill’s Yard” from DDB Chicago. It was directed by Christian Bevilacqua. The DP was Tim Hudson. Color was via Luke Morrison at The Mill.

“Billy is a rare talent,” says Güstafson. “He is an incredibly creative and instinctive editor with a very engaging and positive personality. This combination allows him to provide his clientele with beautifully nuanced edits while making the long hours working in the room extremely enjoyable and relaxed.”

In 2015 and 2016, Montross had the opportunity to work at Cutters Tokyo. There, he helped cut projects for Jeep, McDonald’s, Nissan and Suburu, all of which he says, “definitely made me into a more rounded editor.” He also acknowledges managing director/partner Craig Duncan. “He has always been tough in pushing me to work harder and grow.”

Montross continues to be busy with work at Cutters. “I’m already having a lot of opportunities that are building on the groundwork done over the past several years. Right now I’m finishing up a fun 30-second spot for Western Union with Mcgarrybowen Chicago. And then coming right up I start a Modelo project with Ogilvy and that’s being directed by Matt Bieler of Reset.”

Editor Sidney Wolinsky and Guillermo del Toro team on The Shape of Water

By Randi Altman

People love movies for their ability to transport us to another world, or another version of our world, and that’s exactly what Guillermo del Toro’s magical The Shape of Water does. And speaking of love, the film has been getting some now that awards season is upon us. The Shape of Water was nominated for seven Golden Globes and won two: Best Director — Motion Picture for del Toro and Best Original Score for Alexandre Desplat. It also got plenty of Academy Awards love as it was nominated for 13 awards, including Best Director and Best Film Editing.

This film takes place during the Cold War, at a government run lab in Baltimore and focuses on a cleaning lady who follows her heart and does the right thing.

We recently checked in with the film’s editor Sidney Wolinsky, ACE. An industry veteran, he has cut such acclaimed TV shows as The Sopranos, House of Cards and Ray Donovan, among many others.

Wolinsky was recently recognized by his peers, earning an ACE Eddie nomination from the American Cinema Editors for his work on Fox Searchlight’s The Shape of Water. Let’s find out more about the film, this editor’s second collaboration with del Toro and his process.

You have worked with Guillermo del Toro before?
Yes. About three years ago, I cut the pilot for a series called The Strain, which Guillermo created. He also directed the pilot.

How did you get involved in the film, and when did he bring you on?
The film’s producer reached out to my agent before it was greenlighted. I’m based in LA, but the film was shooting and cutting up in Toronto, so my wife and I found a place to stay and went up there about a week before they started shooting. I started cutting the second day of production when I got my first day of dailies.

Well you were near set, but were you ever onset?
Not really. The sets and the cutting room were at Cinespace Studios in Toronto, but Guillermo knows what he’s doing. He doesn’t need an editor there to talk to. Occasionally, I might have walked over to the set because I had a question to ask Guillermo or something to tell him, but primarily I was in the cutting room.

What kind of direction were you given in terms of the edit?
From day one, I had Guillermo in the room with me working on the material, and that continued throughout the production. He would come in before call, and on his lunch hour, and we’d work together. When they were shooting at local locations, my assistant and I would go out to the set on his lunch hour to show him cut footage on a MacBook and get notes. Guillermo and I worked together continuously throughout the production.

How did that relationship work?
Once I started getting film, I’d show him my cut of the scene and I’d modify it based on his notes. When we had two scenes that were contiguous we’d work on transitions. As the show grew we would watch whatever could be watched continuously and make changes. I’d get an idea and we’d try it, or he’d say, “Try this other thing.” It was very collaborative. I really felt like he was my partner throughout the whole cutting process. It wasn’t like in most shows where you finish your cut, you show it to the director and then you start working with him.

Does Guillermo shoot a lot of footage?
He does not. He’s very specific about what he wants, and he moves the camera all the time. That works against the possibility of shooting a lot of footage because you have to plan your setups based on where the camera starts and where the camera ends, and plan in conjunction with where you’re going to pick up the coverage next. So, often it’s interlocking coverage. He rarely shot multiple cameras.

