Tag Archives: editors

Adam Schwartz and Jim Ulbrich join Nomad Editing

Nomad Editing has expanded its New York staff with the addition of editors/partners Jim Ulbrich and Adam Schwartz. Their hiring comes on the heels of EP/partner Jennifer Lederman and editor/partner Jai Shukla joining the studio earlier this year.

Jim Ulbrich comes to Nomad  — an Avid Media Composer and Adobe Premiere house — after working at a variety of New York-based editorial shops. Since joining Nomad, Ulbrich has worked on projects for Saatchi & Saatchi NY and Toyota with Droga5. He is now finishing a campaign with Grey. He collaborates on many projects with director Matt Smukler from Community Films.

Ulbrich began his career at Berlin Cameron and then moved to 89 Edit. He then moved to Mad River and then Beast where he became a partner in the company. He has edited campaigns for AT&T, Cheerios, Hanes and Coke.

Schwartz has followed a similar career trajectory to Ulbrich. His client list includes big brands such as Google, HP, Verizon, Reebok and Nike. Schwartz has worked with high-profile directors, including Janusz Kaminski, Errol Morris, Jared Hess and Wes Anderson. He’s worked on several projects since joining Nomad, and is now editing with BBDO NY. Schwartz began editing at Lost Planet before he became a founding partner at Beast.


Sight, Sound & Story: How these editing, VFX pros found their path

By Fergus Burnett

Earlier this month, Manhattan Edit Workshop held its yearly Sight, Sound & Story conference in New York City. It was a full day of panel discussions featuring editors and visual effects pros at the top of their game. The conversations were refreshing and helpful — the panelists focused on their individual journey to where they are now, as well as the craft of filmmaking rather than tools and techniques.

At these kind of events, someone always asks, “What advice would you give to someone just starting out? How did you do it?” Funnily enough, many panelists seemed a bit bewildered by their own success and tended to credit luck mixed with dogged enthusiasm. There seems to be no conventional career pathway in the film industry, and people get started in a number of ways. Some are grandfathered in, some attend film school, others work their way up from sweeping floors, or maybe it’s a chance encounter at the back of the grip truck, or even drug dealing (seriously, this was one pro’s experience).

Kelley Dixon, ACE, (center) started as a PA, while Leo Trombetta, ACE, (to her left) was a sound editor.

Many of the editors who spoke at Sight, Sound and Story had no idea that their path would lead to editing. Kelley Dixon, ACE, (Breaking Bad, The Walking Dead, Better Call Saul) started her career working as a PA. She said she just enjoyed being a familiar face driving to and from sets and post houses. She found the air-conditioned confines of post houses to be appealing and used that familiarity to get in and start learning.

Leo Trombetta, ACE, (Madmen, Narcos, Roswell) was an established sound editor for years before deciding to make the jump to film and TV. It meant a lower position and a pay cut, but it paid off in the long run, allowing him to follow what he was truly interested in. An added bonus: his knowledge of sound proved to be a useful asset.

The Legend That Is Editor Anne V. Coates
My favorite discussion of the day was when Bobbie O’Steen interviewed legendary film editor Anne V. Coates, who has over 60 years of experience and a list of credits on many films that are now household names, including Murder on the Orient Express, Lawrence of Arabia, The Elephant Man, The Pirates of Penzance and Fifty Shades of Grey.

The British-born Coates started off splicing film for her uncle’s company, which produced and distributed religious films for screenings in churches. Though she had the intention of becoming a director, she soon began working as an apprentice editor at Pinewood Studios, finding it matched her natural instinct and talents. Coates’ mentor, Reggie Mills, liked to finish work early for afternoon tea, and, out of respect for her skills and instinct, trusted her to cut scenes after he had left for the day.

Anne Coates

Anne V. Coates

Coates then became respected as an editor in her own right. And after getting a few feature films under her belt, nearly turned down Lawrence of Arabia because she didn’t think it paid enough. While she worked on celluloid film, using Moviolas and Flatbeds for decades, Coates saw the age of digital editing approach and made the wise decision to learn the ways of what was then known simply as “the Avid.” Coates said that while she liked the intimacy of the Moviola — being so close to the screen and cutting the film with her hands — she still feels the art and craft of editing is mostly the same with digital.

Lessons To Be Learned
These professionals all managed to place themselves in the right place at the right time with enthusiasm and persistence. They had a willingness to learn and hone their skills. They took opportunities and paths that were not necessarily the ones they had envisioned, but held a particular interest that was exciting to pursue.

The obstacle is the path. Remain persistent!

Fergus Burnett is a camera tech and music video director, recently imported from New Zealand, and currently based in New York.

Behind the Title: Cut+Run managing director Michelle Eskin

NAME: Michelle Eskin


Co-Owner and Managing Director

Managing the Cut+Run Los Angeles, San Francisco and Austin offices, managing our brand, growing our business model, nurturing our talent, being at the pulse of what our client base needs.

Being the camp counselor, therapist and snack manager all in one.

The people — funny, smart, original and unusual people. Our industry has that in spades.

Having to turn down a great project because a schedule doesn’t work.
Disney Playmation 3Small DrPepperRasta2

Some recent ones include Disney and Dr. Pepper (pictured), as well as Skittles, Adidas, Mazda and Lego — all of which helped earned us the Shots nomination for “Company of the Year.”

This is a distinct honor, especially since we are the only US company listed and have two editors in that category. But what was also amazing was to see other talented editors who came up through the Cut+Run ranks. Mentoring new talent is something that we enjoy and we think it’s exciting and vital for the evolution of our industry.

