Tag Archives: Editing

Editor, Film

Zekun Mao talks importance of editing and new film ‘And The Dream That Mattered’

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Beginning her career working on documentaries, Zekun Mao knows the power of editing in terms of filmmaking. Simply changing the order of a couple of shots can create a huge difference. Editing, therefore, is very crucial, and the final step in the storytelling process. A good editor can lift the story, not only telling the story itself, but also creating this beautiful flow for the audience. A good editor can not only tell the most powerful story, but also bring the entire audience into the film, letting them experience the story by themselves. An editor, according to Mao, can not only guide audiences’ eyes, but also their hearts.

The Chinese native is now an internationally sought-after editor, having worked on several critically acclaimed films, including Our Way Home, Jie Jie, and Janek/Bastard. She always aims to be storyteller first, editor second, and this commitment to her craft is evident in all of her work.

One of Mao’s more recent films, And The Dream That Mattered, once again impressed audiences and critics alike. It follows an ambitious Asian actor who’s well on his way to Hollywood success when he returns home to Korea and soon discovers that even while reconnecting with family and loved ones, his creative journey ahead is even more lonely and difficult than he could have ever imagined.

“The ideas shown in the film are very contemporary and universal. They speak to a lot of young artists today, and the struggles they face in the modern world. I hope that by watching this, such people can find answers through their own interpretations of the film. I also hope it can encourage a lot of young artists today to pursue their dreams no matter what comes in their way. The film shows that even after a struggle, hard work eventually pays off,” said Mao.

Mao feels that the story, although it is about an actor, can apply to all artists. As an editor, she related to the story and the struggles the character goes through. She hopes many young people can feel something and know they aren’t alone when they watch the film.

Working on And The Dream That Mattered was an incredible experience for Mao. The film was shot without a typical script, in the style of a documentary, a genre she is extremely adept in. Her first step was to categorize the footage according to the emotions portrayed in it. Thereafter, she started building the narrative based on the ebb and flow of emotions in the footage. In doing so, Mao realized the film could play out like reading a book, and she decided to give each story segment a chapter name, summing up the main theme in each story.

“This project gave me a lot of creative freedom. Coming from a documentary background, the shooting style and the structure was very familiar to me. I enjoyed having nearly complete freedom in shaping the story according to what emotions I sensed throughout the footage. Because of this, I myself started reflecting on a lot of the questions that were posed in the characters’ lives. It felt not only like an editing process, but a life journey,” she said.

Mao lent a unique perspective to the narrative. The director and the actor both had their own ideas of what emotions they would emphasize in the film. Mao was able to filter through a lot of ideas from many team members and eventually put together a version that combined the best of everyone’s ideas, including her own. While working on the editing process, she suggested that the lead actor write letters to various important people in his life. These letters ended up being used as voice-overs throughout the film, which tied the film together.

And The Dream That Mattered has yet to make its way to film festivals, but it already took home the Best Independent Film Award at the Korean Cultural Academy Awards. Mao could not be more thrilled by the success the film has seen thus far. It has a lot of experimental elements to it, and it’s heartening for the editor to see such experimentation being appreciated.

“I’m happy that the writer, who is also the lead actor in the film, Jongman Kim, is getting the recognition he deserves. As the editor of this film, I’m thrilled that our hard work has the potential to bring about change to people’s lives,” she said.

Undoubtedly, Mao has had quite a career so far, and And The Dream That Matteredis just another example of what a force to be reckoned with she is. For those looking to follow their dreams and take on a career as a film editor, Mao says practice makes perfect.

“It is a hard job. It might seem very easy, just putting things together, but there is a lot more to it than meets the eye. It is an art form. You need to practice a lot. Editing is not just knowing how to use some software. It’s more about telling the stories. I would say be prepared. Be prepared to work very hard and be prepared to be criticized very hard too. Be patient, because it takes a very long time to figure out the best version of the story. Most importantly, be passionate, because it is a very exciting job,” she advised.

Editor, Television

Editor Roma Kong shows of beauty of nail art with iconic Disney characters

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Editing, to Roma Kong, is like a simultaneous combination of surgery and magic. When she gets footage, she reviews the script and gets an idea for the direction of the story. That is when she starts cutting, splicing things together, and moving things around, until every part is put together, telling a clear story; that is the surgical aspect. When it comes to the magic, Kong believes that part comes in two ways. The first being that each story must evoke a certain feeling in the viewer, so it’s not only cutting and putting things together, but also adding emotion to it, whether this be through the music, the rhythm, the speed of the cuts, etc. The second, more often than not, is transforming the footage that may not tell the story they want and making it what they need, without any reshoots or work from the crew. That is where the real work for a film editor comes into play, and that is when Kong truly shines.