The film’s two main characters don’t speak in the traditional way. Was that a challenge for your process?
It did not affect my editing per se, because regardless of having no speech, Sally Hawkins’ character Elisa has sign language. You had to let the person say their line, so to speak, even if Elisa was doing it with her hands and not her lips. The creature had gestures and expressions too, so you play a scene for what the scene is about. It’s the same way if people are talking or yelling at each other. You’re still playing that scene, and that’s the challenge of editing generally — just making the scenes work.

I never felt that I was slowing things down because of the sign language. For example, if you think of that scene where Sally tries to persuade Giles (Richard Jenkins’ character) to help her free the creature, it’s a giant dialog scene in which Giles speaks for both of them by repeating what Elisa says in sign language back to her. Elisa only talks in sign language, but you never miss a word.

That was an intense scene.
It was. The editing challenge was to coordinate his saying the line with her signing it, and make sure they were more or less in sync.

Is there a scene that is your favorite or most challenging?
The scene I just described with Sally and Richard is one of my favorite scenes in the movie. Those two actors are so good. That scene is so moving, and they both give such a good performance. They really nailed it.

The most challenging sequence is the heist, because it involves all of the characters. They start off in different locations and come toward each other leading up to the clash at the end. That’s really the most challenging part of the movie, in terms of pacing and making sure everything’s working and the people following it … it’s not too slow, and stuff like that.

You used Media Composer for the editing. What is it about that system that you like?
I’ve cut on Avid for years, so I know it really, really well. It has so many ways of doing the same thing that can be used for different situations. It’s an amazing tool.

The heist.

How do you work with your assistant editor?
It depends on the show and who it is. On this one I had a first assistant, Cam McLaughlin, and a second assistant, Mary Juric. I had worked with both of them on The Strain pilot, and was glad to work with them again. Mary was on the show through a couple of weeks beyond the end of shooting. Her primary job was setting up the dailies in ScriptSync, which is a fabulous tool within Media Composer. She also did a lot of the complicated temp effects. She also created most of the Russian and ASL subtitles.

My first assistant, Cam, primarily put together the dailies … although Mary helped with that as well. He also did the temp effects and chose and cut most of the temp music. My assistant editor is always an ally, somebody I show cuts to, ask for feedback from and bounce my ideas off. Cam’s a wonderful colleague in the cutting room. He’s very smart and talented. I believe he is cutting a feature right now.

Let’s change gears. You’ve cut a lot of television, a lot of really good television. Do you wear a different hat when you’re cutting one over the other?
The nice thing about features is the shooting schedules are longer. And what you’re doing is a unique piece; it’s one of a kind. You show it to audiences, you get feedback and you work on it. Usually, you work closely with the director until the project is completed.

In some ways this is very much like a television pilot — it’s never been done before and a lot is riding on its success. Depending on the project, the director of the pilot will follow it through to the end. This was true for The Strain, where I believe Guillermo had final cut. In series, you usually work with the director through the end of his cut, and then you begin working with the show runner and the studio, and finally the network to complete the project.

I always hope to be working with someone who has a clear vision of what the project should be and the stature to make the final decision. On features it is usually the director, in television if is the showrunner. However, as an editor I always must retain my own vision of the best way to edit scenes, solve story problems and be prepared to work with anyone who is shepherding the show to its completion.

The edit suite.

Do you prefer one over the other?
I prefer features because of the time that’s taken and the close relationship you have with the director. That said, I’m proud of the work I’ve done in television, and the most important thing to me is to be able to use my skills to help realize the projects I’m working on.

What’s next for you?
I just got back from a trip to Italy to visit my son and his family, who live there, so really just taking some time off. I’m hoping that this film will help me another film. In this industry, it’s easy to get buttonholed as a television editor, so hoping another film opportunity comes my way soon.

Based on the attention this film has been getting, and your recent ACE Eddie nom, I think you’ll have that opportunity. One last thing before I let you go. Do you have any advice for an editor just starting out?
Most editors who are starting out have already been assistants and are trying to make the transition to editing. You have to be careful to make sure people perceive you as an editor and not as an assistant, and that could be tough because it could mean turning assistant jobs down. Obviously, if you need the money you may not be able to, but the most important thing is to grab any cutting opportunity that comes along. Don’t be picky. If you want to become an editor you have to be cutting. Also you never know where something will lead, and you want the people you meet along the way to see you as an editor — and hopefully, the editor of their next production.

Main Image: (L-R) Golden Globe-winner Guillermo del Toro and editor Sidney Wolinksy.