I can’t even imagine, and that speaks to how much this job – my life — really, means to me. I’ve grown up in advertising.

Cut+Run Los Angeles

Cut+Run Los Angeles

The path just led me. I never knew where it was taking me. Luckily, it matched my skill set.

Watching work from up-and-coming artists, such as the New Directors’ Showcase, films and the creativity from my teenage children.

I exercise and spend time with my family. Spending time at the beach in Santa Barbara is my quick get away. Close, but miles away in terms of my daily life.

2015 AICE Awards: Cut + Run’s Sam Ostrove wins Best in Show

At the 2015 AICE Awards, held May 14 at the Skirball Center in Los Angeles, the four-minute Volvo Vintersaga (pictured below) film from the Swedish ad agency Forsman & Bodenfors, edited by Sam Ostrove of Cut + Run, was named Best in Show. The film also won Ostrove the AICE Award in the Automotive category.

AICE Best in Show Vintersaga from VolvoAICE_BestInShow_Vintersaga_Volvo3main

Editors Graham Chisholm of Married to Giants, Chris Franklin of Big Sky Editorial, Joe Guest of Final Cut, Nadav Kurtz of Cutters and Adam Pertofsky of Rock Paper Scissors each won two AICE Awards. Chisholm won in the Public Service category for work for Cundari’s CIBC Run for the Cure and in Best of Toronto for the Toronto Raptors. Franklin won in the Dialogue/Monologue/ Spoken Word category for American Express and in National Campaign for E*Trade. Guest won in the Montage category for Lurpak and in Storytelling for John Lewis. Kurtz won in the Online Campaign category (which he shared with Cutters editor Cameron Yergler) for CVS and in Under 50K for Wingmate. Pertofsky won in the Fashion/Beauty and Best of Los Angeles categories for his work for Levi’s.

Rock Paper Scissors editor Damion Clayton won for a Beats by Dre spot in the Alternative Media – Over :90 category while editor Biff Butler won in the Best of New York category for work for Adidas.

Beast editors took home three AICE Awards: Blake Bogosian won in the Alternative Media Category — :90 and Under category for Johnny Random; Karen Kourtessis won in Comedy for Hayden 5’s Hello Flo; and Jai Shukla won in Spec Spot for New Balance. Cutters editors were recognized with three AICE Awards; in addition to the winners for Kurtz and Yergler, editor Louis Lyne won in the Best of Detroit category for Ford.

The Mill editor Adam Scott won in the Color Grading category for Axe White Label, while the company’s Lisha Tan and Andrew Proctor won in the Design category for work for the Texas Lottery. Winning the Visual Effects award were Phil Crowe, Chris Bayol, Robert Sethi, Becky Porter, and Jacob Bergman for their work for DirecTV.

The full list of winners is available online at http://www.aice.org/?section=events/aice_awards_show/winners/&view_by=year:::2

Rampant offers four new libraries of optical light transition, VFX elements

ORLANDO – Rampant Design Tools has launched four massive new libraries of its QuickTime-based drag-and-drop VFX elements for filmmakers, VFX artists and video editors, offing nearly 1,000 new high definition, visually stunning themed optical transitions and overlays.

Rampant Design Tools also developed a resource for customers to help make the most of their workflow using Rampant’s elements. RDT Training (http://tuts.rampantdesigntools.com) offers free training in Adobe After Effects, Premiere, Apple Final Cut Pro X, Motion, Avid and more. In addition to singular tutorials, Rampant has started two training series; Practical Effects for Editors, hosted by Rampant founder and VFX artist Sean Mullen, shows editors how to add complex visual effects techniques to their workflow with the software they already have. Learning Final Cut Pro X, hosted by Apple Certified Expert Stefanie Mullen, brings customers up to speed quickly on Apple’s latest editing apps.


The libraries are now available from www.rampantdesigntools.com, and include Rampant Stage Light Transitions, Rampant Speed Lights, Rampant Light Impacts and Rampant Gradient Overlays. Each library is priced at $99 USD.

• Rampant Stage Light Transitions is a library of over 200 high definition (1080P, 1920×1080), QuickTime-based drag-and-drop light element transitions that use multiple stage light, optical light, and lighting effects and flares to add an instant, stylized look to customers’ video. Elements within the library can be mixed and matched for infinite combinations of “looks” and enabling unique sequences every time.

• Rampant Speed Lights is a library of over 400 high definition (1080P, 1920×1080) optical light element transitions ideally suited for energized, high action and sporting event video content and are ideal for creating stylized transitions, bumpers and lower thirds.

• Rampant Light Impacts is a library of 160 light effects and edge lighting for aggressive, in-your-face, exciting high energy video. These high definition (1080P, 1920×1080) light elements are ideal for editors, VFX artists and compositors looking to quickly add punch to their video projects.

Speed Light 002

• Rampant Gradient Overlays delivers 200 high definition (1080P, 1920×1080), color and light effect elements for video editors and VFX artists, offering drag-and-drop, QuickTime-based Film Flash, Light Effects and Edge Lighting to add instant beauty and softness to any video.

Rampant Design Tools solutions are compatible with all editing platforms and compositing applications that are able to read Quicktime files, including Adobe Creative Suite (After Effects and Premiere), Sony Vegas, Media 100, Apple Motion, Nuke, Apple Final Cut Pro, FCP X and Avid Media Composer. They are also designed to complement filmmakers and VFX artists existing workflows and integrate well with pipelines comprised of industry-leading VFX and color correction solutions.