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Edgar Reyna

Colorist Chat: After Studios’ Edgar Reyna

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Edgar Reyna is a colorist at India’s After Studios, a company that offers post services, including digital intermediates, visual effects and online editorial. A 10-year industry veteran, Reyna, who is Mexican-born, has been enjoying his time in Mumbai.

Let’s find out more…

As a colorist, what would surprise people the most about what falls under that title?
When I’m questioned by people from different industries, they don’t understand what I do for a living. Sometimes people ask me if I can dye their hair, and some other people think I’m an actor.

People who attend a DI session for the first time are often surprised by the enormous changes we, as colorists, can make to their projects.

Edgar ReynaAre you sometimes asked to do more than just color on projects?
Recently, I have spent more time doing composites than grading, so having an extended tool set increases the quality of the output.

When I’m grading long-form work, DPs and directors usually ask if I can do something to the sky. I don’t like to add only blue, so I replace the sky. Besides sky replacement, sometimes I do simple cleanups — like for commercials, I usually do skin retouch.

What are some recent projects you’ve worked on?
Recently I finished a show called 36 Days, a film called Afwaah and another one called Akelli. I’m currently working on two other shows.

Can you describe a challenging scene from one of them?
Afwaah was shot at night. When working with low light, you need to avoid breaking the image. They also did multiple setups while shooting.

36 Days is an HDR show, and the cinematographer got dramatic contrast in a low-light environment. Working with a high-contrast ratio without burning the eyes of the audience was quite challenging, but we found a way to create a rich contrast ratio without going too high or too low in exposure.

Akelli features the most complex look I’ve done this year. We created a fusion between the tonal curve from 2383 and 500T film stocks. I really appreciated the opportunity to work and experiment on this project.

The most complicated factor was interchanging languages, nits and footlamberts, and I had to adjust to it daily.

How do you prefer to work with the DP/director?
The first thing I like to do is talk about the project, the story and the characters. Basically, I feel the need to be involved as much as possible. After having an overall look at what the film, is I start to discuss the look, the intentions for scenes and the message they want to send.

Edgar Reyna

When I spend time communicating and getting along with my collaborators before the grading process starts, I get better results.

How do like the DP or director to describe the look they want? Look books, etc.?
It depends a lot on the DPs, directors and projects. I usually have a conversation with the cinematographer, and we dedicate some time to developing the look for the film or a particular scene.

Directors usually come with a reference from a film or a photograph. Sometimes they show me some stills from my

Instagram and ask me to get something closer to a previous project.

I have no problem with any type of reference; the only thing I’m expecting from a DP is to have the security to lock the look without hesitation.

Any suggestions for getting the most out of a project from a color perspective?
Reading the image and learning to read the context of it are the most important things for me because without the proper context, we can lose what we are trying to communicate. Sometimes a frame looks stunning by itself, but the same look might not work for the whole scene.

Having a proper understanding of what the person in charge of the grade wants is very important because there is always a way to make the producers, DP and director happy.

How does your process change when working on a film, versus episodics or commercials?
Usually, for commercials I do a lot of secondaries. Shaping light and relighting is my bread and butter.

For episodics, I usually create assets for scenes and episodes (a preset on a power grade or a preset on layers, depending on the system), and I’m currently bringing those for every episode. I like to set the mood for the night, day, interior and exterior.

For films, I like to create an overall look with primaries, then I usually push the image, taking the look as a base for particular scenes with secondaries.

What system do you work on?
I use Blackmagic Resolve and FilmLight Baselight.

What’s your favorite part of color grading?
When I see the grade after months of not seeing it. Sometimes I’m so close to the project that having a break from it and watching it from another perspective is like breathing fresh air. That is the moment when I can judge what I did, grow and learn.

Do you have a least favorite?
When I have to watch a project that I just finished as part of my own QC. I always see things I want to modify or do differently, but it’s not always possible because of deadlines.

Also, supervising sessions might be hell on earth if you are not able to break the ice with the person who is sitting with you.

How early on did you know this would be your path?
I was around 16 when I saw a show about making The Lord of the Rings. While I was watching it, they talked about the DI process and how they used the technology to enhance the world they were creating. At that time, I thought that was video editing, and I get so amused that I decided to do that after I went to college — small gigs as an offline editor, modifying colors and doing some basic VFX. One day a producer saw my work and asked me if I wanted to specialize in VFX or color grading. At that point, I wasn’t sure what a colorist did, so I went back home and Googled it. I was shocked to find the DI process for The Lord of the Rings on YouTube since that was the moment my life changed. And now, 15 years later, I can say that I accomplished my dream.

If you didn’t have this job, what would you be doing instead?
Definitely interior design. I’m so crazy about looking through mood boards and renovation, and sometimes I get some inspiration for my grades from mood boards I find on Pinterest. It is very refreshing to see color palettes applied in something different from what I do.

What is the project that you are most proud of?
The first feature film I did, called Dovecove, was a life-changer. Working with limited equipment on a low-budget film helped me to develop hard and soft skills that helped me become the colorist I am now. Dovecove opened the door to conversations, and it helped me to get some projects early on in my career.

This is one of those examples when (almost) giving your work for free might take you to better places.

Where do you find inspiration?
Until this year, I was using Shotdeck and Pinterest as sources of inspiration. Each platform gave me different types of flavors (film stills, photographs, paintings, illustrations, etc.).

I studied contemporary photographers to understand the way they see light. Now I’m currently following some art galleries on Instagram, which is a faster and easier way to learn, study and get some inspiration.

Edgar ReynaIs there a film or show that sticks out to you as an example of great color?
There are currently three projects that are stuck in my mind:

I just saw Tumbadd, and I think that’s an amazing example of color serving the storytelling. Portrait of a Lady on Fire is a film with an amazing natural grade. I never felt the image was pushed too much… it was always on point. Drive My Car is also a film with a very good grade; the hues are just on point.

These three projects are the best things I have seen this year so far (even though they might not have been released this year).

Any tips or tricks you would like to offer up?
The best tip or advice I can give to younger or aspiring colorists is to connect with your clients or collaborators. It is just as important to create a nice collaborative space than the grade itself. After some time, the grade will be forgotten by both parties, but the moments you spent will stick forever. Be the coworker you want to work with.

Can you name some technology you can’t live without?
My iPad is an amazing tool for recreation and work. I can watch some exports on it; use it to review grades; access emails, references, HDR, SDR, etc. I think an iPad is a must for every colorist.

What do you do to de-stress from it all?
Walking has brought me a lot of joy. I usually walk to clear my mind and restart my mood.

When it is possible, I call friends or family on the phone while working so I can make the session less stressful.

Podcasts and books have helped a lot to de-stress, but definitely visiting coffee shops is the most “Edgar thing” you’ll ever find.

Behind the Title: Ataboy Head of Production Rasha Clark

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Rasha Clark is head of production at Ataboy, a New York City-based studio that provides design and animation. Her responsibility is to make sure “my team is able to do their best work and have what they need when they need it and that our clients feel heard, supported and are happy.”

Let’s find out more from Clark…

What is your typical day filled with?
I’m involved in creative calls when we first hear about a project, I create bids and schedules, I create the team and I oversee the day-to-day running of Ataboy. I check in with clients and add input when needed. I also get to go to events, dinners and drinks — so there are those perks too (laughs).

What would surprise people the most about what falls under that title?
Hmm, that I also change the toilet paper in the office? I think anyone familiar with an HOP knows what I do.

Vitamin Water

How has your section of the industry changed since COVID? The good and the bad?
Living in Lancaster, Pennsylvania, and having two young kids, I am grateful for the fact that remote work is an option. I remember the days of having to head back into the office after a short maternity leave and just wishing I could had the opportunity to work and be with my son — or at least be home for dinner. Since we don’t work a traditional 9 to 5, the WFH option is really important to me. I trust everyone I work with to put in 100% of effort regardless of where they are sitting.

I also think you need to be more intentional with how you communicate and how you train/mentor others and how and when you have video meetings. It might mean a little more work or planning for those in senior/leadership roles, but for me, it’s worth it.

The bad? I miss hanging with grown-ups on a regular basis. Seeing my colleagues and going to events occasionally, is a real treat and I love that everyone is so happy to be around everyone else.

Do you see some of these workflow changes remaining with us going forward?
Yes, I do. Work/life balance has always been important to me, and now it’s a common thing. Back in the day, I’d have to put up a bit of a stink to ensure that staff had the time to indulge in other passions outside of work. We’ve proven that we can be just as productive and creative wherever we are if we care about our work — it’s not about where we spend those working hours.

Rasha Clark

Munchkin

What’s your favorite part of the job?
Working with my team and seeing their ideas blow clients’ minds.

What is your least favorite?
Excel, and making prepro decks. Ugh.

What is your most productive time of the day?
Whenever. I’m a morning, afternoon and night person. It definitely helps if my kids are in school.

If you didn’t have this job, what would you be doing instead?
I’d be acting on stage, doing VO work. Or I’d be leading divers out into the Caribbean waters. Maybe I can do both one day.

Can you name some recent projects you have worked on?
We really enjoyed creating an animation around Halsey’s original art for a recent Coke spot. I’m really proud of how that turned out, and we were singing that song for ages!

Rasha Clark

Coke

We designed and animated a beautiful piece for Munchkin that emphasizes its commitment to green practices. And we worked on something superfun and catchy for Vitamin Water.

We also finished up an animated piece with insightful, meaningful and powerful content, explaining Native American economic practices and ideology.

It’s been really refreshing. We’ve been given a lot of creative freedom recently.

Why did you choose this profession?
I fell into this position. I came across a receptionist posting for a VFX company; it paid more than my other two jobs, and the hours allowed me to study for the college courses I was taking. So I applied for it and started to work in the “biz.”

After a year I was promoted to assistant producer and then worked my way up and through VFX, edit and production houses. Before that receptionist job, I didn’t know anything about the industry at all; it wasn’t something in my consciousness. But once I started, I knew I’d be doing this forever.

Rasha Clark

Munchkin

Do you listen to music while you work? Care to share your favorite music to work to?
Yes, I do! It depends on what I’m doing and my mood, though. If I’m lagging and have a lot to do, pop is my go-to: Harry Styles, Dua Lipa, Dominic Fike, etc.

If I really need to concentrate, Indian or Arabic instrumental music is what I choose, or the album “Awake” by Dream Theater (it’s a long story!).

If I’m feeling goofy, then the old crooners are what I blast and sing along to!