A Conversation: Lady Bird director Greta Gerwig and editor Nick Houy

By Amy Leland

There are moments as a filmmaker, and as someone who writes about filmmaking, when I get to have such special and unexpected experiences. One of the best recent ones was a chat I had with writer/director Greta Gerwig and editor Nick Houy about their collaboration on A24’s Lady Bird, which is actress Gerwig’s directorial debut and a semi-autobiographical version of her youth.

The critically beloved film — which was nominated for four Golden Globes — follows a high school senior from Sacramento, California, trying to navigate her last year at home, her tumultuous relationship with her mother, boys and her quest to get away from it all.

Lady Bird is such a personal and welcoming story. Ultimately, it was no surprise to find that Gerwig and Houy were so open and giving in their discussion of the work and their collaboration.

This was your first time directing. Were you driven because of this story or have you always wanted to direct?
Gerwig: I wanted to direct for a very long time, but I didn’t go to film school. My film school experience became what I did on set, both in front of and behind the camera as an actor, but also as a writer, co-writer and producer, and anything else anybody would let me do. I had been working in films for 10 years when we started Lady Bird. It felt like that was long enough for film school and time to go ahead and make a movie.

When I started writing Lady Bird, I didn’t necessarily know what it was going to be. The story started as  a sort of hunch, and then I wrote into that. Once I had a draft that I thought was a pretty good piece of writing, that’s when I knew it was now or never. I thought, well, “You’ve written something that you like and you’ve always wanted to do this.” But it wasn’t until after I had written it that I really embraced the idea that I was going to direct it. I kind of had to do it one step at a time.

When you had that realization, was it exciting or scary?
Gerwig: All of the above. It was exciting because it had been what I wanted to do. I had trepidation about it because I know it’s something that I cared about deeply, so I didn’t want to not be able to meet the challenge. But I was thrilled to work on it.

So you feel that your depth of experience as an actor and having played so many roles of different types prepared you to sit in the director’s chair?
Gerwig: Well, I love acting, and I love actors. One of the things that is so amazing about being an actor and working with different people is I get to see how so many different directors dealt with their actors and their crew, and their way of cinematic storytelling. That was invaluable. I was actually keeping a little notebook the whole time. You know, this person does this, and I like this, or I don’t think this worked so well, or I’d like to do it this way. It was sort of this accumulation of being able to be present while it was being done.

Later when I was writing with Noah Baumbach — who I had already collaborated with on two scripts that he directed — I was more present in the editing room for those movies and the post production because I had co-written them, and I’d produced them. That was also an opportunity because that’s a part of the process that the actor doesn’t tend to see. Watching that happen and being part of that process was incredibly informative. It’s something that’s hard to quantify because it’s kind of everything for me. What I did as an actor and how that fed into who I am as a writer and director.

How has that experience been, to step into the director’s role for the first time and have it be so successful?
Gerwig: Truly beyond my wildest dreams. We were working on this film up until just about two weeks before it premiered at Telluride. We weren’t changing the cut, but we were doing all the things that you do to finish a film. One of the things you train yourself to do as a director is you’re just constantly scanning for what’s wrong. That’s all you do. Through pre-production, production, and post, you’re always listening for what’s wrong in the mix, or looking for what could be tighter or better or clearer. I was still in that mind set, in a way, coming into this.

Nick Houy

Nick, how did you get involved in this project?
Houy: Jennifer Lame, who edited Manchester by the Sea, as well as every movie with Noah Baumbach since Frances Ha, is a really good friend of mine. She recommended me to Greta. It was one of the greatest scripts I’ve ever read. It was so tight and so wonderful, and I just fell in love with it. When we met and talked about it, I felt like we were kindred spirits in terms of the way it should be done. When we started doing script notes and talking about it more in depth, I think we saw a lot of things the same way. So it just felt really fun. It was like, “Oh this is the kind of movie I’ve been waiting to work on forever.” So, it was a no-brainer, you know.

Gerwig: The feeling was mutual. It was right away. It’s hard to talk about editing without actually just doing it, but there was a sense that we had the same language. That’s the essential ingredient.

