Tommy Button is an editor at NYC’s Boomshot, a bi-coastal production company whose website, according to Button, describes it as “a creative collective forged from the worlds of advertising, TV and sports.”
Button agrees with that description: “We are creators. We are collaborators. I think that is pretty spot on. And I promise I’m not just being lazy and quoting the website. We’re a small team, but everyone brings a unique expertise to the table so we can adapt to whatever a project needs, whether it’s creative, production, post or some combination of those.”
Let’s find out more from Button on his work cutting the variety of spots, videos and promos that come through the door at Boomshot.
NASCAR
What would surprise people the most about what falls under the title of editor?
I’m often sourcing a lot of my own footage. We do a lot of work in the sports world, and many of those spots contain archival footage. While I might start a job with a hefty amount of footage that was provided by the client/agency/network, I’m always looking for that perfect angle. So that’s when I turn to the internet to see what’s out there. Often, if I find a clip or a highlight and it was recorded for a broadcast or some official use, there’s a shot at getting a high-res version and the rights.
What’s your favorite part of the job?
I really love collaborating with other people. I find a lot of inspiration in batting around ideas, whether they’re mine or not. I think there is a misconception that editing is this solitary job when, in fact, we’re going back and forth with producers, directors, writers, creatives, mixers and colorists… we’re actually pretty social creatures.
What’s your least favorite?
I would say 9×16. I’m not against the aspect ratio in general, just not when it’s not considered when shooting. So many times, my assistant or I will try to reframe something for 9×16, and we end up settling for something that looks just OK at best.
Hampton by Hilton
It seems like “social versions” are afterthoughts for some clients — it’s too far down the deliverables list for anyone to care. So even though the broadcast spot looks perfect, the social stuff sometimes looks like a bunch of square pegs. Sure, at the end of the job, the 16×9 will be what’s submitted for awards and going on reels, but I think most normal people are going to be coming face to face with our spot in the context of social media. Might as well make it look nice for them.
What is your most productive time of day and why?
The morning, even though I wouldn’t describe myself as a morning person by a long shot. You never know what the day might bring, so there’s something nice about sitting down to work before anything gets too out of control.
If you didn’t have this job, what would you be doing instead?
I’d probably own a weird little antique store in the Hudson Valley that sells overpriced pop culture memorabilia to people from the city — ‘90s Simpsons stuff, Pez dispensers, comic books, records, old NBA merch — that type of stuff.
When did you know this would be your path?
Almost right after college, I knew editorial was where I was going to fit in. A couple months after I graduated, I got lucky and landed a job as a runner at Crew Cuts. It was basically my first job out of school, and I was thrown into a real-life hustling and bustling post house with some great editors making great work. I was so enamored that I stuck around for the next decade or so, working my way up the ranks to editor.
Can you name some recent jobs?
NASCAR is always keeping us busy, even more so this year since it’s the 75th Anniversary. We just finished production and are beginning the post for the next spot featuring the 75-car, which I am definitely excited to dig into.
US Open
Last summer, Boomshot was tasked with making some tribute videos for Serena Williams as part of her retirement from tennis and her last US Open run. The one I worked on was sort of a love letter from the fans to Serena, narrated by Oprah. It aired in the stadium and as part of the broadcast after she won her first match of the tournament. Being part of a cultural moment like that, honoring one of the greatest athletes of all time, was a true high point for me.
Do you put on a different hat when cutting for a specific genre?
I try to look at whatever I’m cutting from the perspective of the audience and the audience is always changing. Or the emotion you’re trying to evoke is constantly changing. But I will also bring my sensibilities and style to the work, no matter what. So I guess I’m putting myself in other people’s shoes more often than I’m changing hats.
Can you talk about how the COVID crisis impacted the way you work?
I was an editor at Crew Cuts and was just coming off paternity leave with my first kid when the pandemic hit. In fact, what was supposed to be my first day back at the office was the day stay-at-home orders came down. Every job I had on my schedule disappeared while everyone figured out what to do.
I was actually able to work on some personal projects during that time, which was really refreshing. Then things started picking back up, and you felt this shift in the industry as it went more remote. And I love the remote/office hybrid workflow we’re in now. I used to spend so many wasted hours sitting in my office, in front of a computer, waiting for feedback. Now, I can hang out with my kids, run some errands, and just live my life.
What system do you edit on? And do you have a favorite tool within that system?
I’m on Adobe Premiere. And I love a good corner pin when mocking up comps.
Do you have a favorite plugin?
I’m not really a plugin guy, but I’ve found that many smart people on the internet have created these AI programs that can do a pretty damn good job at splitting an audio track into music and vocals.
NASCAR
Are you often asked to do more than edit?
I will occasionally be asked to provide a voiceover. After roughly a billion scratch reads, I’ve gotten pretty good.
What are three pieces of technology you can’t live without?
My espresso machine, my record player, and I think I’m legally obligated to say my laptop.
This is a high-stress job, what do you do to de-stress from it all?
I really love cooking (and eating.) My family has roots in Texas and Louisiana, so I enjoy making a lot of Cajun dishes. I also play video games, mostly 2K. Whenever I need to really step back from a project, video games are a great way to make my brain think about something else.
How do you manage producer’s expectations with reality/what can really be done?
It’s all about having honest conversations and a willingness to problem solve.
How do you manage your time? Do you manage expectations or try everything they ask of you?
I like to think I can move pretty quickly in an edit, so I’m open to trying pretty much anything during business hours, but there always comes a time when decisions have to be made. I’m a big believer in keeping the work/life scale firmly tipped in favor of life whenever possible. It will inevitably tip back to work, so I try to keep my powder dry until then.
Truff sauce
How do you take criticism? Do you find yourself defensive or accepting of other’s ideas (good and bad)?
You must step back and recognize that criticism is just an effort to improve the work. If you can do that, it doesn’t feel personal and makes it easier to accept other people’s ideas. Most people are also decent and try to be as constructive as possible. But giving people’s ideas a chance is a great way to build trust with clients and figure out how they think. And you never know where it may lead.
When someone who is starting out asks what they should learn, what do you recommend in terms of tools?
Honestly, something simple, and free if possible. Just get comfortable with the basics, and if you like editing, see what the norms are for TV, ads, film, or whatever you’re drawn to cutting. Then hop over to Avid Media Composer, Premiere, FCP X, etc.
When I was in college, I had a class where I had to edit on a Steenbeck, and even though it is not practical now, I felt the experience of boiling the craft down to essentially just cutting and taping helped me lay a solid foundation to make the most of all the bells and whistles we have available now. We’ve got to crawl before we can walk.
