Where are you working at the moment?
MGM/Amazon.
Current project?
“Hail Mary” adapts a popular science fiction novel of the same name.
Describe your work.
The visual effects editor is the pipeline between the editorial and visual effects department. We need to identify and track all the visuals in the movie from its founding to completion. We are also part of the creative process because when it comes to the shots or sequences that editors and directors are working on, we are often asked to give ideas or feedback – usually before visual effects supervisors are involved because they are still in “if we have tried that” What to do?” stage. As a result, we use Avid or Aft After effects for temporary effects to help filmmakers conceptualize their ideas before other resources or departments invest in shots.
Responsibilities may vary between responsibilities, but always start from identifying the potential visual effects that will be integrated in the fanaticism, or a more detailed temporary effect that the team behind the backsight has done. When the sequence reaches the vendor that the director, editor and visual effects supervisor wants (the company that creates the final visual effects lens, e.g., ILM, wētāfx [co-founded by Peter Jackson]etc.), in order to officially start shooting work, we “pull” the board (the original photographic work used as the visual effect of each lens), generating EXRS (an uncompressed file format where each frame image moves as Pass a single file) and create a “count table” (the document lists the visual details of the shot and the work that needs to be performed and any board works required). All of this is delivered to the supplier.
Once the vendor is ready to submit the version, we receive the shot and then cut it into a sequence. The filmmakers took notes on the camera and we passed them to the camera’s supplier. So a lot of the process is the process of sending things out, sending them back, checking them, and passing any other notes from the filmmaker. The loop is repeated until the director finally determines the shot. As the cuts progress, we track these changes and how they affect other visual effects in the movie. We then pass this information to the visual effects department and suppliers. Once most of the shots are handed over to the supplier, we will switch to audit mode. This is usually a daily meeting, which takes place in a feverish situation, where we present footage to editors and directors so that they can give notes directly to the visual effects supervisor. Sometimes this will be in my office or sometimes in a small theater.
It’s not just the above, but these are all extensive strokes. The most important part of the job is supporting editors and directors and ensuring that their needs and expectations are met.
How did you become interested in this work in the first place?
OK, tl; dr [too long; didn’t read – ed.] It was me who worked as a security guard at a film studio in Vancouver called Bridge Studios, and I eventually moved to the maintenance location of the building. Between those two jobs, I met everyone and ended up asking for a job filmed on one of the TV series.
Who gives you your first rest time?
Michael S. McLean (Editor/Post Director). I asked him to work in the visual effects department of the TV series “Stargate SG-1” but it was not open. Instead, he gave me a place in the dubbing room, made a daily newspaper, cut the VHS and assigned it to the appropriate people. At Dub Room, we support up to three TV series and some weeks of movies (Mowing Grass) at any given time. This is a great learning environment.
What was your first union job?
I’m the assistant editor of “Stargate SG-1” and it’s the trial of the fire, because it’s also the first episode they shot on HD, not the 35mm movie. Also, the editing is done on Avid, but so far I’ve been learning on Lightworks. I have about five days to learn everything about HD workflows and how to use the fanatic system. HD workflows are not yet common, producing and renting a Sony F900 HD camera similar to the movie-like revamped with George Lucas for Star Wars Preefels. I spent most of my time figuring it out alone, and it was a challenge, but I was happy with the opportunity.
What credits or programs are you most proud of and why?
I am proud of my latest project, “Twisters.” Working with director Lee Isaac Chung and visual effects director Ben Snow and editor Terilyn Shropshire. This movie performed well and had a lot of hearts. They were involved in my creative process, which always made a lot of sense.
What is your biggest challenge at work (or in a specific project)? How did you overcome/solve?
The post-production schedule for the movie “Fast and Fierce Gift: Hobbs and Shaw” is extremely radical. We did over 2200 photos, but they never locked in the cut, so on the same night we previewed three different versions of the movie at Universal Lot. We worked for six months and six months and six months and found keeping up with changing editing was a challenge. But in the end, the movie is fun, so I’m proud of other visual effects edits and I removed it.
What is the most interesting thing in your work?
It was a tough call. Probably when I was working in the dubbing studio at MGM in Vancouver. It’s a relaxing environment full of people willing to share knowledge and encourage growth, plus healthy crazy hijinks. We’ve seen the latest cuts from a team and everyone gives feedback and encouragement.
I also played “Foreigners” with Angela Catanzaro, ACE and director Martin Campbell. Working with both was a great atmosphere. We are a small but very relaxed team, going all out to make a good movie with zero drama behind the scenes. Martin finished his cuts early but didn’t want to hand in, so he would sit in my office and we watched the movie together. Poor Angela has to endure his complaints when she has to break up because she needs me to do something haha.
Jobwise, what do you want to do in five years from now?
I’ll probably give the same answer as most people: I want to cut full time. However, I am happy with the niche that I have carved for myself over the years.
What are your external activities, hobbies, passions?
I spent a lot of time as an avid photographer (pun). For me, it’s a form of meditation; I can focus on creating images somewhere and escaping the stress of work and life. This is a great excuse to go out and explore.
Favorite movie? Why?
“Taxi Driver” – Excellent performance, it explores the dangers of loneliness
“Double Compensation” – A great thriller, witty dialogue
“Stranger on the Train” – Another great thriller, comments on idle and celebrity
“Shining” – a psychological thriller for masterpieces; I’m watching this Halloween
“Alien” – The perfect fusion of science fiction and horror
Favorite TV show? Why?
“Sogun” – Very attractive writing and performance
“Brothers” – Every episode is like a movie
“Dark” – German science fiction thriller, I guessed three seasons
“Fawlty Towers” – The most embarrassing comedy ever
“Battle of Space Karatica” (1978) – When I was a kid, it was like the new “Star Wars” every week!
Do you have an industry mentor?
I’m lucky to work with many incredible people who have taught me a lot over the years. But I have to say that Angela Catanzaro and Chris Rouse have probably had the biggest impact on my career and how I work. Both are excellent editors and highly collaborative, but they also have compassion for their staff, which is rare in our business. I learned a lot from both of them, not only creative, but how to be professional and compassionate to the people you work with.
I also worked with other outstanding editors like Michael Tronick, Teri Shropshire and Joel Negron. Their similarity is that all three are powerful, but compassionate, willing to teach and mentor their staff.
Would you give advice from people interested in doing the job you are doing?
Learn to use the BCC plugin (Boris FX Continuum Collection – Visual Effects software plugin) and FileMaker Pro (database application). If you have competent in both, you will be an attractive hire for busy visual effects editors, and the rest can guide you.
The Cut Room for Visual Effects Editor is different from the editor of Assistant Editor, and you can only know when you work under an experienced person. Since you are positioned between the visual effects department and the editorial, you need to act as a variety of buffers and often have different priorities and opinions between the two departments. Keeping some justice and knowing how to best serve the film while maintaining trust and confidence among all through open communication can be a challenge. Although visual effects editorials tend to be a semi-autonomous sub-department, we end up working for both editors and directors, so while you do everything you can to help the visual effects department, you have to do it without compromise. What the editor and director want. This may be a balanced act.
Has this ever happened when you had to rely on the guild for help or help?
In Season 1 of “The Man in the High Castle”, they did not cash out our deal memorandum correctly. Production is trying to pay less time than specified in the transaction memorandum we draft. Another assistant editor has brought unions into it to help solve it.
Do you want to offer any words of encouragement to your guild members?
Recently, I was shocked by an article by guild member Richard Sanchez. It was explained that the purpose was to call the Film Editors Association a “Union” to make it an entity for others, and to call it “our alliance” to make it something we have built together as a community. I thought it was really important.