Born and raised in Lima Peru, the in-demand editor has impressed the masses with her work. She often collaborates with renowned production companies like Nickelodeon, with work on their online video series BTS Nickelodeon and Inside Nick, as well as Disney.

With Disney, Kong edited DIY Disney, an online series that allowed audiences around the world to see just what she is capable of. The videos amassed over 11 million views, and featured various crafts that viewers could partake in, offering simple and fun instructions using Disney films and characters. She also created another video titled “Disney California Adventure Food Crawl”, effectively launching the Disney Eats brand. She is quite the formidable editor.

“I would say my style of editing is very fluid, dynamic and fun. As a filmmaker, I strive to entertain the audience, so when I edit, telling a good entertaining story is the priority. I also love for cuts to be seamless, so I pay close attention to movement and try to make really smooth transitions between shots, even when making pop videos. I also work very fast which is something the people I’ve worked with have always appreciated,” said Kong.

Kong has a close working relationship with both Nickelodeon and Disney and is often the companies’ first editing choice when they have an innovative new online project to pursue. In 2017, Kong continued her work with Disney on their TIPS Disney series, featuring different videos showing the intricate work behind nail art, using some of Disney’s most celebrated productions.

“I think these videos really help bring more attention to a form of art many don’t really consider art. They allow the audience to truly appreciate the intricacy of the work these artists do. They give Disney fans great ideas on how to show their love for their favorite characters in very stylish ways, and they inspire other artists to create their own version,” said Kong.

The videos feature many beloved Disney film and television productions, as well as iconic characters. These include High School Musical, Mickey and Minnie Mouse, Moana, Coco, Beauty and the Beast, and more. They were published through Disney’s expansive social media platforms, including YouTube, Facebook, and Instagram. Together, they gathered over 7.6 million views.

“Seeing the comments from the audience on the videos and realizing how much they love them is heartwarming. Seeing people post about their own versions of what we showed them, is amazing. Reminds you that you’re not only making things for people to watch and forget about, people actually truly love these movies and characters and love showing their love for them and your video can persuade them to make something that they hadn’t thought about before,” said Kong.

Kong’s talent as an editor is evident in the TIPS Disney videos. She is very good at editing with music beats and for Disney Style, the Digital Brand that Tips Disney falls under. Her colleagues and her audience enjoyed the rhythm Kong put into the videos and how, by doing a very musical type of editing, made them fun and entertaining to watch. Because she has a very good eye for art and style, she knew exactly what the best shots were and what made the art look the most stylish and vibrant it possibly could. She understood the vibe of the brand very quickly and knew exactly what the executives wanted before they even knew themselves.

“I loved watching the intricate process of nail art in such a detailed way. I was constantly mesmerized by how hard it is to do, and I found myself with a lot more respect for nail artists. It’s such a great art and they’re all so talented. And also, being able to play with scenes from some of my favorite movies and use them to create something new was so much fun,” said Kong.

Kong worked on TIPS Disney from October 2017 to December 2017. It was an amazing experience for the editor. The Disney Style brand is her favorite out of all the Disney Digital brands. Making multiple videos for it was a great opportunity. The audience loves their content and as a result, the brand has a lot of engagement, and as an editor, making content that a lot of people would appreciate, and love was something that truly made the experience for Kong. It’s a fun brand to work for and it fits her editing style perfectly.

“Disney is the holy grail of the entertainment industry. Working for them is like hitting the jackpot of companies you can put on your resume. Being able to do that and have a Walt Disney Company ID with your picture on it, walking into the Studios with no problem at all is quite the dream come true,” Kong concluded.

Editor/Colorist, Film

Colorist Cynthia Chen shows emotion behind Sichuan Opera masks in award-winning film

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When Cynthia Chen was a little girl growing up in China, she was always inspired by her mother. She was an art teacher, and a young Chen therefore began painting from a young age. She was always sensitive about the different colors she used and playing around with color always amused her. As she grew, this fascination only intensified, and she found it impacting her hobbies. She began to have an interest in photography just to play around with the photos while editing, changing the colors and enhancing them to create a captivating piece of art. When she began filmmaking, she realized how impactful color is to every shot in a piece, conveying emotions and acting as another way to tell a story. It can impact film styles, she realized, and when she already had an interest in editing films, she realized that being a colorist would allow her to explore this interest she had from childhood and turn it into a fruitful career.

