Category Archives: Editor

Behind the Scenes of 24 Hours in A&E with James Ralph

When you think about your favorite television show, what comes to mind? Is it your favorite actor’s Emmy-worthy performance? Or is it perhaps set in a part of the world that you’ve been itching to explore for all of your life. Is it funny, or is it sad? Is it dramatic, or is it scary? No matter what comes to mind, each component that makes it the show you love and cherish is rooted in an editor’s ability to tie every element together seamlessly before your eyes. Without the help of a skilled editor, storylines would falter and viewers would lose interest. Films and television shows that dominate the industry require a seasoned editor, one with a keen ability to captivate an audience and ensure that only the best quality content makes a final cut. They require an editor like James Ralph.

Ralph’s versatility as an editor makes him difficult to define, but a mere glance at his work will tell you that his talents are profound. His ability to transform his skill set to meet the demands of the project before him allow him to ease into new premises, scripts, and storylines flawlessly. He brings a certain authenticity and creative edge to his work that makes him instrumental to every job he accepts and over a twenty-year career he has accepted many. His unique editorial style can be understood through a variety of different projects he has worked on, from British favorites like X Factor, Britain’s Got Talent and The Voice UK, to hit reality television shows like Love Island and First Dates. He differentiates himself as an editor through his natural ability to transition between different genres without weakness. According to Ralph, he doesn’t have one specific style or technique that characterizes him, which makes him all the more suitable to work on a diverse array of projects.

“I wouldn’t say that I have a definite style as my work spans multiple genres. I think my work is always smooth in that you can watch it without ever being aware that there are edits – unless I’ve placed them there deliberately. Editorially, I am thoughtful, intelligent, visually creative, and musically dynamic, all of which are crucial to any story you’re trying to tell. I think that there is a certain energy in everything I do,” tells Ralph.

Over the last three years, Ralph has worked on a number of series for the well-known British television show, 24 Hours in A&E. 24 Hours in A&E is a medical documentary set in a busy hospital in London, England. The unique docuseries offers an inside look at one of Britain’s busiest Accident & Emergency departments. For the show, cameras roll for 24-hours straight over the span of a 28-day period.

With a reputation as unparalleled as Ralph’s, it is not uncommon for a production company to solicit his talents. When 24 Hours in A&E’s production company, The Garden, were looking for an editor to flavor their series with the perfect amount of suspense and truth, they demanded that Ralph come on board. In fact, the show’s Executive Producer, Spencer Kelly, had worked with Ralph in the past and knew he was the perfect fit for the job. For Ralph, the opportunity was too great to turn down and knowing The Garden’s respected reputation in the factual and documentary making world, he was eager to accept.

Despite Kelly’s experience working with Ralph, he never ceases to be amazed by the quality of Ralph’s editing skills. Ralph is a rarity in his field and production companies are extremely fortunate when they come across talent as remarkable as his.

“I have worked with James on prime-time series for BBC 1 and for the last three seasons of 24 Hours in A E. Throughout each, he has brought a unique combination of consistency and editorial clarity. His work is beautifully crafted and his editing delivers compelling, thoughtful and entertaining television,” states Kelly. He also points out that Ralph’s “good humor and hardworking, collaborative attitude make him a pleasure to work with. Most importantly, he is quick at what he does so he can quickly sift through material and implement changes to meet pressured deadlines.”

As an editor, speed is crucial; however, the true art of editing shows in an editor’s ability to produce content quickly without sacrificing quality. Ralph is well-versed in this skill and it makes him a true asset to the teams he works on. For 24 Hours in A&E, this skill is paramount to the show’s success. Due to the sensitive nature of the subject matter, it is important for Ralph to be able to accurately portray each situation with every aspect of authenticity and human nature possible. The show’s audience become privy to very intimate parts of people’s lives, ranging from birth to death and everything in between and as a result, Ralph has to thoroughly explore all of the footage, identifying any stories or themes that can be developed into an episode. On the surface, the show is about medicine but in reality, it is about people and the often fascinating stories of their lives. It is a challenge unlike any of Ralph’s other projects.

“It can be very challenging when you’re faced with the reality that people sometimes die or appear on the show with appalling injuries. As an editor, I have to work with this footage and find ways to tell these people’s stories without glorifying or reveling in the gruesomeness of the situations. It’s all about being sensitive and respectful to the people on the show and to your audience as you tell each story and ensure that you do them justice,” notes Ralph.

From an editing standpoint, 24 Hours in A&E was a thrilling job. With full creative reign, Ralph was trusted to make his own decisions in terms of which stories he followed and developed. He thrives in an autonomous environment, allowing his unrestricted creativity to reach the surface. He loves the responsibility that comes with being able to showcase such raw, human stories. There are moments of humor, as well as moments of grief. It can be touching, but also devastating. The show is characterized by a wide spectrum of emotions and Ralph gets to choose how he wishes to present each and every one. He has been instrumental to the show’s success and is without a doubt one of the main reasons that his viewers absorb the show in the way that they do.

“I take a great deal of pride knowing that the show is so popular, not only with the public but also amongst my colleagues. The fact that it is repeatedly commissioned, as well as on repeat across many of Channel 4’s subsidiary channels, is a tribute to the hard work and dedication that goes into making it. It’s one of those shows that a lot of my friends in the industry always say, “I wish I worked on that,” concludes Ralph, and he is proud that he does.

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From Trailers to Long-Form Projects, Editor Ge Zhai Draws Viewers in with her Work

Editor Ge Zhai
Editor Ge Zhai

After all the production meetings, castings and lengthy shoot days are finished is when the story we see in a film or series really begins to come together. Naturally the writers and director have a strong idea of how they want their project to play out, but nothing is ever fully set in stone until the project makes its way onto the editor’s desk. It’s there that the best footage is identified and methodically pieced together into the unfolding story we enjoy as viewers.