Can you talk about what your process was like? Also, how your cinematographer Sam Levy played into that process as well.
Gerwig: For me, one of the first times that we were on the same page was when we were in the process of putting together the movie — how we were going to shoot it and how it was actually going to work. I remember there was a question about cutting some stuff, and it’s always a financial question, “Can we cut this scene? Is there a way we can make this movie without this scene?” So, I sent the notes over to Nick just to see what thought about them, and he was so detailed and so specific about what he thought and why.

There was a particular moment that had been suggested we could lose, and he said, “No, we need to keep it.” That’s what you want out of a collaborator — someone who’s bringing their own perspective to it, but who can also always remind you of what it is that your intention is. Because you have a lot of information coming at you from a lot of different places, and for Sam and Nick sometimes it was, “Hey, I know why you want this, here’s why.” And you’re like, “That’s right. That is why I want it.”

Houy: It was a pleasure. Even the script had editing built into it. It was really thoughtful about every shot having a reason and a purpose, and it was really well thought out. Even the transitions between scenes, which is unusual you know. It had a great rhythm to it right away.

For something that is so well planned out, where did you as an editor feel that your storytelling input came into that process?
Houy: With this movie, it was like just polishing a diamond. It was already so good. I just wanted to serve the story to the best of my abilities, and serve the performances, and the emotion of those performances, and the emotion of the story as best as possible. It was like honing it and honing it and figuring out exactly what the movie was supposed to be. Like creating a sculpture, and you just need to find the perfect David, or whatever, because it’s there. You just have to work at it. The pleasure is putting your microscope on it and making sure it’s the best it can be.

Gerwig: And also the openness to… for example, if I wanted to walk down some weird side path, he would say, “Let’s walk down the side path. Let’s see what’s there.” Also when he would say, “Just give me an hour. Let me see what I can do. This might be crazy, but let’s see.” Letting those things exist is a very important part of it. That’s the same way I try to relate to my actors, and to Sam, and to my production designers. It’s giving enough freedom to let everyone bring what they have to the table and not shutting down a conversation before it can wield something interesting.

How much time did you spend observing 
the process on set?
Houy: On some movies I’m on set a lot, but for Lady Bird, another editor was actually on during dailies, for various reasons. I came on after dailies, which is unusual, but it worked out. Plus, they were shooting in California and editorial was in New York, so it was a completely different situation. But what I love about being an editor is that you’re not embroiled in any of the drama that’s happening during the shoot. You’re not aware that that dolly shot took six hours to get. You’re not aware of all of the stuff that happens on a set. You talk to the script supervisor, you talk to the director, but my job is to have totally fresh eyes — totally non-judgmental eyes — on all the footage. Actually, I think going to set is kind of the antithesis of that. Of course, it’s fun to talk to everybody, but it’s good to be fresh.

Gerwig: Because I need to be so close to the experience of getting it, to have someone who’s just looking at it for what it is, is incredibly helpful. Sometimes there would be a take that on the day it was happening felt like “the take.” But actually in the footage it’s like, no, it was one before. And sometimes if you were there it’s harder to see. I think as the director it also takes a little bit of time to separate the footage from the experience of getting it. It is for me, and then eventually it does become its own thing.

Nick, can you talk a bit about your workflow and your process.
Houy: The whole thing is very straightforward. We were cutting on Avid Media Composer at DNx36. Nothing crazy. I have an amazing assistant editor named Nick Ramirez — people call us “the Nicks.” We were lucky we were cutting in the facility where we were coloring. We could always pop down when we were getting close to the end process and look at stuff high res, or try different color corrections.

Greta Gerwig with DP Sam Levy.

Obviously, that was a big deal, too, since color was such an important part of setting the tone. It had that sense of looking back on something nostalgically.
Houy: That was exactly what they were going for. Sam Levy is an amazing DP, and he and Greta talked a lot about different painters they were inspired by, and wanted to create a sort of color Xerox look to it. It’s got an early 2000’s feeling, and it’s nostalgic. It was fun to know that that was happening all the way through, and let that seep into the storytelling process, and be able to constantly check on it downstairs. That was cool.

How do you work with your assistant editor? Is he doing purely technical stuff, or some cutting?
Houy: It depends on the movie, because sometimes you’re in a tough spot, and sometimes you have tons of time. Sometimes you need a lot of help with certain things, and sometimes you don’t. It just depends. On this particular movie with Nick Ramirez, I would always ask his opinion on things because he’s really smart, and it’s always good to have another eye. He’s great at that.