Chen is both a highly successful editor and colorist. Her passion for what she does is unwavering, her talent unparalleled. Every project she has been a part of, including I Don’t Want to Sleep Alone, Offsprung, Slingshot Prince, and The Last Page, have gone on to critical acclaim at many of the world’s most prestigious film festivals thanks to Chen’s efforts.

“Just like editing has a rhythm to tell a story, the color, as another method to express the emotions, also can have a “rhythm” when it comes to contributing to create a film. I believe a film masterpiece must be treated and polished as a great art piece. Color grading enhances the texture of a film picture which makes it become a completed art piece. Every time I finish the color grading works, the group of filmmakers I am working with are always shocked after seeing the before and after pictures. That is my proudest moment. The whole color grading process makes me believe that my talent brings this film into a higher level,” she said.

One of Chen’s greatest successes as a colorist was the film Mask. The animated drama looks into masks in Sichuan opera that are traditionally used to reveal the changes of inner feelings and emotions of the characters participating in the drama. The masks turn abstract emotions and mental states into visible and sensible concrete images, and reveal the feelings of the characters inside the story. By raising the hand, swinging a sleeve or tossing the head, an actor uses different masks to show different emotions, expressing invisible and intangible feelings through visible and tangible masks. Mask, is inspired by Sichuan Opera Face changing. It is a story behind a mysterious mask, which shows different patterns as different lights go through.

The three characters in the film are heroes from different traditional Chinese historical contents. Qingshi Huang, represents as the breadth of vision, is the first king in Qing Dynasty.  Monkey King, one of the most famous and classical characters in Chinese fairy story, the guardians of his master, as the leader protected his group on the West Road, through eighty-one trials and finally reached the goal. Zhuge Liang, the smartest military advisors from three kingdoms era, served for Bei Liu, represents wisdom and loyalty. Those characters are also three heroes in Chen’s heart. For the Chinese native, it was an honor to work on this film that has a deep Chinese culture background.

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According to those three different characters, Chen decided basic color tunes for each one. The king Qingshi Huang has a yellow and green color tune because in Ancient China, yellow means power in social classes. Zhuge Liang, who represents wisdom and loyalty, uses a blue color tune as the main color base. In the color theory, blue connects to calmness and cool emotions. Chen set golden and orange color tune for the brave Monkey King as those colors stand for positive minds, passion and braveness. Therefore, the scenes where those three characters appear, and the weapons on their hands, have the unite color tunes.

As the entire film was CGI, the renders had a strong contrast in colors, which Chen thought looked very digital. To solve this problem, she decreased the contrast of the entire picture, adding some yellow color tune and film grains. She then adjusted each scene for each character, and finally finished the color grading work. She helped to bring the whole picture to a new stylized level.

“This short film had a very large creative space for me to try on the different color palettes and stylize the picture, which made this piece very interesting and fun to work with. The CGI images contain more color information than the images shot by cameras, so there was a lot of space for me to adjust the color for this film,” said Chen.

Mask had a tremendous film festival run with the help of Chen. It was an Official Selection at the New Media Film Festival and the Asian Film Festival of Dallas 2018. It also went on to win the Award of Excellence at both the Best Shorts Competition 2018 and the One-Reeler Short Film Competition 2017. Chen could not be happier about the film’s many accolades.

“It was such an honor to work on this project that explores such an important part of Chinese culture. This is a milestone project in that it was a brand-new experience for me. The success of this film encouraged me to do more color grading work in the future which has more culture background,” she said.

The new works Chen has contributed to, feature film Indivisible and documentary Fantastic Fungi, are expected to be released later this year. Be sure to check them out to witness this colorist’s talent first hand.

Editor, Film

Yun Huang talks editing powerful new film ‘Stardust’

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Editing is about emotion, and Yun Huang knows this well. In order to be successful in her field, she knows that understanding every detail in a script is a necessity. She does not simply put footage together, she tells a story, and she has to know the best way to captivate an audience.

“Being an editor provides me with a chance to tell the story to the audience in my way. I can alter a script if necessary and trust my emotional instincts. I connect with people. This job provides me with a great sense of accomplishment,” she said.

No matter what project she takes on, Huang is sure to keep the story at the forefront of her mind while editing. This is evident in all she does, from the powerful commercial “Choice” encouraging girls to follow their hearts, to the informative and telling docuseries Unveil China Outside China, educating its viewers all over the world on the country’s social and political happenings.