Editor Ge Zhai, who is originally from Beijing, China is one of those genius editors who manages to turn hours of footage into a seamless story that grabs the attention of viewers around the world and keeps them watching.

Since moving stateside six years ago, Zhai has made a huge impact in the industry with her work as an editor. She got her start working as an editor for KO Creative, an LA-based creative advertising and strategic marketing group that creates audio/visual and print campaigns for domestic & international theatrical motion pictures, television and more. As an editor at KO Creative Zhai served as the lead editor on over 30 film trailers.

As the editor of the theatrical trailers for films such as multi-award winning director Chris Mason Johnson’s (The New Twenty) dramatic film Test and Coury Deeb’s ( The New Sudan) documentary BBOY for LIFE, Zhai managed to streamline each story into a concise and intriguing snapshot that made audiences want to go out to watch the films; and her success in cutting each trailer needs little further proof than the international attention received by both films upon release.

She was also the lead editor for the online trailers for several films including those for the Dutch film Boys, a coming of age tale about a homosexual teen and his budding relationship with a fellow teammate on the track team, which won the Golden Calf and Dutch Critics Awards from the Nederlands Film Festival and was nominated for an International Emmy Award; and, the Image Award nominated film drama Life of  King starring Oscar Award winner Cuba Gooding Jr. (Men of Honor, Selma).

Editor Ge Zhai
Editor Ge Zhai

In addition to sifting through hours of footage, selecting the most revealing and powerful moments, and creating a streamline story that would enthrall viewers, Zhai’s work cutting trailers at KO Creative meant she had to understand the divergent audiences each trailer catered to– something the value could be seen as no more integral than when it came to cutting sales trailers, as those are the visuals that actually sell the film to distributors and ensure the project actually reaches audiences. Without a strong and appealing sales trailer, a film may languish alone and unnoticed in a filmmaker’s library and never see the light of day. Thankfully for films such as Oscar Award nominee James Franco’s 2014 film The Sound and the Fury and Adam Levins’ horror film Estranged, Ge Zhai cut strong trailers that attracted the attention of distributors and helped each film make their way onto the big screen.

“I think in today’s world, there are so many choices as to video content, you got Netflix, Hulu, Youtube, with hundreds of thousands of films/tv/videos. So for an audience, why do they spend 2 hours on this specific film? The trailer is the first step to involve your audience visually following the poster. Trailers have to grasp their attention in 20 seconds and leave them wanting to see more,” explains Zhai.

“My strength is noticing details in a shot and maximizing them to convey the intimate emotion without relying on explanatory dialogue. I’m very good at telling the story of a film in a different way that is condensed, rhythmic, gripping, while remain true to the film. Plus, I have a good sense of music, which is super important to trailers.”

Though Zhai got her start as an editor in the industry cutting trailers for massively successful film projects, which is impressive enough in itself, she quickly moved on to cutting longer form projects, such as season 4 of the series Being featuring celebrities like three-time Grammy Award winner Erica Atkins Campbell and singer & movie star Tyrese, the comedy series According to Him + Her with Monica Collier (The Watermelon Heist), the poignant documentary Just Extensions and many more.

“Ge has the magic power to make ordinary materials look stunning. It was a blessing to have Ge on our team when we expanded from a trailer house into a full service post-production facility,” explains KO Creative CEO Kristi Kilday. “She was not constrained by her past experience when facing the challenge of editing long-form content like ‘Just Extensions’ and ‘Being.’ All the storylines and characters charged with emotion reflected her talent in editing.”

Zhai’s ability to breathe life into the characters we see on screen coupled with her ability to move each story forward with her natural (and virtually unnoticeable) cuts is one of the unique assets she brings to the table, and one of the driving forces behind her success that separates her from others in the industry. She doesn’t approach her work from a mechanical, step by step process devoid of emotion– instead she allows her creativity and emotional connection to the work and to the characters to guide the process. This is one of the reasons why the end products of those she’s lent her editor’s wand to have been so successful.

When it came time for the creation of season 4 of the series Being, Centric, the show’s network, which is a cable channel owned by BET,  wanted to appeal to a more specific audience and embody a different vibe than that of previous seasons– that is where editor Ge Zhai came in.

Zhai explains, “‘Being’ previously had three seasons, but in totally different tone. For the new season they wanted to shift styles to better fit the rebranded network, which was catered towards educated African American women. I had worked with the same producers on the series ‘According to Him+Her,’ so they were aware of my skills, and at the end of the day that led to hire me to edit their number one show.”

Being series
Poster for the series “Being”

Zhai’s storytelling skills as the editor of Being season 4 served as a massive asset in creating the season’s unfolding story in a way that touched audiences. Her ability to identify the tiny, but impactful moments that a lesser editor might miss, such as the expression of K.Michelle’s (Love & Hip Hop: Atlanta) eyes while sitting in church in season 4 episode 1 or six-time Grammy Award nominee Tyrese Gibson’s (Furious 7, Fast & Furious 6, Ride Along) joyful look as he revisited his childhood school in season 4 episode 4, were all tantamount to creating an emotionally touching story that drew audiences in and kept them engaged as the season played out.

Zhai’s work as an editor is proof enough itself, so much so that she’s climbed the ranks much quicker than the majority of her peers in Hollywood. Most recently she’s been working on the viral marketing video content for the sequel of the Chinese smash-hit Monster Hunt where her work has embraced millions of viewers.