What advice would you give to someone who would like to edit indie films like the kind you are doing?
Houy: I always encourage people to cut as much as possible because that’s the only way you’re going to learn. You have to put in your 10,000 hours, just like anything. And whether that’s through friends’ shorts, student movies or whatever, you’ve just got to cut, cut, cut as much as you can. That’s the only way you’ll get better.

When you’re apprenticing or assisting on a movie, you should be cutting scenes at night by yourself. I don’t care what anyone says. Get all the footage. Cut it. Compare how you cut it with the way the editor cuts it. Finally, work with editors who want to help you move up. I was lucky enough to have editors as mentors, people who wanted to cut scenes with me and talk it through.

Could you both describe the one moment during the process when you knew that this was the story you were trying to tell?
Gerwig: There was a moment really early. It was this first scene between Sister Sarah Joan and Lady Bird, when she’s sitting in her office, and there was something about the way he cut it. It felt like a musician who was playing the piece just right… that’s how I meant it to sound. Which is hard to even describe, but it felt a sort of recognition. That’s what I thought the music would sound like, but I’ve never heard it played before, and so now I’m hearing it for the first time.

Houy: That’s a really good example, the Lois Smith scene, because they were so good, and it was like we knew the rhythm. You could hear, maybe like songwriting, the melody in your head, but until it’s executed you’re never quite happy with it. When we cracked that rhythm it was very exciting. I felt that way about the end sequence, too. We found the emotional moment at the end I knew was there. It was one of those… well, you just had to crack it.

Gerwig: Yes. You just have moment after moment like that and it’s just such a nice thing that you sort of end up sharing a brain. At that point we were both seeing the same thing.

This sounds silly, but I had always written the Dave Matthews Band into the script but we didn’t know we were going to play it over prom. But then it was like, of course, that’s the song you’d play over prom. What else were we thinking?

Houy: We tried all of these other songs but realized, no, of course it’s Dave Matthews. Yeah.

Gerwig: Also the point where we cut off at the end… where she takes in a breath… as soon as that was in that place it never changed. We didn’t revisit it. It just hit us just right, and it was like, yeah, that’s what we wanted in that moment, and it works. It was that moment of mutual recognition.


Amy Leland is a film director and editor. Her short film, “Echoes”, is now available on Amazon Video. She also has a feature documentary in post, a feature screenplay in development, and a new doc in pre-production. She is an editor for CBS Sports Network and recently edited the feature “Sundown.” You can follow Amy on social media on Twitter at @amy-leland and Instagram at @la_directora.

ACE celebrates editing, names 68th annual Eddie nominees

Awards season has begun, as evidenced by the American Cinema Editors (ACE) naming their nominees for the 68th annual ACE Eddie Awards. The Eddies recognize outstanding editing in 10 categories of film, television and documentaries. Trophies will be handed out during ACE’s annual awards ceremony on January 26.

Here are the nominees for the 68th annual ACE Eddie Awards:

BEST EDITED FEATURE FILM (DRAMATIC):
Blade Runner 2049
Joe Walker, ACE

The Shape of Water

Dunkirk
Lee Smith, ACE

Molly’s Game
Alan Baumgarten, ACE, Josh Schaeffer & Elliot Graham, ACE

The Post
Michael Kahn, ACE & Sarah Broshar

The Shape of Water
Sidney Wolinsky, ACE

BEST EDITED FEATURE FILM (COMEDY):
Baby Driver
Jonathan Amos, ACE & Paul Machliss, ACE

Get Out 
Gregory Plotkin

I, Tonya
Tatiana S. Riegel, ACE

Lady Bird
Nick Houy

Three Billboards Outside Ebbing, Missouri
Jon Gregory, ACE

BEST EDITED ANIMATED FEATURE FILM:
Coco
Steve Bloom

Despicable Me 3
Clair Dodgson

The Lego Batman Movie
David Burrows, ACE, Matt Villa & John Venzon, ACE

BEST EDITED DOCUMENTARY (FEATURE):
Cries From Syria
Aaron I. Butler

Jane
Joe Beshenkovsky, ACE, Will Znidaric, Brett Morgen

Joan Didion: The Center Will Not Hold

Ann Collins

LA 92
TJ Martin, Scott Stevenson, Dan Lindsay

BEST EDITED DOCUMENTARY (SMALL SCREEN):
The Defiant Ones – Part 1
Lasse Järvi, Doug Pray