“The challenge of any new project is that I have to figure out how I can attract the audience best; for example, how to make an audience laugh at the point that we set up. I always go to the cinema or some film festivals to watch with audiences to see their reactions based on the editing. I should know their thoughts and therefore know how to make my work resonate with the audience,” said Huang.

Huang’s most recent film exemplified just how she connects with viewers. Stardust tells the story ofa male Chinese agent who, loyal to the country, finds out that his most trusted partner, a female Chinese agent, betrays their country. However, as the story progresses, he begins to question his beliefs and the truth.

“I like the story. I’m touched by the soldier’s loyalty to the country and their missions. I believe that showing this kind of emotion is what film is all about,” said Huang.

After premiering earlier this year, Stardust has gone on to several prestigious international film festivals. It was an Official Selection at both the Austin Spotlight Film Festival and Direct Monthly Online Film Festival, an Award Winner at Accolade Global Film Competition, and the winner of Best Action Short Film at Five Continents International Film Festival. With all this, Huang herself was awarded Best Editing at Festigious International Film Festival.

“I was so excited that it got so many awards, and I got an editing award. It just goes to show that hard work and determination will pay off,” she said.

Huang was both the video editor and colorist of this short film, and it was her first time working on a film in the action genre. Initially, she was unsure if she wanted to work on the project, normally leaning towards relevant dramas and documentaries. Before deciding to take part in the film, she talked with the director, Shihang Qu, several times. He told her that he really loved Wing Chun and other kinds of Kung Fu since he was a child, and he always dreamed of directing an action film. She was moved by his efforts, so she decided to take on the project and help the director achieve his dream.

“Shihang is very nice, and he listened to me and considered my suggestions. He accepted all my recommended changes. I really like being respected,” said Huang.

It took over six months to generate a final cut of Stardust. With every day they were shooting, Huang would then look at the footage. This is not a common process, and normally the editor receives all the footage at once in post-production. However, by adopting this style, Huang not only got a better understanding of the story, but also an idea of what the director envisioned. This also allowed her to make suggestions that were instantly implemented. For example, there is a shot of the main character in a scene when they were fighting with bad guys. The director had initially planned for it to be put in the middle of the film as it showed in the script, but Huang thought it would be better if it was moved forward in the story, as the opening scene. It instantly captivated audiences and allowed for the story to be told as a memory, slowing the pace of the beginning and speeding up at the end.

In the end, Huang changed the structure of the story which made the short film more attractive and meaningful. Her instincts as both an editor and storyteller are always fruitful, and she will no doubt continue to have an impressive career. Keep an eye out for her future work.

Editor, Film Editors

Editor Ran Ro uses fashion as means of storytelling in new video

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Born and raised in South Korea, Ran Ro loves being a film and video editor. She enjoys arranging different shots together to tell a cohesive story, especially when a project largely relies on sound and music. As an editor, she gets to create moments between characters and helps the audience feel and see the world from the perspectives of those characters, and that, for her, is pretty special.

“Editing for me is almost similar to speaking in public except I get to trim or cut out parts that aren’t necessary before the speech happens. I’m a terrible public speaker though so editing is a much better way of communication for me because I can then finesse the ‘speech’, so to speak,” said Ro.

Ro has become a leader in the editing industry and recently has worked on many prolific projects, including a commercial for BackBeatRags celebrating their environmentally-friendly clothing line as well as a series of videos for Tastemade, creating culinary travel videos for digital distribution across all platforms, from Facebook to Instagram and everything in between. The highlight of Ro’s career, however, came just last year after her film In Between premiered and was recognized at film festivals around the world.

“It was very meaningful to me since the project was written based on my childhood experience of growing up with my grandmother. I was initially very hesitant to make the film, especially with difficult scenes that were set in otherworldly places and were complicated to execute. But with the help of my crew, we were able to make it happen and it was rewarding to see that the viewers resonated with the story,” she said.

Earlier this year, Ro collaborated with Elite Models to create a teaser video showcasing the new face of the agency. After noticing a lack of videos for the Los Angeles based branch, the director and Ro reached out to Elite Model Management and pitched an idea about making a showcase video for the new models at Elite. Once the project was approved to be made, Ro reached out to a team to get them on board, and the work began.

“It was incredible to work with such a passionate team and help Elite Model Management to showcase the new models by making content with beautiful imageries and a high production value,” said Ro.