 From beginning her career editing trailers that have been integral to drawing audiences and selling films to buyers, to serving as the editor on highly-watched long form projects that have aired on major networks, Ge Zhai’s seasoned skill as an editor combined with her unique power as a storyteller have been integral to the success of a great many projects. This is one editor we know we’ll be seeing a whole lot more from as time progresses, so keep your eyes out for her name as the credits roll.

 

Videographer Maria Aguado takes us back in time with Button Barcelona

Maria Aguado has always known she was meant to be a filmmaker. Since the age of seven, she wrote screenplays and made movies. At the time, just a small child in Barcelona, she filmed her dolls, editing the footage, unaware of what she was really doing. She grew up holding a camera, and to this day, nearly twenty years later, that remains true.

Aguado’s unique eye has greatly contributed to the success of many brands who seek her services. Just last year, the company Button Barcelona reached out to the videographer to make a promotional and informative video about the brand that would be played at a Button Barcelona event, as well as two other videos to be used to promote the brand on social media.

“I really liked the romanticism that creates Button Barcelona and I wanted to be a part of it. They emphasize how everything worked in the old times, enjoying every step with serenity and a slower rhythm. I was happy to express this through audio-visual,” said Aguado.

Button Barcelona is a company inspired by the way people used to live sixty years before the industrial revolution in a small village in Barcelona. They sell all type of products with one thing in common: bringing back the traditional methods of production and elaboration with hand-made products. As a videographer and editor, Aguado had to transmit this idea to the audience. She filmed and edited three videos for Button Barcelona. The first one was a series of interviews explaining the story of Button Barcelona. The second was the “making of” of the photo shoot. For the third video, she edited the previous two videos together, for the Button Barcelona event. All three were posted and used on social media as their marketing campaign.

“The shooting was really fun. We immediately became a good team from the start. The event was also amazing, my video was screened and we were all there, overwhelmed by the story the video shows and the whole experience,” Aguado described.

While shooting, Aguado filmed the models in different parts of the village doing antiquated activities, such as washing clothes in a bucket of water, going to an antique cinema, and sewing clothes. She truly shows really the audience how these people used to live, emphasizing the essence of the company.

“Button Barcelona is everything that defines us, differentiates us and reaffirms our personality. That’s why I decided to select every single piece that showed a narrative in order to create a story inside a fashion video,” said Aguado. “Through the shooting and the editing, I transformed models into characters. This is the nice and tricky thing about editing, with just one look, a movement, a step, you can create a story, a narrative structure. The tricky part is to know when you are cutting a video and why, it all has to end up making sense in order to touch the audience. Also, remembering all the material in order to be fluent and creative. The brand’s idea is the opposite of frenetic; it’s all about taking your time to produce with love. I showed this by carefully selecting pieces of music and mixing them together. The rhythm plays a very important part too, music and video have to dance together.”

The final video is eight minutes long. It begins documentary style, interviewing the various people at Button Barcelona, and explaining the story behind the company. The final five minutes feature the “making of” from the photoshoots. Aguado perfectly blends the shots to the music, editing the cuts to the exact beat of the song. It does not appear to be a promotional video, but instead an artistic music video, where the models are simply people enjoying their life rather than working. The result is outstanding.

“Maria was given full freedom to create both videos and the result was even better than what we had expected. She is a very hard worker with a positive attitude and creative mind! Her creativity and passion for what she does is what makes her so good at it,” said Candelaria Turrens, CEO and Founder of Button Barcelona.

The three videos were crucial in branding Button Barcelona. They explain the company’s idea, and introduce the world to the members of the brands Button distributes. Without Aguado, the event would not have been the success that it was, and the brand itself could not have achieved what it has today. She captured the company’s essence through the lens of her camera.

“It felt like we were teleported to another time; the times Button Barcelona tries to keep in our lives. The story was clearly shown to the audience, they could feel the essence of the brand and really enjoyed it. The video was repeated every half an hour, people kept asking to see it over and over again. It was amazing,” Aguado concluded. “I believe I showed the value of the simple way people used to live, the romanticism of the old times, enjoying every step with happiness, calm and serenity.”

JUN XIA MANIFEST THE VISION OF “SHE GIVES ME SIGHT”

In spite of what the tabloids would have you believe, filmmaking is a team effort. While directors and actors are the faces of this mode of entertainment, the success of each production owes just as much to the talented professionals who perform their feats of magic and ability behind the camera. Think of it like this; if you order a fantastic meal but it isn’t handled properly or delivered properly…then it’s no good to you. Those whom the public never sees are as responsible for the gripping and endearing stories that we all love just as much as the marquee names we all know. Jun Xia may not be a household name but this editor is widely known and respected in the film industry. His editing has enabled the stories of fright (as in “Emily” and “Inside Linda Vista Hospital”), the touching stories of love and love lost (in “The Good Memory”), and of perseverance and the human spirit in “She Gives Me Sight.” This story of a young blind boy who is given a gift stronger than that of sight by a loving family member is the type of inspirational film that simultaneously evokes tears and admiration. Honored with multiple awards (at the Hollywood Boulevard Film Festival, Love Shorts Film Festival, LA underground Film Festival, and many others), “She Gives Me Sight” has a distinct pacing that is the result of Xia’s collaboration and planning with director Jiping Liu. When viewing the film, it is apparent that this approach is a major part of how the story is delivered and thus a result of its recognition in the film community.