Name three pieces of technology you can’t live without.
The app How much Phe? which helps us track our son’s rare metabolic disorder. I’d cry without it!

The kids’ Kindles. They get to use them when we travel long distances, and it makes things much easier.

Oh, and my phone!

Rasha Clark

Vitamin Water

What do you do to de-stress from it all?
I remind myself that there’s only so much I can control and prepare for, then I have to go with the flow — it’s just work.

I’ve started taking Taekwondo. I love that I need to really think as well as move — that pushes work thoughts out. And venting helps too.

Making sure that my free time is filled with people and things I love is key.

Would you have done anything different along your path?
There was a moment early in my career when I was asked if I wanted to take a junior VFX supervision job in New Zealand, but I had just accepted a job with a post house in NYC. I had to turn the New Zealand job down, and I later found out that the gig was for the first Lord of the Rings!

My life would have been totally different because that path would have changed everything, but I don’t regret it. I appreciate all the experiences I’ve had, even the crappy ones.

The people that I’ve met and the things I’ve done have all led me here to this place and to the person I am. So no, I wouldn’t have done anything differently.

Finally, any tips for others who are just starting out?
I would tell them to trust their gut. You can never predict the future, so think about that and do what feels right in the moment… and make a change if/when it doesn’t feel right anymore. There are no mistakes, just lessons to learn from.

Behind the Title: Bruton Stroube Outpost’s Jazzy Kettenacker

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Jazzy Kettenacker is an editor at St. Louis-based Bruton Stroube Outpost. They provide cinematography, editing, color grading and sound design. “We also have worked on a variety of projects such as commercials, documentaries, branded content, and narratives,” she explains. “And we have a coffee shop and whiskey fountain in-house.”

Talk about what goes into your role as editor.
I cut together sequences of visuals and sounds to tell a story. It feels as if I’m putting a puzzle together with different pieces, making them fit perfectly. I’m blessed to work on such a dynamic breadth of work, everything from the six-second commercial to the long-form documentary.

Pepsi Lab

What would surprise people the most about what falls under that title?
It’s interesting to see how much creative direction an editor has control over. We’re not cutting by numbers; we’re brainstorming ideas and collaborating with directors. Sometimes a director will hand you footage and not know how to go about a project; it’s up to us to figure it out. We’re problem solvers; we make the process as seamless as possible.

What’s your favorite part of the job?
I love figuring out ways to tell a story creatively. There are so many ways to tell one story, and that moment where I get to figure out how I’d like to tell a story based on pacing and tone is so freeing. It gives room for creative expression and a chance to put a little bit of myself into the edit.

What’s your least favorite?
Legal notes. Period. Sometimes it can take away from the creative, but, understandably, it’s important.

What is your most productive time of day and why?
I’d say afternoon and evening. I’ve never been a morning person — everyone in my life will tell you that —  but I’ve gotten much better about it. When I was in college, I used to work on my student films after midnight. Now, I can’t stay up as late anymore; I need my full eight hours of beauty sleep.

Free to Run

If you didn’t have this job, what would you be doing instead?
I’d be a music producer. I love the process of building something and creating art. Just like film, music is another art form of expressing myself.

How early did you know this would be your path?
I knew I wanted to be a filmmaker when I was 13 years old, after becoming obsessed with films and the process of how they’re made. I wanted to be an editor when I was 22 years old, after I learned to edit in college. I realized editing came naturally to me.

Can you name some recent jobs?
I recently cut a 30-minute documentary for North Face, titled Free to Run. The film follows an ultra runner taking on a 330km trail through the Aosta Valley in Italy while running an organization that helps women in areas of conflict run freely.

I also cut a mini-doc for the Pepsi Music Lab, a program that gives the next generation of music artists an opportunity to work with the best in the business and produce new music. This totally satisfies my music producing desires.

Do you put on a different hat when cutting for a specific genre? Can you elaborate?
Yes! Longer projects, such as documentaries, give you the time and freedom to explore. These types of projects demand the editor to have more creative input in how to tell the story. It feels like a collaborative experience with the director.

Free to Run

When it’s a shorter project such as a 30-second spot, you still need your creative hat on, but it’s a  more-defined sandbox.

How did your process change during COVID?
When the pandemic first hit, I was working from home, but now that things are somewhat normal again, I work at the studio every day. I actually prefer coming in to work. I have my editing suite set up the way I like it, and, at the end of the day, I am able to mentally leave work at the studio. I try not to take work home with me.

Interestingly, I do stream more since the COVID crisis. Clients don’t have to physically be in the editing suite while I work. They can hop on to Evercast and watch me edit in realtime. I also use Frame.io to share rough cuts and assets. It’s one of my favorite apps, because it allows for easier collaboration.

Do you expect these workflows to stay with us going forward?
Most definitely. I can foresee even more clients streaming editing sessions in the next few years. A client wanting to hop on Evercast and talk through things at any moment while watching you edit is super convenient. It speeds up the process of a client seeing how an idea comes together quickly versus just communicating via email or phone.

Rolling Stone

What system do you edit on?
I learned how to edit on FCP7 in college, but I’ve been cutting on Adobe Premiere for the last nine years. I also dabble in After Effects. The Adobe Creative Cloud is hard to beat.

Do you have a favorite plugin?
All things Boris FX! Their plugins allow me to add some unique textures to archival footage. I also love Neat Video’s noise reduction as well. It’s saved me a few times.

Are you often asked to do more than edit? If so, what are you asked to do?
Definitely. Depending on the project, we’re asked for our input on narrative and vibe. We can also have a lot of say on the music and graphics if these assets aren’t decided by agency beforehand. Basically, we can have a lot creative control. That’s why I love doing research on the project’s topic in hopes of finding inspiration and bringing that into my cut.

What are three pieces of technology you can’t live without?
Stating the obvious, my desktop computer. This is the place where I can actively get my creative thoughts out. I also have three monitors, which is a game changer when editing. Trying to edit on just a laptop is a terrible experience.

Purina

My record player, which I consider old-school technology. Listening to music inspires me creatively, especially ‘90s hip-hop. It’s the samples and the heavy beats; sometimes I try to edit the same way… where you feel it in your chest.

Any type of tv/movie streaming service. Film is my first love, and I enjoy getting lost in a great story. Lately, it’s been fun watching great docs and breaking them down scene by scene in order to figure out how the filmmakers crafted a story from start to finish.

What do you do to de-stress from it all?
I get the best results when I’m working out. I usually forget what I was worried about five minutes into my workout. What also helps is listening to artists such as Sade and Kali Uchis — it calms my anxiety.

Ana Escorse

Colorist Chat: Studio Feather’s Ana Escorse

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Ana Escorse is a senior colorist at Toronto’s Studio Feather, a post house whose services include color, visual effects, finishing and motion design.

Born and raised in Brazil, Escorse’s interest in color can be traced back to her early exposure to Brazilian Baroque art. She moved to Canada in 2012 and found her way to color grading, working at post companies such as Frame Discreet and Nice Shoes before joining Studio Feather in 2020.

Let’s find out more…

As a colorist, what would surprise people the most about what falls under that title?
That it’s actually a thing. There’s so much talk about other aspects of filmmaking, but colorists are usually crammed into the end credits — most people don’t know we exist.

Drake’s Sticky

Are you sometimes asked to do more than just color on projects?
It definitely happens, and depending on the project and time, I’m happy to help out in any way I can while respecting people’s roles and expertise. The most common requests are probably VFX/cleanups, but I’ve had clients involving me in the preproduction process as well.

What are some recent projects you’ve worked on?
I finished a couple of Latin American commercial jobs, which I love being able to collaborate on, even though I’m in Canada. Also, a very special short documentary Holding Moses, which was shortlisted for this year’s Academy Awards.

How do you prefer to work with the DP/director?
Collaboration is at the core. I think everyone has a different way to express themselves. Some people are good with describing what they want; some are more visual; some don’t know and just want to try things. My job is to interpret that expression in whichever way it comes, but when everyone involved is open to collaboration, the result is often quite beautiful.

Ana Escorse

Taco Bell

How do you prefer the DP or director to describe the look they want? Physical examples? Films to emulate, etc.?
I think the best looks are created on-set, so the look should be a conversation that starts before filming begins. But sometimes we only talk about color when it’s time to actually color, so having some references that were used in preproduction gives a good insight into the creative intentions.

Any suggestions for getting the most out of a project from a color perspective?
I think the relationship between everyone involved is integral in getting the most out of a project from a color perspective. We are all experts in our own way, so coming together with openness allows each person’s talent to be expressed, and then we can see what comes from that.

How does your process change when working on a film versus episodics versus commercials, etc.?
Creatively, it’s more about the project rather than where it’s going to be shown, but it’s also about the footage. Getting a feel for the material as opposed to forcing a look, honoring the footage and decisions that were made on-set.

Ana Escorse

Flash Brasil

What’s your favorite part of color grading?
Maybe looking back to a project after a couple of months and being able to fully appreciate it. My least favorite is probably eye strain after you have been looking at a monitor for many hours.

You took home a 2022 FilmLight Color Award for Best Music Video, Lovezinho. Why was it important to enter these awards and that project?
I am Brazilian so I feel I have a responsibility to use whatever platform I can to showcase my country, its talents and its colors. Lovezinho was the only project that I submitted, so seeing how far it got was really special to everyone involved.

Can you describe a challenging scene from this project?
I would if there was one. The process for this project was very respectful and fluid ­—­ a complete credit to the director, Lu Villaça, for trusting in everyone during the whole process.

How early on did you know this would be your path?
I had no idea it existed, so it wasn’t a planned path. When I was younger, I wanted to be a doctor because growing up, that’s what I saw as a career. I think the timing and the exposure I had living in Canada helped me explore and realize that being a colorist was a career that encompassed things I genuinely liked and was interested in, and things clicked. After that, I was very intentional in my choices to help me get to where I am today.

Ana Escorse

Gypsy Son

What is the project that you are most proud of?
I really liked Divina, directed by my friend and talented artist, Ode. Divina is a short that premiered on Dazed Digital highlighting Marcinha do Corintho, a Brazilian trevesti icon.

Where do you find inspiration? Art? Photography? Instagram?
A good cup of espresso, rested eyes and body, a shower, a good cry. Life things.

Is there a film or show that sticks out to you as an example of great color?
I really like the work Peter Doyle did on White Noise, as well as War Sailor graded by William Kjarval.

What system do you work on?
I work on FilmLight Baselight. I think its tools, color science and overall interface complement the way I like to work and explore the footage, allowing me to go where I want to go pretty fast.