Elite Model Management is one of the top agencies worldwide, and Ro recognized the need for a high-production value video for their marketing. The main goal on this project was to highlight the natural beauty of the models. Ro and her team had an idea of building a spacious palace with sheer linens where the sunlight would diffuse through them. She worked on making a visual treatment together with the director, pitched the idea to the management, and also found the music piece that best complimented the video. Also acting as a producer on the project, Ro recruited many that she believed would be a good fit.

Knowing that her editing would be driven by the music that would be chosen, Ro communicated with the cinematographer about the pace of the music, which affected his decision on the use of slow motion effects. She was very specific about the speed of the slow motion and it really enhanced the editing.

By understanding the director’s vision thoroughly while still having a vision of her own, Ro was essential to the project’s success. She was involved from the very beginning, and her commitment is evident in the final piece. She made sure that every detail in the production – from styling to the choice of music – was in line with the concept that was initially pitched. Her deep understanding of the project also facilitated the editing process, as throughout the entirety of filming she had a clear idea of which shot to use and how to structure the video while blending the visuals and music together to tell a powerful story about the agency.

“In addition to the company’s immense success, I really admire Elite’s mission – they embrace diversity, change and inclusiveness – I think those are the values that we need to be reminded of as filmmakers,” she said.

Using fashion as a means of storytelling was fascinating for the editor, and she believes it broadened her horizon as an editor. She knows the importance of versatility in her career and is always looking for new mediums to explore with her talents. She encourages those looking to follow in her footsteps to do the same.

“I think it’s extremely helpful to work on as many projects possible as an editor to find your editing style and what kind of content that you want to edit. I found it very helpful to work on the administrative side of post-production, as I learned and gained knowledge about the business and the post production workflow,” she concluded.

 

 

Editor, Film

Go behind-the-scenes of ‘Pumpkin and Fried Noodle’ with Editor Meibei Liu

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From the time Meibei Liu was a child, growing up in Shanghai, China, she loved watching movies. They would make her laugh, they would make her cry, and spending two hours enjoying a film became her favorite pastime. But being so young she would only take in the entire production, not appreciating the many roles scrolling past in the credits that it took to achieve the movie that just entertained her. However, this all changed when she was a teenager and decided to try making a movie of her own for fun. Despite enjoying films all her life, she knew nothing when it came to actually making one. It was a much harder process than she could have ever imagined, but she found herself constantly playing, pausing, rewinding, and cutting down parts of the film that she had made. She was a natural editor, and it was then when she fell in love with the art of editing. Now, years later, she has never looked back.

“Although the story was as naïve as it could be, the fun of making and editing the film just aroused my huge interest in filmmaking and also changed my life,” she said.

This past year, Liu has seen a lot of success worldwide. Her work on The Ballerina, The Shoemaker, and His Apprentice,Headshot, Dear Mamá, and Faith Need Not Change Her Gown have been celebrated at many international film festivals. Her first taste of such success, however, came back in 2013 when she worked on the documentary Pumpkin and Fried Noodle.

Pumpkin and Fried Noodleis a short documentary shot in Taiwan. It tells the stories of how two different families make their living as an outsider in a small village. Though tough, they still find their ways for inner peace and happiness. The film was selected for the Golden Sugarcane Film Festival, Taiwan’s first film festival where the filmmakers have to shoot and edit on site.

“I really liked that the documentary showed the culture of the village, and documented that beautiful, peaceful and friendly place, which was very different to the culture I was in growing up. It tells stories of outsiders in the villages and shows how they fight to live a better life and struggle to be part of the society over there. It’s also a story about women empowerment, telling how they managed to support the whole family without any help. Making a documentary about them was important because their way of living life and being in a difficult situation needed to be seen by others,” said Liu.

Because of the circumstances of the Golden Sugarcane Film Festival, only a pitch was submitted in hopes of qualifying as one of the ten slots. Once Liu and the rest of her team were selected, they were invited to Taiwan to make the film. During the week, Liu was with other filmmakers finding the subject to shoot and finding structure and stories. This allowed for faster editing, as she was able to spot what would work while filming. Then she finished each day with the editing. On top of this, she conducted interviews each day.

“Going there to make the documentary without knowing whether it will work or not; finding the story during shooting was like an adventure that needed a great sense of filmmaking, which I liked and wanted to be part of,” Liu recalled.

The film exemplifies how important editing is. Liu and the other nine filmmakers on the crew conducted several interviews with over ten different people, but in the editing room, Liu cut that down drastically, only showing two of the subjects that were interviewed. The film focused on their lives in detail, showing their philosophy of living rather than small aspects of many lives. Liu also made the decision of blending the two stories rather than showing one after the other, which helped lead to the warm and touching climax at the end.