“She Gives Me Sight” is a story about a little boy named Cecil whose life is full of bullying and darkness. Cecil was blinded in an accident and now lives with his grandmother in a small town. His only playground is the front yard of the old house in which they live. After little Cecil lost his sight, his grandmother decides to give Cecil love and light. Rather than treating him gently or with sympathy, she treats him more strictly than before. She continually asks him to help with simple housework. The neighborhood kids laugh at Cecil and taunt him. Although his grandmother is a witness to all of this, she doesn’t say anything about it. When a mishap occurs during these common house chores, Cecil breaks down. He is astonished that his grandmother does not take his situation into consideration and treat him differently than before he lost his sight. That night, she tells Cecil a bedtime story about a rose and a butterfly and how the rose promises to fight against the wind and keep blooming. Cecil dreams that night and understand that the story is about him and the rose’s story is his own. Three years later, Cecil became a successful author and writing a book named She Gives Me Sight about his childhood, and thanks his grandmother for teaching him to persevere and find his own way.

Because such a vast amount of the story is driven by narration and dialogue, Jun had copious discussions with the film’s director Jiping Liu in regards to how the editing might add to the story’s action. It was Xia’s contention that if the film were edited in exact correlation with the script, it would not achieve its full potential. In his mind, there was more happening in this story than what was directly stated. He explains his approach commenting, “I used the method of Parallel Montage in the film. I created it on the basis of a lot of dialogue and narration of the film, which made the overall movie more interesting. In this film, when the grandmother reads,  coaxing the blind boy to sleep, the imagination in the blind little boy’s mind, the imagination of him in childhood, and in the period of growing up were interspersed with editing. In addition, the things that occurred at different times and locations were edited together, which made the rhythm of this story more compact.”

Headshot.jpg

Jiping concedes, “Jun is a very smart when it comes to filmmaking, especially for editing. His approach is always well thought out and is about serving the message of the film. It was a great experience to work with such a fantastic film editor. Jun agrees noting, “I can’t overstate how important I feel that it is to be a modest filmmaker and editor. Receiving advice from others whom I respect about my own editing methods will only lead to increasing the integrity of the film.”

While a plethora of awards, nominations, and “official selection” accolades point to the widespread recognition of “She Gives Me Sight” by the film community, it’s the power that the film has on the individual when viewed that reveals its true impact. The film’s tone creates such a strong connection between the audience and young Cecil that it is almost unfathomable to think of its presentation as any other way. What Jun Xia and Jiping Liu created together is a moving and epic story of love overcoming life’s harsh blows. The rose that defies the wind can be found inside any of us; Jun Xia made certain that all viewers understand this lesson.

Editor Minghao Shen talks impactful new film ‘Cartoon Book’

Only someone that truly loves what they do can enjoy it the way that Minghao Shen enjoys film editing. His understanding of his craft and his commitment to the artistic elements of it allow him to excel at what he does. Not many people are lucky enough to be so talented and so passionate about their work. Shen is one of those fortunate few, and on top of this, he is considered one of the best Chinese film editors right now.

While working on award-winning films such as Red String, Emily, Inside Linda Vista Hospital, and Stay, Shen’s editing skills were extremely evident for both audiences and critics.

“I am a creative minded person, so I love the re-creative part of editing a lot. There are many ways to make a film, and I feel editing is one of the best ways to engage in the filmmaking production,” said Shen.

Shen engaged in both the filmmaking production and with audiences with his work on the film Cartoon Book. Cartoon Book is about a little boy who tries to go against the school and teacher under severe rules. Afterwards, it seems that the teacher gradually controls the boy by using his vulnerability and letting the rebel boy become a tool to manage other students. The boy draws cartoons, but he feels it is hard to choose between his desire or his morals when the teacher bribes him to be her spy who needs to betray his friends.

“It is a kind of classic tone film, so rather than edit it ‘correctly’, director more like to keep the smooth and stressful feeling by editing. That is why I, as the editor, needed to understand the story indeed,” said Shen. “We had a lot of footage, so it was quite a lot of work at the beginning. But, all the effort and hard work was worth it.
The director had her own style for the entire pace of the film, and the film had really good results.”

The film went on the be an Official Selection at the prestigious Cannes Short Film Corner where it premiered last year, as well as the Berlin Student Film Festival, the Goa Shots International Short Film Festival, and the Accolade Global Film Festival Competition.

“I had a feeling that the film would see a lot of success in festivals, so when I found out the film got some awards I was not surprised, and I think it deserves even more and bigger awards,” said Shen. “The director is good at screenwriting. The first time I read the story I was so intrigued and really connected with the story. I was really looking forward to work with the director and making great film, which we did. It was not the first time we worked together. We know and understand each other very well. She is natural born storyteller and I always looking forward to work with her.”

The film was written and directed by Shuhe Wang, who had previously worked with Shen on her film The Regret, and was immediately impressed by his talents. Knowing they work well together, and that she needed the best to make her new film a success, she reached out to Wang to join her on Cartoon Book.

“I worked with Minghao on my award-winning short film Cartoon Book. I was the director and he was the editor. We worked together really well. He was so full of thoughts and understood the story deeply. When we were on set, Minghao watched the footage carefully on each shooting day. His did the rough cuts very quickly and helped me to get the overall storyline,” said Wang.

Shen was vital to the successful of the film. He says working on Cartoon Book was unlike any project he had worked on in the past. He read a lot of the director’s notes and talked about the story more than just the editing technique with the director. He would meet the cinematographer and communicate about the shot, knowing they all needed to be on the same page for the overall tone of the film. This understanding of not just his role, but the entire filmmaking process, is outstanding.

“The most exciting part of making this film was the journey of the main character. There were many twists and turns in it. It is a bit challenging for editing because the complex storyline, but on another hand, it offered a variety options for editing, and that is what makes my job fun,” Shen concluded.