Five Came Back: The Price of Victory
Will Znidaric

The Nineties – Can We All Get Along?
Inbal Lessner, ACE

Rolling Stone: Stories from the Edge – 01
Ben Sozanski, ACE, Geeta Gandbhir; Andy Grieve, ACE

BEST EDITED COMEDY SERIES FOR COMMERCIAL TELEVISION:
Black-ish: “Lemons”
John Peter Bernardo, Jamie Pedroza

Crazy Ex-Girlfriend: “Josh’s Ex-Girlfriend Wants Revenge”
Kabir Akhtar, ACE & Kyla Plewes

Portlandia: “Amore”
Heather Capps, Ali Greer, Jordan Kim

Will & Grace: “Grandpa Jack”
Peter Beyt

BEST EDITED COMEDY SERIES FOR NON-COMMERCIAL TELEVISION:
Curb Your Enthusiasm: “Fatwa!”
Steven Rasch, ACE

Curb Your Enthusiasm: “The Shucker”
Jonathan Corn, ACE

Glow: “Pilot”
William Turro, ACE

Veep: “Chicklet”
Roger Nygard, ACE & Gennady Fridman

BEST EDITED DRAMA SERIES FOR COMMERCIAL TELEVISION:
Better Call Saul: “Chicanery”
Skip Macdonald, ACE

Better Call Saul: “Witness”
Kelley Dixon, ACE & Skip Macdonald, ACE

Fargo: “Aporia”
Henk Van Eeghen, ACE

Fargo: “Who Rules the Land of Denial”
Andrew Seklir, ACE

BEST EDITED DRAMA SERIES FOR NON-COMMERCIAL TELEVISION:
Big Little Lies: “You Get What You Need”
David Berman

Stranger Things

Game of Thrones: “Beyond the Wall”
Tim Porter, ACE

The Handmaid’s Tale: “Offred”
Julian Clarke, ACE & Wendy Hallam Martin

Stranger Things: “The Gate”
Kevin D. Ross, ACE

BEST EDITED MINISERIES OR MOTION PICTURE FOR TELEVISION:
Feud: “Pilot”
Adam Penn, ACE & Ken Ramos

Genius: Einstein “Chapter One”
James D. Wilcox

The Wizard of Lies
Ron Patane

BEST EDITED NON-SCRIPTED SERIES:
Deadliest Catch: “Lost at Sea”
Rob Butler, ACE & Ben Bulatao, ACE
 
Leah Remini: Scientology and the Aftermath: “The Perfect Scientology Family”
Reggie Spangler, Ben Simoff, Kevin Hibbard & Vince Oresman

Vice News Tonight: “Charlottesville: Race & Terror”
Tim Clancy, Cameron Dennis, John Chimples & Denny Thomas

Final ballots will be mailed on January 5, and voting ends on January 18. The Blue Ribbon screenings, where judging for all television categories and the documentary film category take place, occurs on January 14. Projects in the aforementioned categories are viewed and judged by committees comprised of professional editors (all ACE members). All 950+ ACE members vote during the final balloting of the ACE Eddies, including active members, life members, affiliate members and honorary members.

Jay Nelson on editing Bryan Buckley’s The Pirates of Somalia

While Cut+Run editor Jay Nelson’s list of credits includes many high-profile commercial spots — such as the Emmy-nominated and AICP-winning The Chase for Grey Poupon, as well as those for Xbox, Skechers, Hyundai and Heinz — he is no stranger to feature film editing. In fact, he most recently collaborated once again with director Bryan Buckley on The Pirates of Somalia. Buckley, who has an Oscar nomination under his belt for the 2012 short Asad, has directed over 50 Super Bowl spots since 2002, many of which were edited by Nelson.

The Pirates of Somalia, starring Evan Peters, Barkhad Abdi, Melanie Griffiths and Al Pacino, follows a young journalist who travels to Somalia to write a book on the country’s pirates. Nelson used an Avid Media Composer to cut the film. Let’s find out more.

Jay Nelson

What were the biggest creative challenges in editing the film?
I’ve had a lot of experience editing with subtitles and foreign languages. Personally, I find it to be unpleasant because you can’t just freeform flow the edit and the dialogue; you have to be cognizant of the translations and the tone. On this film, Bryan wanted to approach these scenes in an original way and not make the viewer have to work through subtitles. The challenge was to integrate Barkhad’s on-camera translation into the dialogue without being clunky, to keep the dialogue flowing from Somali to English.