“Meibei is very hard working. She edited our entire film within three days. She was very easy to work with, always there in the pre-production, making sure everything was right and very insightful about the story and production. In the post-production, she sacrificed her own personal time, which made the impossible schedule work in the end. Meibei is an editor who is very insightful and creative about creating story structure. She is amazing in terms of editing skills and at the same time, also very sensitive of capturing emotions of characters,” said Song Huang, Director.

Because of the competition, time was limited when making Pumpkin and Fried Noodle, requiring a fast, hardworking and passionate editor like Liu. On top of this, she was able to connect with the two women’s stories in a way that audiences can instantly see when watching the film, making it a true masterpiece.

 

Editor, Film

Editor Xiaodan Yang refines artistic story in upcoming film “Summer Orange”

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Xiaodan “Christy” Yang was a teenager when she realized she was meant to be a filmmaker. At the time, she and her friends at their high school in China were just having fun with a video camera. They were so excited and curious about the tool and would pretend to interview students during lunch breaks. Quickly, this transformed to casting classmates in small productions, and Yang was the leader.

“The most classic one was a Titanic parody where I picked two leading characters to play Jack and Rose from the “audition”. Then we shot the “I’m flying” scene. Their acting was so hilarious and the whole process was a lot of fun. I really enjoyed it and that’s the first time I started thinking that maybe I could be a real filmmaker someday. I wanted to bring larger audiences to tears of laughter and allow them to experience all sorts of emotions through my work,” said Yang.

Despite being in charge of her high school short films, Yang found her way to a more behind-the-scenes role in editing. Now, she is an award-winning editor and is recognized far beyond China for her talent. Through her work on dramatic films such as Kayla, Witness, Sixteen and It’s Not Just About a Film, Yang’s contributions as an editor shape these important stories into pieces of art, and all those who work with her know what an asset she is.

“I worked with Xiaodan on my film, Ashram, as well as a short film called The Review. I directed the films and she was my editor for both of them. To work with Xiaodan is to have a very smart, skilled and sensitive creative partner. She is very thoughtful about her editing decisions, and a very even-keeled and well-balanced guiding creative force for the project. She’s very competent and efficient, but also artistic and intuitive. She has strong communication and learning skills, which make us work efficiently,” said Matt Marlin, Writer and Director. “Xiaodan is a strong creative presence and also very flexible with working with different types of personalities. She often juggled multiple projects when working with me, and still made me feel like my project was at least an equal priority with the other things she was working on. She can roll with any notes I throw her way, and also push back when she believes in a creative decision strongly. She has a great intuition for how to best bring out the story from the footage provided.”

When working on the upcoming film Summer Orange, an artistic story, Yang knew it would be defined by the editing. When she first read the script, she was immediately captured by the characters and could feel the desolation they felt in every word. She instantly said yes to the project.

“Summer Orange is about a filmmaker dealing with his real life and the film he’s shooting. As a filmmaker myself, I felt close to him. As I was editing the film, the film also affected me in many ways. I was thinking deeply while working on this one,” said Yang.

The film follows Da, a film student in Los Angeles. During the time shooting his thesis film, his old friend, Lu, comes to visit him. It has been a few years since the two have seen each other, and they both have changed. At the same time, the relationship between Da and Xintong, the leading actress of his film, becomes ambiguous. With so many things going on, Da feels confused about film and reality.

“This is a very personal story for the director. Some plots and details come from his actual life experience. If other films are considered novels, this one is more like a prose. The story is sincere, but also abstract. Although nothing dramatic happens, the tone of the story is attractive. Sometimes life is just overwhelming, and people can’t do anything about it. The best part of this story is the dynamic between the characters. That was also my emphasis during editing,” said Yang.

Summer Orange is directed by Chen Xu, who also wrote the film. He had previously worked with Yang on Witness and It’s Not Just About a Film and knew her extraordinary editing talents would help captivate audiences to his subtle story. As the editor, Yang understood the director’s intentions of this story precisely. When going through the footage, every decision Xu made while shooting made sense to her and she knew just how to approach the editing. She could transform and breakdown the script without disrupting the artistic conception. As it was a calm story, the director chose to shoot the film in an objective way, meaning most of the shots were long takes. When Yang was editing, she watched each shot over and over to make sure she was choosing to highlight the best performances from each actor. After doing this, she still made sure not to cut the long takes, therefore ensuring the dynamic between each character was as close as possible to how it was originally shot, refining every take. She also slowed down her pace while editing and instead of simply thinking about what would be useful, she cared more about what felt right for the atmosphere.