Editor/Colorist Liang Xia Expertly Combines Technical Precision and Nuanced Emotion

The film industry is home to an army of specialty craftspeople and technicians, each working in distinct specialized niche disciplines. These widely varying duties abound in the post-production field and while many seem almost esoteric in their limited scope, some actually have a critical impact on the finished films emotional appeal and ability to directly reach an audience.

Chinese born Editor/Colorist Liang Xia is a prime example of this. His is a uniquely demanding position, one that requires a masterful sense of nuance and subtlety, balancing the aesthetics’ which a production’s setting and style requires while subtly enhancing the film’s overall mood and emotional appeal. Xia achieves this with a both comprehensive attention to minute detail and an overarching perspective on the sweep of the entire film.

“There are three different things that a colorist does,” Xia said. “First, I adjust the exposures of the footage. A lot of things, such as lighting issues, weather, location and cause the cinematographer to get incorrect exposures. In most films, there will be several shots under or over exposed and colorists fix those issues in post-production, making sure each shot is the correct exposure and matches other shots.”

“Second, Colorists need to correct unnatural colors or unwanted colors. Sometimes, color temperature of the lighting is not accurate, or if the camera setting isn’t right, the color in footage will not be correct. Even when every setting is right, the camera sensor will receive more light and colors than we can see, and there will be some unwanted colors, or the contrast will change. Colorists fix all these problems during the process of color correction. And after this process, the color will become very accurate and satisfying to audience.”

The third aspect of the colorist’s job is the most important, and also where Xia excels.

“Color can also express emotion,” he said. “As we know, red means passion or blood, blue means cold or peace. Colorists can also use color theories to emphasize emotions in scenes, chapters or even whole films. A subtle change of color tone is not very obvious to audiences, but when they watch the film and see the color, they will have a natural, almost subconscious reaction to the color tone. In this way, a colorist enhances the film, allows it to further express subtexts and emotions.”

His work on the recent feature film Strawman exemplifies Xia’s perfected mix of vision and expression. A gritty look at a youth forced into a life of petty crime to support his siblings after their parents abandon them, Xia’s atmospheric approach and attention to detail further burnished director Tian Xie’s impactful drama.

Xia is driven by a fascination with the human condition and the inescapable drama of common life. It’s a combination of sensitivity, aesthetics and technique striking an unusual balance between meticulous technical precision and broad emotional strokes. For Xia it’s almost therapeutic and this unusual artistic perspective enhances every project undertaken and has, in a few short years distinguished him as a professional force to be reckoned with.

Strawman was the first time I worked with Liang,” director Tian Xie said. “Besides his editing concepts and skill, Liang has very good vision and a feeling for color, so his color correction is excellent. Liang had a five-year experience in studying paintings, including traditional Chinese painting and watercolor. I think that’s an important reason for his excellent sense on color. When we worked on Strawman, I told him the story takes place in summer, a hot summer. Liang did some adjustments on his color panel and created an ideal overall look, immediately. That color tone was what exactly I want, and I said, ‘that is the one.’”

Xia’s lifelong affinity for both art and film created the perfect combination for his profession. “I’ve loved film since my childhood,” he said. ”After high school, I studied TV and film directing in college. After I came to U.S. to study film, I found my logic and patience gave me a strong advantage and decided to work on editing. Then, during my post-production study, I found I am sensitive to color, so I started to study color theories on my own and also took some class about film color grading.”

And it’s working. Strawman took Best Foreign Feature at 2016 Los Angeles Independent Film Festival and Best Feature Film Diamond for director and editor at the 2017 NYC Indie Film Awards, and led to an on-going collaboration with he and director Tian Xie, most recently on the short Promise. In fact, Strawman and Promise each won a Gold Remi Award at 50th WorldFest-Houston International Film Festival. Additionally Strawman officially selected in the 19th San Francisco Indie Film Festival, the 6th Richmond International Film Festival and 23rd New Jersey Film Festival.

“I love editing and doing color,” Xia said. “My goal is to keep working on indie films. In my opinion, indie films more focus on humanities and society. I want to have more chances to edit more indie films. It not only provides me editing or color jobs, but also makes me connect to the real world.”

*I like dramas that focus on people who are often ignored or marginalized by society, and these give me the chance to using my post-production skills to build complete characters—and to build a complete me.”

Editor Rudy Vermorel Nails the Mark on the Campaign for Award-Winning Video Game Clash Royale

Often referred to as the ‘invisible art’ that takes place behind the scenes of a film, commercial and other visual media projects of the like, the work of an editor is critical to setting the tone, style, and structure of a project. While their work requires extensive skill and often long, laborious hours in order to sew hundred of hours of footage together into something that unfolds seamlessly on screen, editors rarely receive their due credit in the press; but that’s just the nature of the game, the mark of the best editors means their work goes unnoticed. One editor who deserves quite a bit of attention for his extraordinary talent though is Frenchman Rudy Vermorel.

Vermorel began his career nearly a decade ago, and what he’s accomplished since is nothing short of amazing. With a keen eye for the perfect shots and the ability to create a seamless flow on every project he lends his magic editor’s wand to, Vermorel has become known for his distinct skill through his work as the editor of commercials for auto industry leader Ford, the video game Homefront: The Revolution, and countless music videos for artists including Demi Lovato, Party Favor, Av DiVinci, Alexx Mack.

Last year Vermorel signed on as an editor at Eyestorm Productions, an LA-based creative agency whose well-known clients include Hasbro, BJ’s Restaurant and Brewhouse, video games such as Tom Clancy’s Endwar, Call of Juarez the Cartel, Rocksmith and Zombiu, and many more. Eyestorm Productions also did the TV Spots, behind the scenes and featurettes for “Star Wars III: Revenge of the Sith,” and most recently the ad campaign for the video game Clash Royale.  