It’s essentially a dialogue between two people, but with a third person adding their own character into it. Two of the scenes took close to half the time I edited the film in order to get them just right. The scenes went from an initial 12 minutes apiece to about three or four minutes, and I think they work incredibly well. I learned a lot, and I think the approach contributes to the uniqueness of the movie.

Any technical hurdles, expected or otherwise?
Honestly, the hurdles in this film were pretty standard stuff, which is refreshing. The language and the clarity of dialogue throughout is something I spent a considerable amount of time dialing into shape. We didn’t have to “fix” anything. Bryan and his crew just laid it all out beautifully.

As someone who is known for largely comedic narratives, what did you learn on this feature about dramatic content?
I don’t draw too much distinction between editing comedy and editing drama. I just take it one minute at a time when making a feature. But Bryan is a very funny person, and naturally it’s easy for him to infuse humor into things, and it’s natural for me to want to accentuate that because he and I both like to laugh as much as we like making other people laugh. The challenge with this and all things I get to create with him is making sure the humor is deftly placed and balanced with the drama. We spent a lot of time determining the right balance. It is a film with a message, and it’s often gripping to watch. So we paid attention to our beats and reminded ourselves never to cloud the purpose.

How long have you been working with Bryan, and what are some of your favorite collaborations?
I’ve been fortunate to have worked with Bryan for five years now. The first project was an incredible spot for Grey Poupon called The Chase. I think I grasped his vision and we agreed on everything. In fact, rarely do we not see eye to eye. He makes my job easy. I can’t honestly pick a favorite collaboration. We’ve done all manner of media together (including the 2015 feature The Bronze). When I do get to work with him, it’s always purely about the love of doing what I do with someone who is a master at what they do. It’s about the friendship and the laughs for me. I’m lucky to get that on anything I do with him.

How has your process together evolved?
He’s a great communicator and is always available when it’s about the job. I wake up to his emails and get cracking. All great collaborations are about synergy and removing the guesswork. I can relate it to sports or music — the more you practice with someone, the easier it is to know what they’re thinking and what they intend. That’s the evolution, and it’s always been free of the BS and insincerity. I genuinely love the way he sees things. He’s taught me a lot about improving at my profession, and I’ve learned a lot about life from him as well.

Any advice for short-form editors looking to expand into features?
Take it one minute at a time, and don’t be overwhelmed. Any other advice than that might come across as jaded. Features stand the test of time when they’re good, and they actually mark periods of your life as all great works of art should when you suffer for them. There’s a lot of reward in that legacy. But not every editor is cut out for features. It’s a different discipline, the politics are different, and so is the discipline of objectivity. Choose your projects wisely. There’s nothing worse than being two weeks in on a feature and realizing that maybe it’s not your cup of tea, or you don’t connect with the execution. We sacrifice a lot when we vanish to make a film, so make sure it’s worth it and it’s really what you want to be doing.

From having projects at film festivals to editing ads for the Super Bowl, you’ve had an exciting career trajectory. What’s next?
When I started my pursuit of an editing career I vowed to approach it like I was training to be a surgeon. I wanted to understand all the jobs of the people I’d work with — producers, VFX artists, assistants, reps, directors. In some form or another I’ve embodied all of those roles along the way. Part of that vow was to embrace the notion that one is forever a student of the craft.

As I continue that pursuit this coming year I’ll be taking improv and acting classes because I’ve just never done it. I don’t have designs of being on-screen, but I know it will only round out my understanding of editing performance. Beyond that, my fundamental goal as an editor is to expand my knowledge of the language of film — I’m constantly searching to discover that treatment to add a technique to the dictionary of editing — to approach something in a whole new way. There’s an expanding universe of techniques out there, and I’ll keep doing this as long as I feel challenged and retain that desire to search. Inspiration from collaborating with the likes of Bryan Buckley will also keep the sails full. Long may it last.

Therapy posts Comedy Central’s The Fake News With Ted Nelms

LA-based Therapy Studios provided post production on Comedy Central’s new one-hour special, The Fake News With Ted Nelms, starring Ed Helms of The Daily Show, The Office and The Hangover fame.