Any tips or tricks you would like to offer up?
Sometimes the best thing is to start over. There’s no shame in recognizing something is not working.

If you didn’t have this job, what would you be doing instead?
Maybe I would open a retreat hotel. Create a space where people can go and contemplate whatever it is they need to contemplate.

Can you name some technology you can’t live without?
In broad technology terms probably planes. In everyday life, it would be silly not to say my phone. We rely on it so heavily for so many things nowadays.

What do you do to de-stress from it all?
Being around water, whether it’s a beach, a lake or my shower.

Cara Sheppard

Behind the Title: Picture Shop President Cara Sheppard        

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Cara Sheppard is president of post company Picture Shop, which is Streamland Media’s picture division. Streamland is also home to Ghost VFX, Formosa Group and Picture Head.

As president, Sheppard deals with the company’s global clients and talent base, “creating an overall business and commercial strategy and integrating the multiple company acquisitions we have made,” she says. “It’s also about creating the road map for the company in terms of technology and operations, as well as ensuring we build something that’s fit for the future while also ensuring we’re able to deliver an exceptional level of service to our clients.”

What would surprise people the most about being the president of a company like Picture Shop?
This might not be surprising, but you must pay attention to even the smallest detail. I walk into every one of my facilities with a client’s eyes. I look at everything from the creative talent, the equipment, the facilities and the staff down and try to experience each facility as a client would. How does it look and smell? How good is the coffee? I take everything in down to the smallest detail to ensure it’s a great overall experience for each and every client.

The Fabelmans

What’s your favorite part of the job?
I consider myself very lucky to have this job and work with some of the most incredible creative minds that the industry has. I get to wake up every day and do what I love. The saying goes, “Do what you love, and you never have to work a day in your life.”

What your least favorite?
Having such a large footprint across the globe means I can’t be everywhere all at once, which is why it is so important to have an exceptional team you can rely on and work with.

What have you learned over the years about running a business?
It’s not as easy as it looks. There’s no set formula for success, and I think every business, every location, every facility each has different needs and requirements in order to make it successful. And there’s no formula that is static. The only recipe for success is to remain agile and move and change and evolve as the industry and your clients do. Also important is a great combination of being proactive and reactive.

A lot of it must be about trying to keep employees and clients happy. How do you balance that?
All you can do is be genuine, open and honest. If you genuinely care about your business and employees, and you ensure you’re the No. 1 choice for your clients and deliver the best level of service, then that will shine through.

Cara Sheppard

Guillermo del Toro’s Pinocchio

How has your section of the industry changed since COVID, the good and the bad?
I think COVID has changed and accelerated a few things. Streamers have driven the advancement of the on-demand/SVOD genre of content (high-end TV or high-end episodic). Add to that the pandemic and the ever-increasing thirst for a huge volume of original content consumed anywhere, anytime and on any device. All of that has put a huge strain on the industry’s capacity and talent pool globally.

Do you see some of these workflow changes remaining with us going forward?
Existing facilities and studios have struggled to grow at the pace required to keep up with more and more content being produced and consumed. Going forward, it’s truly more important than ever to build a stable, technically and creatively sustainable and scalable business that is agile and fit for the future. That’s the way to ensure you remain relevant and at the top of your game.

If you didn’t have this job, what would you be doing instead?
I think I’d be a professional equestrian, which I do as a hobby in my spare time. I’ve ridden horses since I was 3 years old and still train my own horses.

How early on did you know this would be your path?
I’ve always loved movies. They’ve always seemed otherworldly, and Hollywood seemed like a magical place. I used to love old Doris Day films and The Wizard of Oz. It’s great escapism for a kid with an overactive imagination.

Can you name some recent projects Picture Shop has worked on?
Picture Shop recently handled the color for several Oscar nominees. We did The Fabelmans and Women Talking, both nominated for Best Picture, and Guillermo del Toro’s Pinocchio, which won Best Animated Feature Film.

Guillermo del Toro’s Pinocchio

Other recent projects include Netflix’s Dahmer and The Sandman, The Walking Dead, The English, The Marvelous Mrs. Maisel, Knock at the Cabin, and many others across feature, episodic and unscripted.

Name three pieces of technology you can’t live without.
My phone, my phone and my phone. Everything else I could do without.

What do you do to de-stress from it all?
I go to the gym, I ride my horses, and I watch great movies and television, some of which we’ve worked on!

Finally, would you have done anything different along your path?
I would not have done a single thing differently. Otherwise, I wouldn’t have ended up where I am.

Any tips for others who are just starting out?
The advice I’d give is to be polite and be persistent. Be nice on the way up because you never know who you’ll meet on the way back down.

Julien Brami

Behind the Title: Zoic CD/VFX Supervisor Julien Brami

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Julien Brami is creative director/VFX supervisor at Zoic Studios in Los Angeles. Launched in 2002 and targeting television, film, commercials and video games, Zoic’s episodic team has earned 19 Emmy nominations for VFX work on series such as Netflix’s Sweet Tooth, ABC’s Once Upon a Time and TNT’s Falling Skies, as well as Arrow, The 100, The Flash, Mad Men, True Blood and Firefly.

We reached out to Brami to find out more about his studio, his role and his workflow…

What does being a creative director/VFX supervisor entail?
While I do sometimes handle both roles, I primarily function as a creative director at Zoic. That role entails getting a concept or idea from a client or agency; developing the look, workflow, time frame and budget; then driving the internal creative and technical to reach the original goal. It’s about transforming the concept and idea into a reality by creating a system internally to marry the creative and technical process to reach the vision.

There is a more technical approach for a VFX supervisor. Within this role, you define workflows then work with every production and post production department, on-set and in post, to get what you need to execute those VFX. Back at the studio, you develop workflows for your team. Additionally, it is your role to translate the process for the client, explaining what goes into making the magic and how we achieve things.

What would surprise people the most about what falls under that title?
How vital the human aspect of it is. It can be pretty challenging not to let your ego get in the way. Everybody has an opinion, and it can be difficult to get the right one for the job. I find that I am constantly challenged through this process, figuring out when to let go and when to hold on to a particular decision.

The nuances of each project really depend on the team in front of you and the client that you are working with. It’s sometimes straightforward and other times complex. When someone new enters the equation, it can change the whole concept behind it, which has massive ripple effects down the entire pipeline.

Julien Brami

Paper Girls

What’s your favorite part of the job?
I love solving the puzzle. On the first phone call, a client has a wild idea or concept that they reference and don’t know if it is doable. This “Version 1” of finding the soul for the project and getting the client excited is my favorite, especially when they start to see it coming to life. It’s exciting because it is the main point of the collaboration for me.

As humans, it’s so amazing that we can have a picture in our minds and then work with someone else to bring that image to reality. They try to explain what they want and feel, and then I’m able to put pure technical and creative words to guide a first look. It’s an existing connection from their mind to reality.

What’s your least favorite?
As a creative, what hurts the creative exploration is always the budget and timeline, which is why I like to bring my executive producer in to handle that stuff. I can get really down when pitching something really exciting that either gets killed or scaled back due to budget or timeline.

What is your most productive time of the day?
Before everyone is awake. I wake up pretty early — around 5am or 5:30am — and start working at 7am-ish, which means I’m able to work two to three hours before the team gets online.

How did the COVID shutdown affect the way your studio went about its business?
We were able to make a quick transition to a fully remote workflow, and in 2021 we officially became a remote work-first company. As technology continues to evolve, it continues to be more seamless for us to collaborate with our clients and team from all over the country — and the world.

So this type of workflow is here to stay?
We have been able to collaborate remotely successfully, but given the nature of production, we will always have an in-person element, which I still find important for the creative process. I think remote collaboration is here to stay, but we will be in a hybrid environment for quite some time as well.

If you didn’t have this job, what would you be doing instead?
I think this is it for me. I would somehow find a way to do this job. If there was no longer this industry or role available, I would probably be a developer. I code a lot. But I love the industry that I am in.

How early on did you know this would be your path?
Since I was a kid, I have wanted to work for Disney and create cartoons. I was always fascinated with seeing things moving that didn’t exist in reality. Watching movies like Willow and RoboCop really made me wonder, “How do they make this happen?” The tricks of it all intrigued me and drove me to want to understand the logic behind film magic.

My family wanted me to pursue something a bit more practical, so I started out studying computer science. When I was old enough to make my own moves, I jumped at the opportunity to study VFX — the perfect blend of computer, science and art — at the newly opened Georges Melies School, which is now one of the top animation schools in France.

Julien Brami

Carolina Panthers

Can you name some recent projects you have worked on?
We partnered with The Famous Group to create an exciting mixed reality experience for Carolina Panthers fans that brought their mascot into the stadium. Our team designed and animated the panther to match the look and feel of the iconic statues outside the Bank of America Stadium. It was a really fun and unique project.

Another one I really enjoyed was working on a Pernod Ricard installation in Vegas featuring LED screens.

I enjoyed collaborating with Frost Giant Studios on the cinematic announcement trailer for Stormgate. The trailer was directed by Zoic co-founder Chris Jones and was crafted entirely with real-time filmmaking techniques in Unreal Engine. It was a long but really exciting collaboration with the team at Frost Giant, working months ahead of the launch date to come up with the characters and work on building the world of Stormgate.

Stormgate

I work primarily on the commercials side of Zoic, but I also work on some of our episodic projects when they need more creative direction, one of the latest being Paper Girls. Defining the look and feel of the show with VFX supervisor Lou Pecora was a really fun challenge to be a part of.

Name three pieces of technology you can’t live without.
Teradici PCoIP because it allows us the ability to all work from home with no impact whatsoever just by plugging in a box at home. Being able to remote in that way truly blows my mind.

GPU-based software, which allows us to create and iterate faster.

My other favorite is my iPad Pro. Each time I use it, I am blown away by all that it can do. From taking notes and sketching concept art to lidar, photogrammetry and 3D sculpting/rendering — it can handle it all!

What social media channels do you follow?
I mostly only follow people that I know in real life on social media, but I do find that LinkedIn is more catered to my social media needs, and I use that a lot more. I also am active on Discord; there are a lot of Discord channels on software development that I’ve found extremely valuable.

Do you listen to music while you work? Care to share your favorite music to work to?
It really depends on the mood. I love silence sometimes. When I do listen to music, my taste is rather eclectic, so it can run the gamut. I can listen to old French ‘60s pop, heavy metal, ‘90s hip-hop and lo-fi music — it depends on the day. I have trouble with classical and jazz because I find them a bit too complex and more appropriate for active listening.