As the lead editor on all of the trailers and commercials for Clash Royale, Vermorel’s work for the game has been hugely successful on an international scale with the collection of ads garnering over 120 million combined views on Youtube, and other social media platforms.

“Last year Rudy came on board as the editor of the Clash Royale campaign, one of Eyestorm Productions latest projects. The series of commercials he edited for Clash Royale really drove home the intense competition and modern vibe of the game in a way that seamlessly represented the product to users and made them want to start playing Clash Royale. He nailed the project in every aspect,” explains Eyestorm Productions owner Michael Klima.

Released on March 2, 2016 Clash Royale was developed and published by popular mobile gaming company Supercell. Referred to as the ‘King of Gaming’ by Forbes in 2013, Supercell gained worldwide attention when its first two games, Hay Day and Clash of Clans, began pulling in $2.4 million per day.

Clash Royale is a real-time multiplayer mobile strategy game starring the Royales from the popular Clash of Clans game. Mixing together elements of a collectible card game, tower defense, and multiplayer online battle arena, Clash Royale allows users to form their own Clan and share cards to build their very own battle community. Available on Android and IOS platforms, Clash Royale quickly became No. 1 in the U.S. on the top downloads chart, as well as the top-grossing list on the iOS App Store game upon release. Last year Clash Royale also earned the coveted Google Play Award for Best Game of the Year, an award emphasizing app quality and innovation over the previous 12 months selected by a panel of experts on the Google Play team.

Over the past year Vermorel used his extraordinary editing skills to cut a plethora of commercials and In App ads for Clash Royale, including the incredibly popular “Clash Royale: Settle it with a Duel (Doctor v Doctor),” “Clash Royale: Settle Your Check With A DUEL!,” which has earned over 20 million views since it’s release last month, “Clash Royale Settle it with a Duel (Santa v. Dad)” and “Clash Royale: DEFUSE the Situation with a DUEL!” commercials.

“Clash Royale: Settle it with a Duel (Doctor v Doctor)” has earned a whopping 14 million views on Youtube since it’s debut on the Clash Royale Channel in January. The highly cinematic commercial is full of intensity and bright colors, which heightens the energy as two doctors battle it out over what treatment to give their patient– the perfect parallel to the intense competition users feel when playing Clash Royale.

Any user who sees the commercials edited by Vermorel would be hard pressed not to be pulled in by the cinematic effects, precise cuts and building energy set by the EDM music playing in the background– it’s no wonder that millions of users around the world have signed in and begun playing Clash Royale!

Vermorel says, “I love the game, and I love the company! They have a very modern way of working, each project is different, and there is always a new story.”

Rudy also edited a series of hilarious and visually modern character spots for the campaign, such as “I Am The Knight,” “The Log,” “Princess Got It,” “It’s A Goblin Barrel!,” and several more, all of which have gained incredible traction with viewers around the world garnering over a million views each on Youtube.

“I wanted to showcase the funny side of the characters and design the ads in a way that made them endearing, then I opted for a modern, dynamic editing approach in order to attract the interest of a large audience,” says Vermorel about his inspiration as the editor of the campaign.  

Aside from editing the Clash Royale campaign, Vermorel also edited a plethora of successful ads for Supercell’s Clash of Clans game. From the way he’s edited the commercials for each campaign, endowing the videos with an energetic and engaging vibe that is relevant to modern gamers, one might assume that Vermorel is a gamer himself, but ironically he is not! The fact that he is not a gamer, but has managed to edit the campaigns for both Clash Royale and Clash of Clans in a way that struck an obvious chord with users says quite a lot about his creative talent as an editor.

Klima says, “Rudy’s unique creativity and extensive knowledge as an editor are what have made him so successful. From our experience working together I can easily say he is the best at what he does and that is why we’ve hired him to continue on as the editor of future campaigns for Clash Royale.”

 

ARCIONI’S ECLECTIC TALENTS PAVE A NEW PATH FOR TODAY’S EDITORS

There is no questioning the fact that the way the world disseminates and receives information and entertainment is forever changed. “Appointment TV”, a staple of the home viewing industry only ten short years ago, is almost nonexistent thanks to the DVR. You can watch a film that was released in the theater within almost three month’s time on a plane. Digital Downloads now result in more viewers watching on their computer or smartphone than any of the traditional means previously commanded. News and entertainment go everywhere on the planet and they get there quicker than ever before. While this has caused previous models to take a financial hit, it has also produced an industry that has more creative professionals involved in production that at any point in history. The belief is that that not everyone succeeds but, as the saying goes “the cream rises to the top.” Ana Arcioni is among this new breed of professionals. A highly in demand editor with a widely diverse resume, Arcioni has the ability to work with productions around the globe who seek out her consummate abilities. Empowered with a wider sphere of influence than that afforded to previous professionals means that editors like Ana are offered a host of diverse opportunities, something which is a part of Arcioni’s list of desirable qualities. Productions like the animated film Reality Takes Place, EATV (Educational Access Television), and Premiere Pictures International Inc. are just a short list of the employers who have enlisted this talented editor to make their creations even greater than before.

When Ron Merk, owner/president of San Francisco based Premiere Pictures International Inc. approached Ana about working on the company’s new S.E.Q.U.E.N.C.E. project (as a film/video Editor and Artistic Supervisor for Trailers, Promos, Teasers, and interviews), it seemed to her like an opportunity to be really creative and on the ground floor of something new to the industry. It also gave credence to the company’s belief that Arcioni could display their technology and approach to the best and brightest of the industry. The owner and president of Premiere Pictures International Inc. declares, “Ana’s work with S.E.Q.U.E.N.C.E. proves to the world that It does exactly what I had in mind; it gets the viewer intrigued and want to ask ‘what is this and when can we see it?’ Editing has its own rhythm and pace, and the project itself is going to tell you when to stop. I love that Ana can read my director’s mind and put together a video like if she was? reading my mindWe’re in the business of giving great editors great tools, look no further than Ana Arcioni as proof of this.” In addition, Ana participated in the projects Outrageous, Repeace, and Harvest during her time at Premiere Pictures International Inc..