Edited by Therapy’s Kristin McCasey and directed by The Director Brothers (a.k.a. Ryan McNeely and Josh Martin) of Humble, this special takes a satirical view of cable news, poking fun at the ridiculous state of current news “reporting.”

“Obviously, there are a lot of news organizations out there just making up a bunch of crap and calling it news. But unlike those others, we’re doing it better, faker and stupider. And we’re joking,” says Helms about the special.

McCasey worked on the edit closely with Helms and executive producers Mike Falbo and Nelson Walters to craft the comedic tone of the show.

The job was overseen by executive producer Joe DiSanto and producer Margaret Ward. In addition to editing by McCasey and Jake Shaver, Therapy provided color grading via Omar Inguanzo, VFX work by Flame artist Geoff Stephenson and his team, graphics by Tony Banik, audio mixing by Larry Winer and Brandon Kim and sound design by Eddie Kim. Motion graphics were completed by Visual Creatures.

We reached out to Therapy to find out more…

How early did Therapy get involved in the project? How did you work with the client?
Allegra Bartlett, Therapy’s Head of Production: Therapy was attached during the writing stages of the project. Kristin McCasey was brought on at the recommendation of the Director Brothers (with whom we had worked closely with on Comedy Central series, specials and many other projects). The Fake News team thought she, and Therapy, were a perfect fit for all of the post.

Therapy had also just finished a collaboration for Represent.us with the Director Brothers, which starred Ed Helms and Jack Black. It felt like it all just came together full circle for The Fake News, which was for both Ed Helms and Comedy Central. Ed and his producing partner, Mike Falbo, frequently came in to sit and collaborate with Kristin to craft the comedy of the show, and Ed was very hands on in the audio mix, color and final VFX for the show.

What gear did you use?
Editor McCasey: We used Avid Media Composer for editing, Avid Pro Tools for audio post, Blackmagic Resolve for color and Autodesk Flame for finishing and VFX.

Did Comedy Central come to you because you were able to offer them soup to nuts services? 
Bartlett: Comedy Central didn’t come to us directly per se, but I think when the Director Brothers mentioned our name, Comedy Central was like “Ah, Therapy! We know those guys!” — this is because we had recently wrapped all of the post on a Comedy Central series. It was definitely an advantage to have all of the post happening out of Therapy. Margaret Ward, post producer, and Shannon Albrink, assistant editor, went above and beyond to keep everything moving forward towards delivery. Our previous relationships and experience with Comedy Central definitely helped us achieve a tight turnaround and efficient delivery, and a really funny, culturally-relevant show!

What was a challenge you had to overcome?
McCasey: The challenge of the show was to create a realistic-looking parody of a current day news channel, which included commercials, promos for other shows and news packages, in addition to the actual multicam TFN show. Throughout the process, we collaborated with head writer Elliot Kalan as well as Ed and Mike to dial in the comedy as we translated it from script to film. Their guidance was invaluable, and we all enjoyed nuancing the jokes together in the edit bay. In the last couple weeks before delivery, Visual Creatures fine-tuned the graphic look of the show, and Therapy’s team of sound, color and VFX gave us the final polish that we needed to bring the show across the finish line.

Charlieuniformtango Austin ups Keith Munley to EP

Keith Munley has been promoted to executive producer of charlieuniformtango, Austin. Munley joined charlieuniformtango in Austin in 2008 as an assistant editor. He is a native of the Austin area and graduated from The University of North Texas with a degree in radio, television and film in 2003. After graduation he worked as an assistant/junior editor at 501 Post for four years prior to joining ‘tango.

Munley has produced work for advertising agencies such as GSD&M, Sanders\Wingo, and LatinWorks on campaigns for Walgreen’s, Texas Lottery, AT&T and the US Air Force. Most recently, he oversaw the creation of a video for Visit Austin promoting Austin as a premier business and leisure destination. Charlieuniformtango shot, edited and created all design and visual effects work for the video, which premiered at a luncheon held this fall attended by Austin’s Mayor, Steve Adler.

“Marketing creatives are fundamentally storytellers, and an editor is the last opportunity to tell the strongest story possible,” says Munley, who works on Avid Media Composer, Autodesk Flame and Avid Pro Tools. “I enjoy that process of teamwork a lot.”