Undoubtedly, Summer Orange will be a tremendous film and showcase what a formidable editor Yang is. It will premiere this May at none other than the prestigious Cannes Film Festival Short Film Corner and will expectedly make its way to several more festivals in the coming year.

“I feel so excited about the Cannes Film Festival, since it’s one of the best film festivals in the world. I believe this is just a good beginning, and more and more will come,” Yang concluded.

Commercials, Filmmakers

Filmmaker Shaan Memon celebrates the holidays in commercials for Dickens Fair

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Shaan Memon

As far back as Shaan Memon can remember, his family had a VCR player at their home in Ahmedabad, a city in Gujarat state in India. Every Sunday, he would watch all of his favorite cartoon shows, and his father used to help him record the shows on video cassettes. When his father would travel to Bombay for work, he would return with movies for Shaan and his elder sister. It was then, in his living room in his childhood home, that his love of film was born.

Now, Shaan is an in-demand Screenwriter, Director, and Editor. He first impressed international critics with his work on the horror The Unreal and continued to do so with his films Fitting In and Bullied, as well as the documentary Purpose Driven Study for Dharoi Canal Command Area. He is extremely knowledgeable in every aspect of filmmaking, from pre-production to post-production, and using this knowledge to expand his skillset. At the end of last year, his work on a commercial for the Dickens Christmas Fair showed that in addition to Director and Editor, this versatile filmmaker can even take on the role of Videographer and achieve tremendous results.

“I found Shaan to be reliable, assiduous, hard-working, and intuitively creative – as well as being extremely patient in performing multiple re-cuts of the material. Shaan impressed me so much that I recommended him for other work and hope to engage his services next year on a separate video for the Dickens Fair,” said David Hakim, Producer/Director who worked alongside Shaan on the commercial.

The Great Dickens Christmas Fair is a one-of-a-kind holiday adventure into Victorian London and is an elaborate party with around 800 of costumed players performing and interacting with patrons in over 120,000 square feet of theatrically-lit music halls, pubs, dance floors, and Christmas shops. It’s a twilight evening in Charles Dickens’ London Town – a city of winding lanes filled with colorful characters from both literature and history. Enticing aromas of roasted chestnuts and hearty foods fill the air. Cries of street vendors hawking their wares ring out above the bustling crowd. Dozens of lamplight shops are filled to overflowing with Christmas gifts. The Dickens Christmas Fair is a treasured Bay Area tradition since 1970 and a splendid way to celebrate the holidays. Thousands of people attend this event every year.

“I had never visited the fair before, so the first time when I visited it, I was spellbound. They have created a different world in itself. One can never imagine what would it be inside until they visit it, and that is exactly I wanted to capture. I therefore insisted on not visiting the fair before shooting, as I wanted to feel like a traveler who is experiencing it for the first time and I captured those moments,” said Shaan.

Shaan is a multi-talented filmmaker with an outstanding about of expertise in writing, directing, editing, videography and sound design. Because he has so much experience in such a variety of roles, he is a one-man army who can execute a project as clearly and as nearly to how it was conceived during the consultation. Having thorough knowledge of different fields makes him a force to be reckoned with and proved vital while shooting this commercial.

“Every filmmaker works hard with his/her sweat and blood to make a project the best it can possibly be and make their name in the industry. I had huge responsibility as Diane Baker put trust in me and suggested me to work on this project. I’m happy that I could reach her and David’s expectations,” said Shaan.

When Diane Baker and David Hakim were trying to find someone who could make a captivating commercial for Dicken’s Christmas Fair, they immediately thought of Shaan and approached him to take the lead on the project. Initially, Hakim had planned on creating a competition to decide who would create the commercial, but after seeing Shaan’s work, he knew he no longer needed to find someone to take over.

Working closely together for the entire shoot, Shaan consulted Hakim regarding what kind of shots, pace and feel would be required. After brainstorming, they decided on getting more front faced shots of the visitors, showing how happy they were and enjoying their time. Getting the best shots of artists performing, vendors selling beautiful products, the decorations, the grandness of the fair and much more. Shaan then attended the fair with his assistant to get as many shots as possible. During the editing process, he consulted with Kevin Patterson, Executive Director of Dicken’s Fair. He edited the best possible 30-second commercial. He is now working on the 90-second advertisement after the success of its predecessor.