What do you do to de-stress from it all?
I don’t think I de-stress 100%; that never happens for sure. Even with vacation, I will still have some stress, but I think that is normal. I work out every morning before everyone wakes up to keep that time sacred. I also try to be outdoors, whether riding dirt bikes or 4x4s, usually with my wife and friends. Anywhere far from a cell tower is nice. Daily, I like to play music: guitar, piano or electronic. I’m also a real gearhead, so if there is anything with wheels and a motor, I’m going to be on it.

Any tips for others who are just starting out?
First, forget your ego. You are not an artist. We are operators who have an artistic sensibility. We are supposed to deliver a product that is not ours. When you work, you have a task, and you can be an artist on your own time. You also need to learn how to take criticism and understand that you don’t have to know everything. Instead, rely on your teams and collaborators.

Don’t think you know any software 100% or are an expert. All software evolves so fast, and there is something different every year, so you have to be learning constantly. Not being open to this evolution restricts your ability to be a strong and experienced worker.

Always keep learning; never think that you are done. As a creative, you have zero downtime. Going to a museum or seeing a film — or any other exposure you can get to culture and the arts — allows you to continue trying new things and expanding your horizon.

Finally, would you have done anything different along your path?
I wouldn’t have done anything differently since all of my decisions brought me here today. Even with the mistakes, I wouldn’t change a thing.

It’s also important to learn and embrace traditional fine arts. A core understanding of the fundamentals is extremely helpful for everything

Benivegna

Behind the Title: Pilot CD/Senior Editor Marybeth Benivegna  

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Marybeth Benivegna is senior creative director/senior editor at New York City’s Pilot Content, a content development agency and media consultancy that produces video campaigns and branding solutions for entertainment and consumer brands. “We write, produce, edit and design for network and streaming services, corporate brands, trailers, promos and sizzles,” explains Benivegna, who cuts using both Avid Media Composer and Adobe Premiere.

Benivegna has been in the business for over 25 years. She started out at a Top 40 radio station and then moved to a TV station in Miami, where she got to witness and take on more roles. While there she would sneak into the station’s edit room after hours and teach herself how to cut by creating content from shows the producers were working on. And so began her journey.

In her current role as senior creative director, she oversees the creative process — scripting, editing and designing. “As senior editor, I have my hands on the footage to create the story for our clients — working closely with our ECD, Courtney Cosentino. I also hire and supervise our freelance editors, and I am always searching for new editing talent.”

Let’s find out more from Benivegna…

What would surprise people the most about what falls under your titles?
I never think of editors as just editors. They need to be great producers, too, and be able to see across the full creative process that includes graphics, sound design, etc.

As SCD, I am the lead with the client, as opposed to when I am just editing. Having that one-to-one interaction with clients undoubtedly brings a different perspective to a project. You want your creative team (editors, graphics artists, sound designers) to stay in the most imaginative mindset possible on a project, so I make sure what we’re working through on the non-storytelling side of a campaign doesn’t inundate their processes.

In both roles, I vet all freelance editors and search for talent with different perspectives.

Are you often asked to do more than edit? If so, what?
Similar to above, editors need to be great producers. An editor’s job is to make the client’s vision a reality – or if there isn’t a vision, create one for them. Through this process we often need to cut a rough music track or create graphics in After Effects. Oftentimes, we’ll need to work with those elements before handing off to the pros in sound and design.

Do you put on a different hat when cutting for a specific genre?
I approach each project fresh: What’s the client looking for? What’s the story? What’s the rhythm? Each spot has a different emotional thread, and that thread determines how fast or slow we’re going to tell the story within a specific genre.

Can you name some recent jobs?
As senior creative director: AMC+ movie spots, including Women Centerframe; Sundance Film Festival promos; and Paramount+’ Summer of Reality promos.

As co-CD and editor:  Paramount+ trailers for New This Month.

As senior editor: Fox’s Animation Domination, FXX Fearless promo for Ad Astra, TruTV’s Tacoma FD, TBS’s Rat in the Kitchen, VH1’s My True Crime Story and Universal Kids’ Trolls.

Why did you choose this profession?
I stumbled into it. My first summer home from college, I got a job at a radio station. In time, the chief engineer kept giving me new roles and eventually offered me a job at an NBC-affiliated TV station he moved to in Miami. While I was there, I’d sneak into the edit room after hours (there was only one) and teach myself how to edit by creating content from shows the producers were working on. They started seeing what I could do and kept giving me real projects. I realized I loved the puzzle of it all and making people feel something. Eventually, I became a staff editor.

From there I went to WNBC in New York City and then to work at post houses throughout the city. I was open to whatever new opportunities came up, and what started out as an “along for the ride” approach has led to a fulfilling career.

What’s your favorite part of the job?
The variety. I enjoy pivoting to CD when I don’t have to edit. I like the challenge of not limiting the editor I work with by imposing a story I have going on in my mind. As CD, you have a little more say in the final story because you’re distilling info and perspectives from both sides – client and editor.

Same for editing – I love the variety. I love stepping into the rhythm of it.

What’s your least favorite?
“Fatal Error” messages.

What is your most productive time of the day?
I’d say the afternoon. In the morning, I’m usually looking through what we have to work with and getting a sense of story or playing with what I did the day before. For some reason it seems I kick into high gear at around 2pm.

If you didn’t have this job, what would you be doing instead?
An FBI agent. I love puzzles.

Do you listen to music while you work?
I like to cut to music while I’m editing, but I keep it separate from my own Spotify playlist.

What do you do to de-stress from it all?
I de-stress by preparing for the stress. I like to start my morning off with a run and a cup of coffee. If I get those in, I’m ready to go.

Name three pieces of technology you can’t live without.

  • Apple Watch
  • My phone
  • My new external hard drive! It’s an OWC ThunderBay (for those who get how much this means).

Would you have done anything different along your path? Any tips for others who are just starting out?
While I feel very fortunate where I am, I had that itch to just pick up and move out to California earlier in my career. I was advised by a colleague not to do it, and in hindsight, I do wish I would have just seen for myself rather than taking their word for it.

With how production is now, you can have incredible creative careers just about anywhere you are, but my tip for those starting out is to be open to new and different opportunities. You never reach a point where you know it all. There are so many new people to meet and things to learn to help you continue to grow.

 

Colorist Chat: Berlin-Based Freelancer Marina Starke

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Marina Starke is a Berlin-based freelance colorist who uses her own grading suite while working on short-form projects. “For long-form projects I usually work at different post houses, depending on where the project is being completed,” she says.

She knew in school that this would be her path. “When I discovered color grading during my studies, I was totally hooked and fell in love.”

Let’s find out more about Starke and her workflows…

As a colorist, what would surprise people the most about what falls under that title?
Mostly client management, I think. There are so many different ways to talk about ideas and translate words and feelings into color. A big part of the job is to make everyone involved happy. It’s important to listen to each opinion and find compromises if you need to, but at the same time take a consultative position. I enjoy seeing most projects with a whole new set of eyes and feeling the energy of the creatives who look forward to taking the project to the next level in the grading suite.

Marina Starke

The Empress

Good music, food and coffee all contribute to a positive vibe when sitting together in the grading suite. I wish there was also a solution to listen to the same music together while working remotely, without it being distracting or lagging in the background. Where are the developers (laughs)?

Are you sometimes asked to do more than just color on projects? Has your job evolved at all beyond color?
Sometimes I help out with retouching as long as it’s quick and easy. Occasionally, I create a “slap compositing” in situations where the VFX are created after grading and I need to make sure multiple layers work well together. This way I can create a rough preview of how it will look. In some cases, the slap comps have worked so well that they have been kept on projects without a big VFX budget.

What’s your favorite part of color grading?
I really love shaping the images and working on details. Once the base is in place, I feel like I can fully dive into the images, and that’s what I enjoy the most.

Marina Starke

The Empress

What are some recent projects you’ve worked on?
In between commercials and music videos, lately I’ve also been working on longer projects, which is a fairly new and exciting step for me. I had the opportunity to work as the lead colorist on the Netflix series The Empress (September 2022), which was my first episodic project.

Besides that, I have also worked on a Czech feature film and another Netflix documentary, both of which will be released next year. There are two more films coming up this spring that I’m really looking forward to.

How do you prefer to work with the DP/director?
I don’t have a straightforward answer to this question since every project and collaboration is individual for me.

Some have a very precise idea of what they want; others give me a lot of freedom to experiment on my own. While some want to be present at the grading, others are busy and only want to see intermediate results. I see this happen more and more often in commercials now with DPs because they are often already at another shoot. Fortunately, since COVID, there are good opportunities to work remotely, and it has definitely opened a new door for me to be able to work more internationally.

Marina Starke

The Empress

Going back to the question… In my experience it always depends on how well you already know each other and their preferences and also on the relationship between the director and the DP. I’m very flexible in that respect, but I enjoy taking time for myself in between to experiment or work on small details. Building relationships and trust with the people you work with is a beautiful thing, and the work is even more fun when you have a good time together.

How do you prefer the DP or director to describe the look they want? Physical examples? Film to emulate?
It varies a lot. I don’t have a preference, but film references help best in most cases. If the references are very different, we explore what they like from each one. It’s also fun to just push the material around and talk about what feels right for the project at the moment.

In commercials, it is more common to bring the product or parts of the product to the grading suite, such as car paint or certain fabrics. But if there are already approved official photos of the product, I find it makes more sense to import these images into Resolve, as it is then easiest to match the specific hue.

Any suggestions for getting the most out of a project from a color perspective?
I would say it’s a good start to work with people who share the same taste and with whom you also get along well on a personal level.

We Might As Well Be Dead

In addition, I’ve found that many good things can emerge if you let your creativity run free and don’t get too hung up on references or opinions. There have been situations where I was asked to do something specific but was a little skeptical about it beforehand because I couldn’t imagine it, but then the result completely surprised me. That’s why I always want to be open to any idea. You never know what will really come out of it.

It’s also particularly important to me to always be honest when someone asks me for my opinion. I want everyone to feel comfortable making suggestions, even if it seems like a silly idea at first. Just play around. That’s the beauty of working together and exchanging ideas.

What system do you work on?
I mainly work on Blackmagic DaVinci Resolve, but I’ve graded a feature film on FilmLight Baselight as well.

You were recently nominated in two categories at the 2022 FilmLight Colour Awards. Tell us about it.
I feel absolutely honored to be mentioned among these insanely talented colleagues and to receive recognition for my work. I really appreciate FilmLight for providing a platform for the craft.