Ana’s work with EATV is yet another example of the difference in content that she edits. Ana utilized a variety of skills at EATV; doing promos, intros and station ID’s. Some of her editing work with EATV has been viewed at the Festival of Moving Image 2016 (Roxie Theater in San Francisco) and the animation film festival at the Niles Essany Film Museum. Working with producer Jody Yvette Wirt, directed by Maya Prickett, and starring Maya K Chenille, Shoebox Circus was one of the most popular productions at EATV. Shoebox Circus’s content is meant to appeal to a mainly young audience, something that Ana sees as inconsequential to her role as editor. She states, “The fact that the programs are dedicated to children or adults is only a subtle difference, as in the case of a program of urbanism or any other nature. Politics, art, geography, travel, cooking, science, new discoveries, astronomy, there’s an infinity of things. I love them all as long as there is variety. What I love most is the absence of routine. One of the most appealing factors in my line of work is diversity. For Shoebox Circus, Jody raises the idea and gives the tone of the idea. I work with that idea with After Effects editing to have a product which matches that idea. I’m happy to be working with Jody because she has a unique voice and that makes it interesting for me.”

Proving that her work bridges the gap between child and adult is the animated production Reality Takes Place. This inspirational drama discusses friendship, positive perspective and thinking, as well as death vs. life. The topics can be light and then switch quickly to having substantial gravitas. Reality Takes Place was selected and screened at: City Shorts Film Festival at Diego Rivera, Artist Television Access, Festival of the Moving Image, and the Bernal Heights Outdoor Cinema. Ana felt that her work on this production revealed things to her about editing as well as the role of all filmmakers. She explains, “Reality Takes Place is drawn and animated by myself using the Adobe Flash program. The voices are recorded in a small studio through Pro Tools, as well as the Foley effects. The first-line editing was made with AVID. The tweaks, and retouches (including sound design) were made with Final Cut Pro. On and off it was a total one-year project. In my opinion (and I know that not everyone will agree) every independent filmmaking process starts from the editor’s point of view. The more you get to edit and the more you gain experience at it, the more expert you become in shooting and in directing because you know what you want, you know the type of shots that you need. If an editor has a say in the production, or has a good relationship with a director who listens to him/her then the film benefits. I think the editor is the one who understands the most because they have the film in their head and know what shots are needed in order to make the finished piece look good. The editor can advise the director with insight like “don’t do that because it will be impossible to fix in post” or the opposite, “don’t worry about that because I can fix it in post. Being a part of any production is about teamwork. Of course I see the importance of my role as an editor. I also understand that my greatest asset is my ability to make everyone else’s work look even better, that’s why I enjoy editing so much.”

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Zeon’s Music Video Journey

Alejandro Salinas discovered MTV when he was just 10 years old. As a child growing up in Mexico City, he would listen to songs and always think about what the music video would look like. When he saw a new one come out and it would not match his expectations, he would become thrilled at the idea of making his own version. When one came out that was better than he imagined, he would become overwhelmed with excitement and the new possibilities that those amazing ideas had brought on for the industry, the world, and his creative perception. The love for music and inspiration it draws generates a need for him to create visuals for it.

Now, that young boy from Mexico City goes by Zeon, and is recognized around the world as an outstanding director and editor. Despite working on films and fashion films and achieving extraordinary success, he still knows his passion is the same as the 10-year-old boy who would watch MTV all day.

I make music videos. I create a visual world from a song. I direct and edit the process, and I’m very detail-oriented. It’s the most rewarding discipline for me. It encompasses so many different art forms and you’ll never be bored by it. There will always be new songs to be inspired from to create new visuals, and that keeps me coming back to them,” said Zeon.

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Zeon in Lady Gaga’s “Til It Happens to You”

One of Zeon’s greatest accomplishments was working with Lady Gaga on the music video for her Academy Award nominated song “Til It Happens to You”, showing the stories of women who are raped on college campuses. The video has been viewed over 37.5 million times on YouTube.

“I love Lady Gaga and she is someone I look up to,” he said. “But I also wanted to work on this because of the importance of the video and the impact it would have on society and rape culture. I was there behind, in front of and beside camera throughout the whole process, and it was a very fulfilling and honoring experience to have taken part of.”

Jamie Holt, the producer of “Til It Happens to You” was impressed with Zeon’s work and asked him to be involved with her next projects, the music videos for the band Icon for Hire, for their songs “Now You Know” and “Supposed To Be”. “Now You Know” premiered February 2016 and has over 1.4 million views on YouTube. “Supposed To Be” premiered June of this year and has over 826 thousand views.

“It was a lot of fun. Each video presented different ways to be explored creatively,” said Zeon. “Jamie allowed me to fulfill her vision through editing by expanding the ideas she had in mind and by also adding my personal touch to make it impacting.”

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Still from Icon for Hire’s “Now You Know” music video.

Zeon’s first taste of true success came when working on the music video for “Arrójame” for the legendary 80s/90s Mexican rock band La Lupita, a humbling experience for Zeon, who had his music video on TV debut with this video.

