Tag Archives: Film Editor

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, 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.

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.

Chinese Film Productions, Editor, Film, Filmmakers, International Creative Talents

Editor Minghao Shen talks impactful new film ‘Cartoon Book’

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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, Film Editors, Uncategorized

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

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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.”

 

Behind the Scenes, Editor, Film Editors

Featured Film Editor: Said Franco!

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Film Editor Said Franco
                                                                                         Film Editor Said Franco

In the world of filmmaking, many groups work together to create a production. The vision of the director, the roles of the actors, and the reach of the production team are all important. That being said, it doesn’t matter how incredible these teams are if the film falls apart in the post-production process.

The skill of a film editor can make or break an entire production. When a production company finds a film editor that can rapidly create quality content, they hold onto them. Perhaps this is why Said Franco, 29, has remained so busy for the last decade.

Franco was born in Mexico City, and found himself fascinated with the filmmaking process from a young age. At 15, he decided that he wanted to pursue a career in film editing. At that point, he set out to complete all the necessary education required to turn his dream into a reality.

Franco began working as a film editor immediately after graduating from the University of Mexico with an MBA in TV and Communications. The first job he secured was in 2008, as an assistant editor for the Spanish TV series Capadocia. To add a dash of prestige to his early resume, this series was nominated for three Emmy awards, in addition to winning numerous awards at other events.

After he began working in film editing, Franco realized that he had chosen his career wisely: “While working on Capadocia, I learned that I had the skills that an editor needs to succeed in the business.” Apparently, many other companies have acknowledged his skills as well, as he has since been recruited to lend his talent to an onslaught of productions.

Recently, Franco has been working for Rancho Studios as a chief editor on many international commercials, including those for Apple, Coca-Cola, Ducati, Hershey’s, Sony, and Wal-Mart. After completing commercials for Coca-Cola and Sony, both companies returned to Rancho and asked if Franco would edit their future commercials.

Microsoft also hired Franco for more work after seeing the results of his holiday promotional commercials for the Xbox gaming system. Franco agreed to edit commercials for many video games, including Assassin’s Creed, Call of Duty, FIFA 2013, Grand Theft Auto, Halo, and the Need for Speed.

Not all of Franco’s editing work has taken place within the confines of an office though. As a result of his success in his career as a film editor, he has had the opportunity to set forth upon many adventures.

On one of these adventures, Franco travelled to Spain as a representative for Heineken. Heineken, who sponsored the Champions League of Europe football game, hired Franco to edit each game, which was then broadcast to television networks throughout Europe. During his time in Spain, he edited a total of 25 games and six additional events.

While working for Grupo Televisa, the largest media company in Latin America, Franco edited a commercial campaign for the 2010 World Cup. During the month that the campaign for the World Cup aired, he edited five commercials a week, which were broadcast to many major television networks throughout Latin America.

Franco has a wide variety of experience in many different genres of film editing. In addition to his prominent work in commercials and sports, he has expertise in editing television shows, YouTube channels, and music videos.

Several of the music videos Franco has edited have achieved widespread acclaim including the “Voces” video he edited for Division Minuscula, and the “Miedo a Caer” video he edited for Ruido Rosa.

When it comes to film editing, Said Franco is comfortable working within any genre. In the last 10 years, he has repeatedly demonstrated his expertise in his field. This continues to be confirmed as companies return for more work after viewing his product. As important as the film editor is, it’s no wonder they continue to return.

Documentary Filmmaker, Editor, Entertainment, Film, Film Editors, Television

Film Editor Marta Bonet de Gispert Connoisseurs the Perfect Cut

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Marta Bonet de Gispert
                                                  Film Editor Marta Bonet de Gispert

Hailing from a family of lawyers, Barcelona native Marta Bonet de Gispert left law school to pursue her creative passions in the film world, a move that has delighted international audiences and filmmakers alike.