As a self-taught colorist, I have often wished for a mentor and have not been spared the self-doubt of whether what I am doing is fully “right.” I am very happy to be seen, especially as a young woman, and hopefully it will encourage others to dive in to the color world as well.

We Might As Well Be Dead

Why did you enter We Might As Well Be Dead for the Spotlight category?
We Might As Well Be Dead was the first feature film I worked on. It is director Natalia Sinelnikova’s debut feature film and was shot on a very limited budget. I had an absolute blast working with her and cinematographer Jan Mayntz, who won the best cinematography award at Tribeca for his work on it. They are both so talented and special.

I joined the project around picture lock, so unfortunately, I wasn’t involved before the shoot. But it was a lot of fun to create the look of the dystopian world afterward and merge it with the production design, which had already laid a beautiful foundation. The Spotlight category in the awards felt like the perfect fit for an indie feature like this.

Can you describe a challenging scene from this project?
The film consists of many long shots, so we often worked with animated grades to create invisible transitions.

The beginning of the film takes place in the early morning, when we watch a family heading toward a high-rise building. We finally get inside and see our main character conducting a security check on them. We spent extra time to create a continuous sunrise between the few shots, which would also convey a sense of how long it takes for the family to walk to the tower block.

Marina Starke

We Might As Well Be Dead

How early on did you know this would be your path?
When I was at school, working in film was not a topic or a serious option. I did have a passion for photography, though, which was encouraged by my art teacher at the time. As much as I liked taking photos, today I know that I was much more interested in post processing with Photoshop.

When I discovered color grading during my studies, I was totally hooked and fell in love. It was like Photoshop for film, but even cooler. Unfortunately, back then there wasn’t any color grading course at my university, but by watching tutorials and working on many student projects in my free time, I learned a lot and slowly built up a showreel and contacts. And then I just kept going. So I kind of fell into the profession.

If you didn’t have this job, what would you be doing instead?
I wonder that too; it would certainly be something creative. Furniture restoration sounds interesting to me.

What is the project that you are most proud of?
I can think of several projects, but the Netflix show The Empress was my biggest and most ambitious project so far. It was an incredible experience on several levels: first-time episodic, HDR, Dolby Vision, new workflows, many creatives involved and a lot of fun with the storytelling. The project also created a beautiful new friendship with DP Christopher Aoun.

Any tips or tricks you would like to offer up?
I almost always work with clip versions in DaVinci Resolve. These help me to create different variations but also to be able to go back or compare them quickly. There are so many tools now that make it easy to overgrade images. If you get stuck, it’s good to just start over from scratch.

Can you name some technology you can’t live without?
Probably my phone. But I also have a thing for smart lamps. I love being able to switch several lamps on and off at once and dim them. I don’t want to miss that anymore because it creates different moods at home!

What do you do to de-stress from it all?
I spend most of my free time with my friends, but it also helps me a lot to stop taking on too many intense projects at once and to be OK with giving myself breaks.

Main Image Credit: Kristina Lipatov

Colorist Chat: Stone Dogs’ Holly Greig

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Holly Greig is colorist at London’s Stone Dogs, a boutique post house providing VFX and finishing services and color via a new grading division that launched in August.

Greig first joined the post world as receptionist at Prime Focus, working her way up through the machine room to telecine assistant. From there, she moved to Freefolk as a data wrangler, where she learned from the colorists around her, eventually earning the same position herself. In this role, she developed her commercial client base while crafting work for such brands as Nike, E4 and Virgin Atlantic.

Holly Greig

Sephora

Let’s find out more…

As a colorist, what would surprise people the most about what falls under that title?
The job itself is a beautiful mixture of creativity, technical knowledge and interpersonal skills. Being able to interpret what the client wants is one of the most challenging parts of the job…but also one of the most rewarding. When you feel that the client’s vision is coming to life, it is a real perk of the job. Probably what’s most surprising about the role is the detailed knowledge required of good places to go for lunch around your area.

Are you sometimes asked to do more than just color on projects? Has your job evolved at all beyond color?
Technically, yes. There are a few bits and tricks that I can clean using Fusion in Blackmagic’s Resolve 18. However, I work with a team of very talented Flame operators, so it would really only be as a last measure.

EIR

What are some recent projects you’ve worked on?
I really enjoyed working with the guys at Passion on their recent Transpennine job, which was a charming stop-motion spot. Also, a beautiful campaign for the UK launch of Sephora, some playful commercials for EIR broadband, and it’s always a pleasure to work with the BBC.

Can you describe a challenging scene from one of them?
The Transpennine job had the challenge of not being too heavy-handed with the grade. It was about using a more subtle and nuanced technique to direct the eye while maintaining the realism and not becoming too hyper-real.

How do you prefer the DP or director to describe the look they want? Physical examples, film to emulate, etc.?
I think having a conversation with the director/ DP on the phone or in person before you start is always a great help. Sometimes a visual reference can be misleading — they might love the reference but not specifically the color of the still; it might be more the tone, mood or density that they like.

Holly Greig

Transpennine

That said, it is helpful to get stills or reference clips that might have had an impact on the way the piece was shot or have the feel that they were hoping for. But I think it should be followed up with a chat so you can gauge exactly what they like and why.

Any suggestions for getting the most out of a project from a color perspective?
Hopefully you will know what camera and settings have been used before you set a project up because this definitely helps you get the most out of the media. Also, if you have enough time to bring in the camera files, it gives you a bit more scope because you can play with the metadata rather than transcoded files.

Also, it always helps to be able to speak directly to the editor, DP and director about anything that might have come up in the edit or the shoot that they think might be an issue or that might cause problems. As with most roles, communication is one of the best tools you have.

TransPennine

How does your process change when working on a film versus episodics versus commercials?
With a commercial workflow, you usually have the benefit of time, so you get a chance to be very thorough and go into very specific detail. Film and episodics usually don’t allow for as much specificity. Quite quickly you have to settle on a look that works for the scene, is achievable and looks good across all cameras. Grading for film or episodics means you work with much broader strokes.

What’s your favorite part of color grading?
The job can be quite a subjective one. Because there is no clear right or wrong outcome, it can be a lot of fun trying out different looks and seeing the different ways you can go with it. Color can really help lead an emotional response, and I really enjoy when I think I’ve have nailed it, but then try adding something, and it gives it that extra little sparkle.

Holly Greig

Sephora

Do you have a least favorite? If so, what?
It can be frustrating when you are trying looks and it feels like nothing is fitting the brief or the media. Or if there is one shot in the edit that is really problematic, and you spend far too long obsessing over it trying to get the right look. But usually, if you take a quick coffee break and let your eyes have a moment, when you settle back in with fresh eyes you realize the best way to go about it.

Why did you choose this profession?
I first started my love for grading while working as a receptionist at a post house. I have always loved art and photography, but the concept of grading was completely new to me until I started working in the industry.

Once I started training in the TK (telecine) department, that was it. I chose it because I loved that you are presented what is essentially a blank canvas, and you can shape the mood through grading. It is a really interesting combination of art and technology, which I find both challenging and fascinating. Plus the panel was very cool.

If you didn’t have this job, what would you be doing instead?
Human rights lawyer or a yoga instructor.

Sephora

What is the project that you are most proud of?
I really love the Ellie & Natasia show for BBC3. It was challenging because of the variety of vignettes that needed different looks, as it is a sketch show. The show is hilarious, and I was really proud to have been a part of it.

Where do you find inspiration? Art? Photography? Instagram?
Each project is different, but sometimes the footage might trigger a memory of a film or photo I have seen, or the art direction sets a tone. You never know how a film you watched might influence the direction of the grade or how an exhibition you visit might come to mind as you see the edit. Even just the world around you can be influential — the golds of the sunset or the steel-grays and blues as winter starts creeping in might inspire the mood for the next grade.

Is there a film or show that sticks out to you as an example of great color?
There are so many examples of great color out there, but recently I loved the grade on the film Everything Everywhere All at Once. It really kept the pace of the film. I felt it balanced the epic blockbuster with the delicate and intricate perfectly.

Holly Greig

EIR

If you are talking best color of all time probably The Black Narcissus. It is a visual feast for the eyes; every frame is stunning. They recently released a series with the same name, which was also beautifully graded.

Any tips or tricks you would like to offer up?
A practical tip: If you (like myself) previously worked on FilmLight Baselight but are now on Resolve, a very simple tip is to enable the editable spines on the curve grade. It means you can use the curves like you would in Baselight, and it makes a much smoother curve.

Another one is that if you feel you are going around in circles, take a step away from the desk and make yourself a coffee. When you head back, you will probably have the eureka moment. Also, the job is fundamentally a creative one, so best to have a play!

Can you name some technology you can’t live without?
Workwise, it’s the grading panel. It just makes everything specific and so much easier. It allows you to be much more precise.

What do you do to de-stress from it all?
Yoga. And, shamefully, Married at First Sight.

Behind the Title: 1stAveMachine Director David Ebert

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David Ebert is a director at 1stAveMachine, which is what he calls, “a collection of pleasant individuals with great personalities that, when brought together, can somehow magically produce beautiful films and experiences of massive proportions.”

A writer, director, creative director and actor, Ebert has been working both in front of and behind the camera for over a decade. He has appeared in ads for Geico, Checkers and New York Lotto. He has also co-written the Emmy-nominated Netflix series It’s Bruno!; created, wrote, produced and starred in the TruTV series Ghost Story Club; and directed campaigns that include Google’s Pixel fall launch, YouTube’s Brandcast 2021 starring Hasan Minhaj, and the recent Dunkin’/NFL cross-promotion.

David Ebert

Kraft

Most recently, Ebert directed and starred in 1stAveMachine’s “Real Mayo” campaign for Kraft, using his (non-accredited) astrology knowledge to deliver personalized readings via TikTok and Twitter.

Let’s find out more from Ebert…

A director has a full plate of responsibilities, but what would surprise people the most about what a director does?
Way more writing and homework than I’d anticipated.

What was it about directing that attracted you?
I was an actor and had too many strong opinions on-set. Actors are largely powerless on-set — treated like temperamental equipment that needs bathroom breaks — and that feeling of not having more agency in the outcome of my work frustrated me. Directing makes me feel free on-set and affords me the opportunity to treat others the way I would like to be treated as an artist and a person.