“It was very emotional moment when I saw the video on television for the first time. I never knew when or how it would ever happen, that a music video of mine would be on TV, but when I was watching the premiere with my cousin and grandma and the video came up, it felt very touching to see a video I worked on debuting on national television,” he said. “I loved the song and I thought I could create an interesting video for the band. They are very talented and hardworking people. Even after years, they’re still hustlers and I found that very inspiring.”

The producer of the video, Estívaliz Zaragoza, had worked with Zeon previously and says she would never miss an opportunity to collaborate with him.

“Working with Zeon is full satisfaction, because he is always on top of his responsibilities and tasks, he never hesitates on helping his team mates. His creativity and ideas are refreshing and right on spot. He always has something to share, knowledge, helpful information and useful ideas. He has a mixture of skills that make you want to have him in your team and collaborate in his projects: He is proactive, disciplined, detail-oriented, a team player, and super creative,” said Zaragoza.

From there, Zeon’s career took off. He worked on the fashion film Dieode and the celebrated fashion documentary Mextilo, and worked on the music video for the iconic collaboration of legendary Mexican singer Lila Downs, the Spanish Niña Pastori, and the Argentinian Soledad for their song “Que Nadie Sepa Mi Sufrir”. The video has amassed over 2.5 million views on YouTube, and their album received a Grammy nomination.

“It was a very exciting opportunity to work a new project with such legendary artists from different Spanish-speaking countries,” said Zeon. “I didn’t have an award in mind at all, I just wanted to make sure I could deliver a video that worked best for such great artists, but it’s very honoring to know that you took part in such a great achievement in an artist’s career. The album not only got nominated, but actually won the Latin Grammy in 2014 for Best Folk Album. And then the next year it got nominated for the 2015 Grammy Awards for Best Latin Pop Album, which is amazing as well.”

Zeon knows he has the power to push an artist’s vision even further. He has been studying music videos for almost his entire life, and can sense what works and what doesn’t. He strives for perfection, and that is what he is known for achieving.

“I love the emotional, narrative and visual impact I can have on the final result of a video. It can completely shift an artist’s career. It thrills me to push alongside them, because we’re both moving forward in ways we never imagined” he concluded.

 

TV COMMERCIAL EDITOR PAVEL KHANYUTIN IS A MASTER OF THE 60 SECOND EPIC

Small is beautiful—the economy and discipline of the short form, whether a haiku poem or one minute television commercial can be as rewarding, in its own way, as a feature length project. But that spare intimate moment also poses a tremendous creative challenge, one which only an acutely capable craftsman can master, and Pavel Khanyutin epitomizes that nuanced, subtle skill.

The Russian-born film editor-visual effects supervisor’s instinct, delicacy and precision have allowed Khanyutin to build a solid professional reputation as a master of both thirty second TV spots and feature length films. Navigating such a broad spectrum takes a very special gift, and the ease with which he manages it only underscores Khanyutin’s natural talents.

Khanyutin’s earliest experience was cutting documentaries, a genre where the straight expositional narrative succeeds largely due to how the editor frames and delivers that information.

“I started doing advertising at the beginning of my career in 2000,” Khanyutin said. “At that time I already had experience in editing documentary films and I’d been working with computer graphics for several years.”

“Advertising, of course, can’t be compared with films in complexity,” he said. “Time spent in the editing room and the tasks differ a lot. However, advertising is strongly connected with film. To my thinking, this goes both ways and dozens of techniques move from ad to film and back, improving and gathering sensibility along the way.”

Khanyutin soon found himself working for all the top Russian ad production companies—DAGO, Bazelevs, Robusto, Action Film , Park Production and international agencies like Instinct (BBDO Group) and Leo Burnett Worldwide.

“These gave me fantastic opportunities, within a short time, to edit dozens of TV promotions in many genres, to work with different directors and studios, for various brands and in different formats.” Khanyutin said

The ability to infuse cinematic qualities into a television commercial gained Khanyutin a great advantage in the field and he has done successful spots for such major international clients as Mars, P&G, Garnier, Pepsi, Toyota, Google, IKEA, Tele2, Megafon cellular and many others.

“The skill of editing commercials has a lot to do with one’s ability to pinpoint the soul of a story and convey it in the most economical way possible,” commercial director Rachel Harms said. “Pavel’s brilliance is evident at every stage of the editorial process. He’s a master at uncovering the choice moments, shaving them down to their essence, establishing rhythm and musicality, and finally juxtaposing images in a way that achieves maximum impact.”

Khanyutin relishes the challenge television ads present. “During editing, I consider a TV ad to be like a short film,” he said. “There are many possibilities in spite of the very restricted format, but you also face a limitation of possibilities. As an example, there are ads with a lot of dialogue or an overload of text information, and you must always consider the strict time limit of 30 seconds to one minute.”

“Another type is the ‘branding’ or ‘mood’ ad. These have a much less strict structure. The characters do not speak much or don’t speak at all. Here you almost unlimited possibilities for editing, with many variants on how and where to put focuses–to solve the task rhythmically. All small details are of great importance. One flash of half a second may finish the composition in full, if you find its right position in editing.”

Khanyutin’s focus, dedication, comprehensive vision and innate knack for conceiving and presenting the ideal cut on any given assignment has kept him in demand as a TV commercial editor for more than fifteen years

“I’ve worked with countless editors across the globe in the course of my career as a commercial director,” Harms said. “It’s rare to find such extraordinary intelligence and insight wrapped in such a collaborative heart. Pavel listens well and quickly attunes to a director’s vision, yet he never loses his own strong point of view.”

“After a shoot, I know that my material will either live, die or thrive in an editor’s hands. This is the final critical stage where everything will either come together or will be derailed. With Pavel as my editor, I’m always confident the finished product will be exceptional.”