Marta Bonet de Gispert went on to attend the prestigious School of Cinema and Audiovisual de Catalunya (ESCAC). About switching professions, Bonet de Gispert recalls, “I started my law degree following my family’s tradition in law. But after a few years, I felt unfulfilled. I had to face my mistake and find a better path. Even though I knew it was a difficult industry, I chose film school. Something inside me told me it was the right thing to do.”

Now an award-winning film editor, it is clear that Bonet de Gispert made the right choice. Her exceptional talent and painstaking attention to detail is apparent in every frame of every film that she’s done so far. Her extensive international resume includes the films Soldados (Soldiers), Padre Modelo (Role Model Father), Devil May Call, as well as many others. She was also the editor on the television shows Latino Dub and Califorma.

It may seem like quite a drastic change to switch from law school to film school, but in truth, both professions require a person who possesses a strong eye for details and an immense understanding of the technical intricacies of their craft. Even more critical in each though, is a person’s ability to use that perceptiveness and knowledge to adapt to a client’s needs—something Bonet de Gispert has accomplished, proven by the sheer number of awards her films have won over the years.

Temporada 92-93 (Season 92-93), one of Bonet de Gispert’s first credits as editor, was a resounding success at international film festivals. Set in Spain where for many fútbol is a religion, Temporada 92-93 tells the comedic story of two inseparable friends united in their love for soccer. One is celebrating his child’s birthday as both split their attention between the festivities and a historic soccer match playing over the radio.

“We had to be careful in selecting the takes we would use,” explains Bonet de Gispert. “Also, as in all comedy, finding the right rhythm was essential. Jokes don’t work well if they’re not on the right pace.”

Winning a staggering 44 festival awards, Temporada 92-93 was incredibly well received by judges and critics alike. Among the honors was the Best Editing Award from the Film Festival Terrassa, an incredible achievement for Bonet de Gispert, whose career had only just begun.

It is the editor’s job to thoroughly understand the director’s vision, to see the story as the director imagines it. Then, with that understanding, the editor uses the footage to turn an intangible idea, concept or even a feeling, into the story that unfolds before us.

Able to seamlessly shift from one genre to another, Bonet de Gispert’s work shows that a great editor doesn’t rely on a film’s subject so much as they rely on the vision of the filmmaker.

In Devil May Call, Bonet de Gispert’s ability to convey that vision was once again put to the test, and once again she surpassed everyone’s expectations with flying colors. What had once been just a nightmarish idea, Bonet de Gispert transformed into a physical manifestation of sheer, unadulterated horror.

Not for the faint of heart, Devil May Call is centered on Sam, an operator for a phone counseling hotline. Sam, played by award-winning actress Corri English (Planes: Fire & Rescue, Holliston) is training her replacement on the night shift; but when one of her regular callers, who happens to be a serial killer, hears that she’s quitting, he cuts off power to the building and traps Sam and the other employees inside. Devil May Call was filmed in Los Angeles and debuted at the 2013 Marches du Film event in Cannes, a dream for many filmmakers.

Bonet de Gispert also recently finished the films El Otro Lado and Gored. El Otro Lado, or The Other Side, is one of three films premiering as part of the Summer Of Shorts event, featuring films from three Spanish filmmakers bringing their work to American audiences. El Otro Lado is about a lawyer who finds himself losing his sense of morality as he goes from laundering money for the cartels to an even darker path. An even greater testament to the fact that she chose the right path by embarking on a career in film, Bonet de Gispert also directed El Otro Lado in addition to working as the editor. Produced by renowned production company La Panda, the film is scheduled to premiere in the U.S. this summer.

Gored, is a documentary about, fittingly, the bullfighter that holds the record for being the most gored in Spanish history. In a fascinating approach to a subject that hasn’t seen much coverage since Hemingway, the film follows Antonio Barrera as he grapples with the decision of a lifetime: whether to leave the ring and join his family while he’s ahead, or to commit himself to a glorious death against his lifelong adversary. The film will debut later this month at the Tribeca Film Festival where it has been chosen as an Official Selection, and is set to screen at several more festivals over the course of 2015.