Heinz

What continues to keep you interested?
Learning. I try to take jobs that force me to become an expert in a filmmaking technique or technology I would have never used otherwise. I was diagnosed with learning disabilities as a kid, so I spent a lot of time building a relationship with the concept of learning. In time, I grew to love and need the discomfort of being exposed to something new, then being really bad at it and then mastering it. Commercial filmmaking is the only job I’ve found that keeps the challenge fresh.

How do you pick the people you work with on a project?
For department heads, I love working with people much smarter and better than I am. For all other positions, I’ll give just about anybody a chance in any role, even if they are new to it, because others did the same for me, and it’s important to give people the opportunity to surprise you and themselves. If someone is capable in their role and can anticipate the needs of the production, I’ll hire them again. If that person is also kind to others and a good human, I will likely use them as often as I can.

How do you work with your DP? How do you describe the look you are after?
My DP (Jordan T. Parrott) checks all of my previous answers’ boxes. He is brilliant, anticipates my needs and is one of the kindest and most generous people I know. I understand thematically, informationally, emotionally why I need a shot to look a certain way, and he knows how to translate my descriptions into images. He respects me as much as I respect him, and the result is an egoless and frictionless exchange of ideas.

Do you get involved with post at all?
As involved as they’ll let me.

How did the pandemic affect your process and work?
If anything, the lack of commute and ability to control my creative space and time has improved how much I can handle. It’s also made me cherish time on-set. Every production is a small miracle.

Kraft

Can you name some recent projects?
In May, I starred in and directed a Kraft Mayo TikTok campaign for W+K. That was a lot of fun. The concept was a palm reader who reads people’s mayo spreads. I won the bid as the director and independently was sent a breakdown from my commercial agent to audition. I thought it would be funny to audition for my own spot. I got a call back before the agency figured out I was the same guy.

The lines between director, performer and writer are getting increasingly blurry as film production gets further democratized, and I think low-fi, entertainment-driven content that feels native to platforms is the direction we’re going in. Brands are taking a lot more risks in this space because the stakes are lower, and creatively I’ve been a great beneficiary of that.

This past month, I got to work on my second W+K project for a Heinz Halloween campaign. I brought in comedic talent I loved from TikTok and watched them blossom in their first television spot. I also had the eighth episode of my series Netflix by Bots come out this month. That’s another project where I’m given a massive amount of creative liberty and freedom, and the result is something that makes me laugh and generates earned press and organic views.

The past two months I’ve been working as an ECD on Google’s fall product launch. It’s my second consecutive year working the event, and it’s a fun challenge to switch modes from in-the-field director to planning and executing multiple films with multiple directors (done with my immensely talented creative partner Nolan Hicks). An event of that scale transcends making a “spot,” and the distinctions of client, agency and production become a single entity working tirelessly toward a single event. The bond you create with the teams you work with is deep, so when the final day comes, it’s less of a Friday and more like the last day of camp, saying goodbye to your new BFFs until the next fall.

David Ebert

Ghost Story Club

What project are you most proud of?
Ghost Story Club. It’s a television series I made for TruTV that I created, wrote, starred in and (though this title wasn’t conferred) show-ran. It’s the most creative liberty I’ve ever gotten on a project and the result is a series that, though hard to find, was enthusiastically enjoyed by viewers. I hope television execs let me make TV again. I think I was pretty good at it.

Was there a particular film or show that inspired you to get into filmmaking?
Hard to point to one. My mother was a single parent, so by necessity, TV was my babysitter. The plots and storylines of the shows I watched fused to my brain. I can casually recall episodes of Star Trek, The Nanny, Cheers, Family Guy, Xena: Warrior Princess, Dragon Ball Z — honestly, anything that came out between 1990 and 2005. I love all of it, and I knew early on I wanted to be a part of it in some way.

What’s your favorite part of the job?
Reading the comments. Historically, they’ve been very kind.

David Ebert

Ghost Story Club

What’s your least favorite?
Pulling image refs for decks.

If you didn’t have this job, what would you be doing instead?
Looking for a job.

How early did you choose this profession?
I still haven’t chosen it.

Name three pieces of technology you can’t do without?
My phone, the Adobe Creative Suite and my VR headset (I am shocked at how much I enjoy working out in that thing).

What do you do to de-stress from it all?
Get in the car with my family and go somewhere we haven’t been before. My wife and kids are the coolest people I know, and time with them when my phone isn’t buzzing is the closest I get to a perfect moment.

 

 

Behind the Title: Syn Audio Director Takashi Akaku

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Takashi Akaku is a recording engineer and audio director at Syn Tokyo, which provides both original music composition and licensing, sound design and VO/ADR.

Let’s get to know him a bit better…

What does your job entail?
Recording and mixing music as well as VO/ADR, especially Japanese localized voice-overs and remote ADR from our studio in Tokyo. We collaborate with clients all over the world, so we use Source Connect and other technology to help bring the creative process and people together.

What would surprise people about what that job also includes?
I think VO/ADR is something that, for most people, lives in the background of the final product. But it’s very important. It gives life and shininess and depth to how people take in what they see.

Tokyo Vice

What about being an engineer?
I think being an engineer is like being a chef — collecting the materials, selecting the recipe, and creating the original work.

Are you a musician as well?
I’m not a trained musician, but I used to be in a band and played guitar.

What’s your favorite part of the job?
Building the music from nothing. And I like ADR due to taking part in making films.

Do you have a least favorite?
Mixing, but mainly because I prefer recording.

How did the job change during COVID?
Remote sessions have increased, especially in VO/ADR. Luckily, we are used to working remotely, so the transition wasn’t a hurdle — although we obviously missed seeing people in the studio.

If you didn’t have this job, what would you be doing instead?
Detective or archaeologist.

How early on did you know this would be your path?
I was in a punk band in high school and thought I would like to get a job related to music. I didn’t want to be an office worker wearing dark suits. And I really love the Beatles and was a wannabe George Martin.

Pachinko

What are some recent projects you’ve worked on?
Tokyo Vice, Pachinko, Shogun, The Beautiful Game and Invasion.

Can you talk about one that was most challenging?
Remote sessions with small kids for an ADR loop group on Pachinko. Because I had to do everything by myself – recording engineer, director and coordinator –and  they were long sessions so it was difficult to keep the kids’ concentration.

Name three pieces (or more) of technology you can’t live without.
Avid Pro Tools, Beyerdynamic DT 1990 Pro and Neve 1073.

How do you de-stress from it all?
Walking in the morning. Drinking beer some evenings.

Behind the Title: Editor Sandra Montiel, ACE

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Veteran picture editor Sandra Montiel, ACE, recently received a 2022 ACE nomination in the Non-Theatrical Feature category for the movie Kate, starring Mary Elizabeth Winstead and Woody Harrelson. Montiel also cut the currently streaming Hulu feature The Valet, which follows Olivia (Samara Weaving), a famous actress, who faces a PR disaster when a paparazzi takes a photo of her with her married lover, Vincent (Max Greenfield). A valet, Antonio (Eugenio Derbez), accidentally appears in the same photo and is enlisted to pose as Olivia’s new boyfriend as a cover-up.

She has also edited a lot of episodic work, but more on that later.

Can you talk about what being a picture editor entails?
I assemble the footage creatively and seamlessly. Then I manipulate the plot, score, sound and graphics to refine the overall story into a continuous and enjoyable experience.

What would surprise people the most about what falls under that title?
Most people think I only get one take and put it together easily. They don’t know I choose the performances of the actors. Probably the biggest surprise to people is how much an editor is also in charge of the music. I was lucky with The Valet because I had a great music editor, but in most cases, I am also the music editor.

Let’s talk about The Valet. Can you describe the pacing?
The Valet’s pacing is like if you went to a dance party where there are some fast songs and some slow songs, and you go from one to the other. The movie is quick where it needs to be, and it slows down in the scenes when a connection happens between the characters. It creates a flow that lets you enjoy a ride that’s just not all slow or fast. It’s a good ride.

Any challenges in editing the movie?
There were a few challenges in cutting The Valet but nothing major. If I had to pick one, I would choose the scene where Vincent (Olivia’s rich boyfriend) is looking at a model of a new building he is going to build in the Pico-Union neighborhood of LA. That scene had its own pace. Vincent tries to keep his composure after seeing a video of his girlfriend sleeping with another man (even though she didn’t). The scene worked well by itself, but it wasn’t a good progression to the next one. Therefore, we decided to cut the scene a lot to allow room for him to get more exasperated in the following scene — when Max hits the valet, Antonio.

What is the scene you are most proud and why?
Well, first, I am very proud of all the scenes in this movie. But the one I am most proud of, which was also challenging, is the one when Olivia wakes up in Antonio’s bed the following day after getting drunk at a party. When they come out of the bedroom, his entire family, plus a few neighbors, are waiting for them. The director shot the scene over four different days and with many people in it, which makes a scene more difficult to cut.

I had four different bins, so I had to go back and forth, and my monitor couldn’t handle all of them at once by a certain point. I decided to go in on a Saturday to work on it with a clear head and no interruptions. What was satisfying about the scene was that it came across in the way it was supposed to. Even when we did test screenings and asked the audience to tell us their favorite scene, it was that one that almost everyone unanimously chose.

OK, let’s talk about your favorite part of the job.
I have many favorite parts, but if I had to choose one, it would be when I first open a bin. I get to look at the material for the very first time to see what I have to put a scene together. It is very exciting for me. It is the first challenge of a project. I love it.

What’s your least favorite?
There isn’t much I don’t like but probably when there is a lot of back and forth with contradicting notes.

What is your most productive time of day and why?
I love the mornings. I am a morning person, and I usually go for a run before work. It sets the tone for my day, so I feel great when I start.

If you didn’t have this job, what would you be doing instead?
I would eternally be on vacation traveling the world, but I don’t have the money to do that! But honestly, I can’t imagine myself doing a different job. I love what I do, and I am very fulfilled when I am working.

How early did you know this would be your path?
Since I was 13 years old! I grew up in Peru, and my uncle, a filmmaker, visited when I was 13. He read me a script, and I became fascinated by how a story could be told so compellingly in 90 pages. I knew then that I wanted to be a filmmaker and vowed to pursue it when I went to college.

Can you name some recent jobs?
I did a lot of TV before switching to features films. I edited Brooklyn Nine-Nine, Happy Endings, Atypical and The Good Doctor. My recent features are Uncorked, Kate and The Valet.

Do you put on a different hat when cutting for a specific genre?
I really don’t. The hat is the same no matter what the genre is. I look for the best pieces to tell the story I am trying to convey, so whether I need to make you cry, laugh or be scared, it’s all the same. I just look for the different pieces I need to do it.

