Where are you working at the moment?
I am freelancing through an editorial and documentary production studio located in Culver City,
Chakravision Productions Inc. (“Chakra” is the abbreviation for my first/last name, and “vision” is the abbreviation for TV. I am not a yoga master.)
I’m editing and producing the first documentary by renowned director Jon Avnet about ballet dancer Isabella Boylston of the American Ballet Theatre, and I’ve just finished “Beast Games” by Prime Video. Recent union projects include Netflix’s “Magic Prank Show with Justin Willman,” NBC’s “La Fire and Rescue,” and Max’s “Project Greenlight: New Generation.”
I am the editor/producer of scriptless/documentary TV and film projects, everything from shiny game shows to documentary. I made stories in post-production and wrote with productions, tracking the media I gained and creating an editing feel. Most of my time is spent digging hours of material to do a few minutes of programming in the final version. I prefer storytelling because it allows the editor to become Auteur because we control many aspects of the editing published.
How did you become interested in this work in the first place?
I studied TV/film and sociology at the University of Miami. At the festival I founded called “The Art of Film” we showed student movies and got students from music schools to score live. Over time, I was interested in how editors’ control over light and sound elicited an emotional response from the audience. Understanding how the overall editing of the process inspired my passion for editing.
Who gives you your first rest time?
I had the opportunity to serve as an assistant editor under the late famous trailer editor Thomas Swords in Connecticut and New York. Under Tom, I worked on trailers and TV shows for movies such as Miramax, Hallmark Entertainment, October movies, Cabin Fever Entertainment, New Line Cinema and Sony Pictures Classics. I quickly learned about avid media composers in my first few years of widespread use and worked hard to edit trailers and TV shows.
What was your first union job?
My first union editorial show was at Mark Burnett’s Productions, which was produced by Steven Spielberg. I think my first guild show involved Spielberg, which was fun, but also a privilege.
What credits or programs are you most proud of and why?
Early in my career, I cut a trailer for an alternative version of the “Swimmers”. I will never forget the excitement of seeing something on the screen I cut. The next credit/plot point in my career is the pilot who edits “Aosburg”. A few months later, when the series became the first Emmy Award-winning show I’ve ever been on, I found myself at the center of a cultural phenomenon. With Kevin Hart on “The True Husband in Hollywood” – One of my first script comedy projects – I had to work with longtime friends AJ Catoline, Ace, Rob Kraut and Richard Sanchez. While on the show, we ran for the Film Editors Association as “Unscripted” Slate and all were voted. We worked tirelessly to create a springboard for early scriptless organizations, and it was a privilege to be part of it. “Voice” working in nine seasons was an incredible experience because as a musician I was happy to see how sausages were made and I received my first two Emmy nominations as an editor. The documentary I work with Jon Avnet now is probably the most important climax of my collective experience as an editor, producer and storyteller to date.
What is your biggest challenge at work (or in a specific project)? How did you overcome/solve?
The biggest challenge may come from my recent Prime Video’s “Beast Game”. It started to cover 1,000 contestants with over 1,000 cameras, 1,000 Gopro, 1,000 microphones, and edited in Adobe Premiere Pro using over 10 video formats and various frame rates. The show combines YouTube style with traditional traditional media scriptless editing to create a new “Franken Gaine.” To overcome this pressure, I delve into Adobe’s new AI and upgraded capabilities. I also had to check my self at the door because the team on this show was really spectacular and talented – many of them were half my age.
What is the most interesting thing in your work?
Working on MTV for “Osbournes”. Comedians like Henriette Mantel, Jeff Stilson, and Sue Kolinsky made it with us, we played, laughed and shared ideas. We are making scriptless shows into sitcoms, which feels both genre curvy and super rewarding. Plus, our editorial team includes some of my favorites, including David Tedeschi, Mary DeChambres, Richie Edelson, Brian Ray and Greg Nash.
Jobwise, what do you want to do in five years from now?
Work in 2024 has been slow for many of us, so I hope that within five years I will still be working in this field. I want to continue working on script comedy TV and documentaries. I also want to edit feature comedy.
What are your external activities, hobbies, passions?
Travel internationally, looking for travel hacks, and spending time with my family and friends. I am an outgoing and industry-loving event, networking and brainstorming new ideas. I play the keyboard and do background sounds in the main editor and producer rock band. We appropriately call TRT [Total Running Time]. We mainly attend friends’ parties and small events, but we rock! Recently, we have had a music jam and band showcase by editors and producers, which has been a huge success and we will be doing more in 2025. Outdoor activities include skiing, hiking, beach games, camping, cycling, and soccer games for my kids.
I’m a fool of everything about fantasy and sci-fi, so everything about Star Wars, Lord of the Rings, Spielberg and Kubrick. My guilty pleasure is music and political documents, biological pictures about musicians and films about artists. “Fantasy”, “Pink Floyd: The Wall” and “2001: A Space Odyssey” have sparked my interest in becoming a storyteller.
Favorite TV show? Why?
I like “White Lotus”, “Abbott Elementary”, “Penguin”, “Ted Lasso” and “Lord of the Rings: The Ring of Power”. All of these shows set me apart from reality and into the “area” I ride exactly what I am emotionally. I also love musical documentaries like “The Beatles ’64” directed by my friend and editor David Tedeschi and “Becoming Led Zeppelin” as they capture moments beautifully and still provide historical context by pieced together archival clips and fragments of unreleased audio and movies. Despite being very different, both genres have achieved the same results as they emotionally and creatively bring me to another time and place.
Do you have an industry mentor?
I’m lucky to have many editorial mentors throughout my career, including Thomas Sword, David Tedsky, Ivan Victor, Ass, AJ Catoline, Ace, Ace, Clayton Halsey and AJ Dickerson, Ace. Currently, I feel great working with director Jon Avnet. His filmmaking sensitivity, union activities, negotiation strategies and business-savvy sensitivity have given me new insights into my work as an editor, producer, union activist and artist. We spent hours talking about film theory, union politics, skiing and lifespan in this business.
Would you give advice from people interested in pursuing a job?
I tell all these things the same thing: “Stairs, not elevators!” So people often want to climb to the top as soon as possible without having to strengthen their legs and pick up all kinds of small but important knowledge in the process. When an opportunity knocks on the door, do your best to smash it and don’t be afraid of failure. Remember that failure leads to the wisdom of discovering and making better choices. Most importantly, follow the type you choose and stick with it. There is nothing worse than being trapped in a genre you don’t like.
Has this ever happened when you had to rely on a guild for help or help?
Being an active member of the Editorial Association, professionally and personally, has been super rewarding on many levels. When I realized the incredible health insurance benefits that being a union editor has provided for my family, joining the organization has to do. I built a lifelong friendship through the guild, and it was a safety net for a tough time. The friendship and solidarity of the MPEG community helped me find the project, the team of the project, and it has always been a springboard for my career.
What do you want to say to your guild members, and some encouragement?
As many of us face a changing entertainment industry, the uncertainty of the next union job can feel overwhelmed, but don’t be discouraged. We must challenge ourselves to learn new software and technologies to prepare for these changes, which is feasible. Remember your worth; value your experience and humility when you step halfway into the role of the boss. Don’t be afraid to listen, try new things with enthusiasm, and work will flow. As someone who helped launch the “I am a Union” campaign while on the MPEG Board and Member Outreach Committee, I can tell you it depends on how we can strengthen the organization. We have to go to board meetings, join committees, vote, vote and participate in amazing events organized by the guild. Being more active will lead to more work, friends, and keeping the top of the game.