“This is what I love about filmmaking. I never get bored of being a filmmaker. I enjoy working every time I have to go through this process of starting a new project, working on it and at the end looking at its result. Every project takes me on a whole new journey. In this one I met around hundreds of artists working together at same place. Watching Dickens’s characters alive and performing in front of you was a treat! This project was great to work on and entertaining also. David was very supportive throughout and I’m happy that he trusted my creativity and I could deliver up to his expectations,” Shaan concluded.

Check out Shaan’s work on the commercial on the Dicken’s Fair website.

Editor, Television

Editor Peter Hein digs into the emotion of ‘Britain’s Got Talent’

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As an editor, Peter Hein does not begin his work until later in the process. He doesn’t figure out how it is shot, who will play what part, or what costumes they will where. He doesn’t stand behind the camera, looking for the right angles to frame a face. His role is much more nuanced. He does not write the story; he finds its heart and soul. During editing, he sees the emotion in each scene, and tweaks the storyline to truly hit home with its viewers. Whether it’s to make people laugh or cry, he gets every frame just right to connect with his audience. As an editor, he is responsible for the story coming together, and he is brilliant at it.

Hein is known in the United Kingdom for his exceptional work on many popular television programs. The Denmark native has worked on shows like X Factor and First Dates, as well as award ceremonies like The BAFTA Awards. He uses his extensive knowledge to glue audiences to their seats, ensuring they watch every moment of a show, feeling connected to the cast they see on screen.

This is perhaps most exemplified with his work on Britain’s Got Talent. The editor has been part of the show since its second season, and is consistently asked to come back due to his substantial contributions. Sophie Coen, the Senior Producer of the talent competition, says that Hein’s work is incredible, and he plays a large role in the editing team.

“Peter is a real team player and always goes the extra mile. He is a dream in the edit. He is creative, decisive, and hugely experienced. He is always positive and upbeat, even when presented with a very tricky story, and with incredibly tight deadlines he manages to make it work. He is a real joy to work with,” said Coen. “On Britain’s Got Talent, Peter would often be the editor that the show would depend on to make a story work. His passion drives his talent. He is one of the best editors I have worked with. He understands narrative, humor, and emotion. Peter is able to draw upon his varied experience to make the edit work. He is a lead editor – he can inspire, direct, and lead others. Peter thrives under pressure and always delivers amazing work.”

The Got Talent format has been extremely successful in many countries, and the United Kingdom is no different. Hein’s work is what makes auditions so captivating, and even those not living in the UK have been privy to his talents. Many of his videos from the show have gone viral, including the iconic Susan Boyle audition, which has tens of millions of views on YouTube alone. The video starts in a comical way, with the audience laughing at the unassuming singer. By the end, viewers are in tears by her talent and the judges’ reaction.

This is what Hein does with every scene he works on. During the audition process, he spends weeks sifting through footage for seven minutes of the show, but it is worth it. As the show progresses into live shows, he works to edit videos of the talents’ journeys prior to their performances. His work is what makes viewers root for different contestants.

“Britain’s Got Talent is one of the two hardest shows I’ve ever worked on. The days were very long in the earlier series because the show was still finding its feet. But the teams on that show have always been great, and the success and team effort makes it worth working on it. You get given a story and you try and make it the best you can, bring something to it nobody thought of before, whether that be the style or music choices. Anything to make it ‘pop’,” said Hein.

With Hein’s work, the ratings have grown substantially each year, and now it is one of the most successful television formats in the world. Hein brought his own sense of comedy and emotion to the show, resulting in such a feat. The show’s third season final was the highest rated television show that year, when Susan Boyle won the show. It even won a BAFTA award.

Despite his accolades, Hein finds working on the show to be a team effort. He loves who he works alongside, and finds everyone pulls together to make the best show they possibly can.  The show has been on for eleven years and still entertains audiences with the same format, and that is because of the stories they are sharing with the world; stories that Hein plays a large hand in telling.

In the beginning, Hein wanted to work on Britain’s Got Talent because it was a new and growing format that would provide a different editing experience. At the time, he was extremely grateful for the opportunity. He still is today.

“I still find it incredible when people love what I do. It’s a real compliment to know that after all the years on the show I can still surprise and entertain people with how I edit. Britain’s Got Talent has a special warm feeling about it, it has always had that, and I feel like I done my part to give the show that well-loved feeling,” he concluded.

Editor, Film Editors, International Creative Talents, Television

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

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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.