Assuming you were still working during the height of COVID. Can you describe that experience?
I did edit during COVID, and it was very lonely. I love people, and I like the feedback I get from my team. That was missing from my process over the last couple of years. When I cut The Valet, we were in a different period of the pandemic; we had the vaccines. We worked in a hybrid way, either from home or in a private suite at Hula Post, and it was almost as if COVID didn’t exist. But in terms of getting the job done, with the help of technology, it all went very smoothly.

Do you expect these workflows to stay with us going forward?
I expect to have the ability to show things to producers or other parties via Zoom, Millicast and Evercast. I also think that people will want the option to work remotely or in an office environment, particularly as we see variations of COVID popping up, which doesn’t seem to be going away.

What system do you edit on?
I always use the latest version of Avid Media Composer, usually provided by whichever rental facility a particular project uses. For my last two features, I used Media Composers that were rented from Hula Post.

Do you have a favorite plugin?
It’s not an actual plugin, but a subscription/license that comes with Media Composer called ScriptSync. I like it because in comedies there can be a lot of improv, so having the lines scripted lets me work with the director in a much faster way. Also, because there are so many options with jokes, I am constantly going back and forth to figure out what works best, so ScriptSync helps me move around easier.

Are you often asked to do more than edit (or music editor)? If so, what are you asked to do?
Something I find myself doing, whether asked or not, is being a mediator. Usually, it’s between the studio, the producers and the writer. Sometimes if they all have different opinions (and personalities), we have to go back and forth a few times before settling on a note. Of course, I have to ensure everyone feels heard during that process, especially if I know the note is controversial. But on the other hand, I know what my director wants, so I have to manage all the input others give me.

What are three pieces of technology you can’t live without?
My Avid, ScriptSync and texting.

This is a high-stress job. What do you do to de-stress from it all?
Sleep. Seriously, I make sure I get enough hours when things are going to be very hectic. And as I mentioned earlier running. That also helps me de-stress.

Behind the Title: Wild Capture Co-Founder Will Driscoll

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Will Driscoll is co-founder and CEO of LA-based Wild Capture, which specializes in creating digital humans for VFX, gaming and XR. They have also developed their own volumetric video technology products to perfect this process. His co-founders are Louis Normandin and Evan Pesses.

Let’s find out more…

You have many job responsibilities. How does this all work?
I wear many hats that draw on my deep experience as a digital human technologist and VFX technical director. I am chiefly responsible for the forecast of and the insight into practical trends in bringing photorealistic people to spatial technologies and offering clients modern and efficient volumetric capture solutions.

On the production side, I serve as technical director in converting sequential scanned human data to workflows that save countless hours in creating usable 3D photorealistic characters for production.

How long have you been working in VFX and in what kind of roles? 
I’ve been working as a VFX professional for about 12 years. I have held technical and creative positions focusing on VFX, immersive technologies and bringing digital humans to life. My experience includes film titles and motion graphics, stereoscopic compositing and conversion, fluid and particle effects, video projection on a massive scale, and facial and body motion capture.

How has the VFX industry changed in the time you’ve been working?
There have been so many advancements in the VFX industry… too many to cover here. But the ability to create realistic and quality VFX content is easier to achieve and happens more quickly, while the best and most sophisticated software is accessible to everyone.

Talented artists are generously sharing their wisdom, and affordable resource marketplaces now exist to help artists sharpen their skills. Volumetric video and machine learning technologies are among the few methods that allow us to create believable digital humans across all uses.

While artists have the technology to realize the unimaginable, the day-to-day expectations on their time in terms of content turnaround and more, can often cause an unhealthy workplace environment.

Tut City

How has the VFX industry been affected by COVID?
On the production side of our business, Wild Capture, like many VFX studios, needed to quickly pivot and create remote working opportunities for our artistic team as well as safe on-set work protocols. Overall, creatives throughout the VFX industry took the opportunity to spend downtime on personal projects and hone their skills.

Why do you like being on set for shots? What are the benefits?
Shooting volumetric video for the capture of digital humans on-set is exciting and involves the calibration of a large array of cameras and video feeds. In this new milieu, the capture stage can feel somewhat sterile, and talent is often unsure about how to gear their performance, especially their point of view. My role on-set as technical director is to manage the overall production and mitigate technical challenges so that artists can perform naturally.

Can you name some recent work? 
Wild Capture has used volumetric video to produce assets for various clients in the immersive space, including XR, CG fashion and digital crowds for virtual live events; NFTs for metaverse activations; and live-action film VFX with digital human performances.

Latto

Most recently, we’ve created captures that tap the heart and soul of Atlanta hip-hop, working with icons including Dallas Austin and Latto and incredible rising talent like Kaelyn Kastle and Jazzy Tha Rapper.

What tools do you use day to day?
On the capture side, we use a mix of proprietary software paired with the capture stage vendors and open-source solution providers. This makes for collective development, such as with the Universal Volumetric format, which we are helping to develop.

On the post/VFX side, we’ve developed pipelines to bridge the volumetric video content to standard 3D packages. We rely on SideFX Houdini with PDG and Solaris along with Maxon’s Redshift as our go-to render engine for content going to 2D. We also use Unreal Engine for high-end real-time work and XR Engine as our web solution for XR and virtual worlds.

We’ve begun to adopt Clarisse and have solutions to mix Substance, Clo3D and Houdini Engine to increase compatibility to more pipelines. For concept demos, we use KitBash3D, Quixel and SpeedTree.

Bjork: The Gate

Did a particular film inspire you along this path in entertainment? 
Jim Henson’s work overall and Emmet Otter’s Jug-Band Christmas probably had the biggest influence on my future career in post production. I liked their approach to solving creative problems with technology. Star Wars is a little too obvious, but I loved everything about it.

Where do you find inspiration now?
It’s hard not to be inspired by all the incredible innovation taking place at the collision of art and technology. There is such a wealth of resources available in the form of tutorial series, modifiable assets and behind-the-scenes breakdowns that reveal new tricks of the trade, all of which have a huge impact on the progress of my work. I support a lot of Patreon, Artstation and Gumroad creators which I recommend to others.

Did you go to film school?
I attended Syracuse University, where I got a BS in information technology. With science and technology always moving at such a fast pace, I continue to be a lifelong learner and enjoy staying on top of new trends. I’ve studied at USC film school and enjoy the numerous online tutorials and classes available now. I also attend industry conferences and events.

What’s your favorite part of the job? 
I chose a path in volumetric video because it relies on my technical background in visual effects as a way to deliver compelling stories.

I enjoy meeting and working with smart and interesting personalities who provide the inspiration and camaraderie to stay motivated. I am also impressed by the infinite resources and scholarly research available in all aspects of entertainment technology that open new ways of thinking and small bridges and ladders to get past obstacles.

If you didn’t have this job, what would you be doing instead? 
I would definitely consider exploring bio-robotics or becoming a tech attorney — all assuming I could sit through more schooling.

What do you do to de-stress from it all?
I enjoy getting outside with my wife and son in our local beach area — there are lots of activities and great places to dine and relax. I’m hoping to get back into seeing live music and traveling the globe.

Behind the Title: Taylor James CG Lead Bill Mata

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Bill Mata is a CG lead at NYC’s Taylor James, a design studio that develops content creation for multiple mediums.

Mata, who is a Cincinnati native, has provided animated work for Marvel movies and Comcast campaigns. Inspired by the stunning visuals of video game animation as a kid, Mata pursued a career in simulation, design and motion graphics. He has worked with brands such as Google and Nike.

We reached out to Mata to find out more about his job and how he likes to work.

What does being a CG lead entail?
Often there is more than one solution to achieve a given effect or visual. My job is to test, select and deploy the best solution for the shot or spot.

What would surprise people the most about what falls under that title?
The amount of research and testing required. There are so many experiments that just don’t quite achieve what we are looking for.

Bill Mata

Wondrium

What is your favorite part of the job?
When you find a beautifully elegant and simple solution to a once daunting and impossible task.

What is your least favorite?
Almost every project has this “valley of death,” a creative gauntlet to pass through where there’s anxiety due to deadlines; sudden, unexpected client feedback; or maybe not knowing how to resolve an element of the story. It’s a very low point morale-wise, but it always passes, and the work ends up better in many ways.

What is your most productive time of the day?
Early morning when the coffee is strongest and the office is quietest.

How has COVID affected the way your studio has been working.
We are remote and have adjusted to collaborating through frequent check-ins and video chats.

Do you see some of these workflow changes remaining with us going forward?
I think there are a lot of advantages to having access to powerful workstations anywhere with an internet connection.

If you didn’t have this job, what would you be doing instead?
I would probably be freelancing while pursuing goals and learning about things that would advance/enhance my knowledge of the world. It’s hard to say something firm because I like to keep the sails open and let the opportunities reveal themselves to me as I pursue my interests.

How early on did you know this would be your path?
My dad brought home a PlayStation 1, and cinematics would play before the game would start. These in-game, prerendered cinematics captured me, and it blew me away that people were paid to simply make a video as cool as possible. I wanted to create animations that would excite others. From that point on, every action, every school project and every decision I made was with the idea of moving me closer to that goal.

Can you name some recent projects you have worked on?
I have worked with Taylor James on spots for Wondrium and Bose.

Name three pieces of technology you can’t live without.
A water heater, the semiconductor, concrete.

What social media channels do you follow?
I have a few small subreddit’s that I enjoy checking in on, but I generally steer clear of the noise.

Do you listen to music while you work?
If I am in heavy production mode, I like to put on something jazzy, hip-hop and instrumental. Nujabes (RIP) is always welcome in my ears.

What do you do to de-stress from it all?
I enjoy gaming in many forms. Board games, card games, video games. Cooking is another outlet I love. BBQ/smoking is such a rewarding hobby. Drinking some beers while stoking coals really makes the stress disappear.

 

Finally, would you have done anything different along your path? Any tips for others who are just starting out?
I really don’t think I would do anything differently. For those just starting out I would suggest you create what you want to make. Pursue relentlessly the style you like and surround yourself with people who share your goals. It might not be easy, but it is worth it.

Behind the Title: Series Assistant Editor Ky Kenyon

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LA-based Ky Kenyon is an assistant editor and editor. Currently, he works as a series assistant editor on Love, Death & Robots on Netflix and 9-1-1 on Fox. His past shows include Fox’s 9-1-1: Lone Star and Mariah Carey’s Magical Christmas Special on Apple TV.

Ky Kenyon

Love Death & Robots

We reached out to ask him about his different roles. Let’s start with assistant editor.

Can you talk about your work as an assistant editor?
The normal assistant editing day can consist of prepping dailies, scripting the dailies, building out sound design, laying out rough cuts of scenes, helping address notes that have come in, acting out and recording temp ADR for scenes and taking care of any requests or turnovers that need to happen through a production.

Having assistant editing experience can really set you up for success as an editor. I think it is incredibly helpful to understand the workflow from a technical perspective so that you have a toolset up your sleeve to get the desired result or effect you are looking for creatively. I draw on that when editing, and they go hand and hand for me now.

What would surprise people the most about what falls under the title of assistant editor?
Cutting, sound design and temp visual effects to name a few. I think a lot of people think assistant editing is mostly media management, but it can be expanded to a lot more depending on the needs of the show.

9-1-1

What’s your favorite part of the job?
My favorite part of the job is expanding my skill set. Post people are problem-solvers. There’s always something new getting thrown at us, and essentially, we have to take what we know and use it in a slightly different way to achieve the result we’re looking for. That’s filmmaking as a whole. When you hit those roadblocks, how do you get around them?

What is your most productive time of day and why?
My most productive time is in the mornings. A lot of people don’t like mornings, and that can definitely be used to your advantage. It’s a great time to make uninterrupted progress on a part of the cut you’re working on, or a great time to get out ahead of the dailies coming in. If I’m processing dailies in the morning, I like to have at least a couple of scenes ready by the time an editor is starting. If I don’t have dailies and I’m cutting, I can use the morning to get some really rough fast passes done and touch them up later in the day.

If you didn’t have this job, what would you be doing instead?
Anything else in the film industry. I still to this day have the same attitude I did when I was starting out. I want to be a part of the action. It’s as simple as that. Whether it’s editing or any other position. I want to be here.

Love Death & Robots

How early did you know this would be your path?
I knew I wanted to work in editing when I was in high school. Once I started learning Adobe After Effects and learning that you could manipulate an image, I became obsessed. I would spend late nights looking up any tutorial I could find and messing around with the new feature I learned that week. I’m so grateful that I can do something professionally that I am so very excited about.

Can you name some recent jobs?
Some of my recent work is Love, Death & Robots Season 2 on Netflix (series assistant editor), 9-1-1 and 9-1-1: Lone Star on Fox (assistant editor) and Mariah Carey’s Magical Christmas Special on Apple TV+ (assistant editor).

Do you put on a different hat when cutting for a specific genre?
Yeah, kind of! My “different hats” are related to music. I will listen to music to figure out pacing sometimes. Maybe I’ll listen to some opera to work out the pacing of a sophisticated dialogue scene. Or I’ll listen to some thrilling score done by someone like Mac Quayle (Mr. Robot, 9-1-1, 9-1-1: Lone Star) to get into the mindset to lay out an intense, thrilling scene. Music is so powerful and important in storytelling.

9-1-1

Can you describe working through the pandemic?
I am really lucky that I was able to work through the pandemic. Each show that I worked on was very fast at adapting to a remote workflow. In some cases, as an assistant editor, post supervisors would come to us for input on workflow practices, and how we could make a remote post system work for us specifically.

Do you expect these workflows to stay with us going forward?
I think the remote workflows set in place during the pandemic are here to stay and will just keep getting better and better. It’s crazy to think that there are post houses now that have storage closets upon storage closets filled with headless (monitor-less) computers running entire post teams for networks.

I know some people will always prefer the in-office experience but having the option of remote work really opens a lot of doors. There’s really something to say about how quickly the industry was able to adapt, and how that’s such a good thing for remote work.

What system do you edit on?
I started out on Adobe Premiere and After Effects. As I broke into the industry, I began using Avid Media Composer more and more. In larger post-team environments, I tend to use Media Composer more often. However, I’ve gotten a lot of my work from being able to use Premiere in a team environment — especially before Adobe introduced the “Productions” feature, when it was still Team and Shared Projects. I had a really strong understanding of how that worked, and I got some work simply because I knew how to do that.

Do you have a favorite plugin?
I really like Neat Video. It’s a popular denoising plugin used to remove digital noise that can show up when shooting low light with a high ISO. Also, ScriptSync for Avid is such a timesaver. I’ve done manual script markers in the past, so being able to have ScriptSync analyze the waveforms for you is such a gift.

Are you often asked to do more than editing tasks?
As an assistant editor, you have to be able to wear multiple hats pretty often. Some shows require you to do sound design, mix the audio, temp in visual effects, and possibly cover anything else that could come up. It can really require a wide range of skill sets, but it really helps you sharpen a lot of tools in the post process.

What are three pieces of technology you can’t live without?
Lately, I’ve been using JumpDesktop and Parsec a ton at home to work off multiple computers from one computer wirelessly. Second, ScriptSync is huge. As I mentioned above, when scripting a scene of fresh dailies, ScriptSync can take in all the waveforms very quickly and get you awesome results. It’s definitely a must-have.

Last but not least, more toward the hardware side of things, any of the new M1 Mac computers. I often work off both PC and Mac computers, and in fact, I have built the PCs I use regularly myself. They are very fast, buffed-up machines, but Apple has really done something special with the M1 chips in its new Mac computers. I picked up one of the M1 Mac Minis last year, and it really impressed me. I recently swapped my daily use laptop for one of the new M1 Pro MacBook Pros. That thing is sweet! The out-of-the-wall power they use is ridiculously low, and the performance is really impressive for the form factor of a laptop/minicomputer.

What do you do to de-stress from it all?
I love to get immersed in good stories outside of work. Whether it’s reading to spend some time away from screens or writing my own projects and working with friends to bring them to life, I find all of that is a great way to relax and have fun creating.

Sarah Keshishian

Behind the Title: Loyalkaspar Producer Sarah Keshishian

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Sarah Keshishian is lead producer at NYC-based branding and creative agency Loyalkaspar, which specializes in everything from traditional branding (brand DNA, logos, custom typefaces, etc.) to network campaigns and museum installations.

She started her career working on sets and then made her way to producing broadcast opens and campaigns. Let’s find out more…

What does being a lead producer entail?
We oversee the production of a job from its inception to its delivery and serve as the conduit between the client and the creative team.

What would surprise people the most about what falls under that title?
That the job deals with an emotional component as well as the executional component. Although we operate in a mostly logistical role to ensure a product is delivered on time, we are also there to lean on for morale and team-building. I make sure I hit my deadlines but also, “You need to vent? Lay it on me.”

What’s your favorite part of the job?
The connecting, whether I’m building a relationship with a client or building the morale within my team and supporting them. I love the constant connection with people and navigating each and every personality type. Also, I love to talk, so that might have a lot to do with it.

What’s your least favorite?
Budgeting. Does anyone love to budget? Perhaps accountants — and good on them.

What is your most productive time of the day?
I would say, 9:30am to 2pm. From that time, I am regrouping with my teams, responding to emails, making sure everyone and all projects are running properly for the day. And I often have about three cups of coffee during that period.

How has the COVID shutdown affected the way your studio has been working?
There was an expected and obvious shift in workflow at the beginning: figuring out how to access certain things remotely and functioning all together while separated. But as time has gone on and we learned to cope, I would say production is essentially the same as it was in the office.

I do miss seeing the people on our team and the long lunches, when I would have an audience to ramble to, but for efficiency purposes, it remains the same.

Do you see some of these workflow changes remaining with us going forward?
Workflow-wise, the only thing I can see remaining — whether we use a hybrid model of going in to the office or remain remote — is having access to remote servers. We cannot rely on people being in any specific location five days a week anymore, so I think accessibility to all projects/files/etc. will always remain from here on out.

If you didn’t have this job, what would you be doing instead?
I would love to be a writer for television. Something in the creative comedy field would be a dream. I wrote and directed a short film in college called Binder that was a satire of all indie films. Like most indie films, its name had very little to do with the film itself. I always wanted to go back and rewrite it now that I’m in my 30s.

But more realistically what would I be doing? Probably covered in dogs in an animal rescue center. Maybe running it, maybe not.

How early on did you know this would be your path?
I started on film sets when I was 24, making my way from a production assistant to an assistant location manager and locations coordinator. I always thought being on sets would be glamorous and a job you would kill for, but give yourself a day on-set, and you realize it is not. I did, however, realize I am good at negotiations, dealing with various personalities and constant troubleshooting.

Not wanting to work 16-hour days any longer, I thought it was a logical transition to move to a creative agency. I applied my skills of budgeting, negotiating and problem-solving from film and made the move at age 27. Although it was scary to start over in my later 20s, I quickly climbed the ladder using my previous knowledge from films. I soon realized I was good at what I do, and my previous film experience was incredibly beneficial.

Can you name some recent projects you have worked on?
My latest branding projects were a rebrand for MTV (which made 12-year-old Sarah feel like a hero) and the brand identity for Peacock.

For campaigns — which might be my favorite since I get to bridge the gap from my film life to now — I’ve worked on CNN’s Stanley Tucci: Searching for Italy series and HLN’s Forensic Files (which makes current-day Sarah feel like a hero).

Name three pieces of technology you can’t live without.
Phone and TV for sure. People who don’t own a TV — why?

Hmm, a third is tricky. A refrigerator? Does that count? I would really feel more comfortable bundling the fridge/oven/stove/washer/dryer, but I guess if I must choose one, the fridge could sustain me most.

If that doesn’t count, I guess my computer since… that is sort of all I work on at my job.

What social media channels do you follow?
The Dodo, The Onion, Reductress, 90sanxiety and popculturediedin2009, just to name a few.

Popculturediedin2009 needs more love. It shows what insane times the 2000s were to grow up in. I swear I do not run it.

What do you do to de-stress from it all?
One of the benefits of working from home is stepping away for five minutes — whether that is just pacing your apartment crying and screaming “why” into the void or taking a lovely stroll. Sometimes just removing yourself for a bit helps to clear your mind and put you in a better head space.

Finally, would you have done anything different along your path? Any tips for others who are just starting out?
I don’t think I would have done anything differently. I think I am where I am because I was constantly willing to learn, grow and apply whatever I gained to new ventures. I do not consider my time in film a waste, even if ultimately it did not work out, because it rounded out my abilities and led me to my current field.

My tips would be to actively want to learn. I never did a job where I was not constantly asking questions or taking on tasks I knew would help me gain some form of knowledge. Be willing to look silly and try something out before you are at that level strictly for the learning experience. (For me it was building calendars when I just started as a coordinator.) Oh, and learn to love Google Suite and Excel.