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What Our Members Do



Charles Kramer, ACE - Picture Editor

March 2025

Where are you currently employed?

I work freelance through my editing and documentary production studio in Culver City, Chakravision Productions Inc. (“Chakra” is an abbreviation of my first/last name and “vision” is short for television. I am not a yoga master.)

 

Current projects?

I’m editing and producing esteemed director Jon Avnet’s first documentary feature about American Ballet Theatre’s prima ballerina, Isabella Boylston, and I just finished “Beast Games” for Prime Video. Recent union projects included “The Magic Prank Show with Justin Willman” for Netflix, “LA Fire and Rescue” for NBC, and “Project Greenlight: A New Generation” for MAX.

 

Describe your job.

I’m an editor/producer of unscripted/documentary television and film projects, working on everything from shiny-floor game shows to docuseries. I craft story in post-production and work with production on writing pickups, tracking down acquired media, and creating the feel of the edit. Much of my time is spent digging through hours of material to achieve minutes of programming in the final version. I prefer storytelling that follows real subjects because it allows the editor to be the auteur as we control many aspects of the released edit.

 

How did you first become interested in this line of work?

I studied Television/Motion Pictures and Sociology at the University of Miami. At a festival I founded called Film Art Revolution, we showed student films and had music school students live-score them. Over time, I became interested in how editors’ control over light and sound could evoke emotional responses in viewers. Learning how integral editors are to that process inspired my passion for editing.

 

Who gave you your first break?

I got an opportunity to work as an assistant editor under the late renowned trailer editor Thomas Swords in Connecticut and New York. Under Tom, I worked on trailers and TV spots for films from Miramax, Hallmark Entertainment, October Films, Cabin Fever Entertainment, New Line Cinema, and Sony Pictures Classics, among many others. I quickly learned Avid Media Composer within its first few years of widespread use and worked up to co-editing trailers and TV spots.

 

What was your first union job?

My first union editing gig was at Mark Burnett Productions working on a show called “On the Lot,” which Steven Spielberg co-produced. I think it’s kind of funny, but also an honor, that my first Guild gig involved Spielberg.

 

What credits or projects are you proudest of, and why?

Early in my career, I cut an alternate version of the trailer for “Swingers.” I’ll never forget the excitement of seeing something on the silver screen that I had cut. The next credit/plot-point in my career was editing the pilot for “The Osbournes.” Months later, I found myself in the epicenter of a cultural phenomenon when the series became the first Emmy-winning show I’d ever been involved with. On “Real Husbands of Hollywood” with Kevin Hart — one of my first scripted comedy projects — I got to work with long-time friends A.J. Catoline, ACE, Rob Kraut, and Richard Sanchez. While working on that show, we ran for the Motion Picture Editors Guild board as an “Unscripted” slate and all got voted in. We worked tirelessly to create a springboard for early unscripted organizing successes, which I’m very proud to have been part of. Working on “The Voice” for nine seasons was an incredible experience because, as a musician, I enjoyed seeing how the sausage is made, and I earned my first two Emmy nominations as an editor. The documentary I’m working on now with Jon Avnet is probably the most significant culmination to date of my collective experience as an editor, producer, and storyteller.

 

What was your biggest challenge in your job (or on a particular project) and how did you overcome/solve it?

The biggest challenge may have come from my most recent project, “Beast Games” for Prime Video. It started with 1,000 contestants covered by 100+ cameras, 1000 GoPros, 1,000 microphones, and editing in Adobe Premiere Pro using over 10 video formats and assorted frame rates. The show married YouTube style with conventional legacy media unscripted editing to create a new “Franken-genre.” To overcome the stress this caused, I took a deep dive into Adobe’s new AI and upgraded features. I also had to check my ego at the door because the team on this show was truly spectacular, insanely talented — and many were half my age.

 

What was the most fun you’ve had at work?

Working on “The Osbournes” for MTV. With comedians like Henriette Mantel, Jeff Stilson, and Sue Kolinsky producing in the bays with us, we played, laughed, and shared ideas. We were crafting an unscripted show into a sitcom, which felt both genre-bending and super-rewarding. Also, our team of editors included some of my favorite people in the world, including David Tedeschi, Mary DeChambres, Richie Edelson, Brian Ray, and Greg Nash.

 

Jobwise, what do you hope to be doing five years from now?

Work in 2024 has been slow for so many of us, so I hope that in five years, I’ll still be working in this field. I’d like to continue working in scripted comedy television and feature documentaries. I’d also like to edit feature comedies.

 

What are your outside activities, hobbies, passions?

International travel, finding travel hacks, and spending time with my family and friends. I’m an extrovert and love industry events, networking, and brainstorming new ideas. I play keyboards and do background vocals in a rock cover band of mostly editors and producers. We’re appropriately called TRT [Total Running Time]. We mainly play friends’ parties and small events, but we rock! We recently had an editor-and-producer music jam and band showcase to great success, and we’ll have more in 2025. Outdoor activities include skiing, hiking, beach games, camping, biking, and going to my kids’ soccer games.

 

Favorite movie(s)? Why?

I’m a sucker for everything fantasy and sci-fi, so everything related to “Star Wars,” “Lord of the Rings,” Spielberg, and Kubrick. My guilty pleasures are music and political docs, bio-pics about musicians, and films about artists. “Fantasia,” “Pink Floyd: The Wall,” and “2001: A Space Odyssey” triggered my interest in becoming a storyteller.

 

Favorite TV program(s)? Why?

I’m enjoying “The White Lotus,” “Abbott Elementary,” “The Penguin,” “Ted Lasso,” and “The Lord of the Rings: The Rings of Power.” All these shows pull me out of reality and into “the zone” where I am just along for the ride, emotionally.  I also enjoy music documentaries like “Beatles ’64” which was directed by my friend and fellow editor David Tedeschi and “Becoming Led Zeppelin,” because they beautifully captured a moment in time and still gave historical context by piecing together archival footage and scraps of unreleased audio and film.  Although very different, both genres achieve the same result because they transport me emotionally and creatively to another time and place.

 

Do you have an industry mentor?

I’ve been fortunate to have many editing mentors during my career, including Thomas Swords, David Tedeschi, Ivan Victor, ACE, A.J. Catoline, ACE, Clayton Halsey, and A.J. Dickerson, ACE. I currently feel amazing mentorship working with director-producer Jon Avnet. His filmmaking sensibilities, union activism, negotiation tactics, and business savvy give me new insights into my work as an editor, producer, union activist, and artist. We’ve spent hours chatting about film theory, union politics, skiing, and longevity in this business.

 

What advice would you offer someone interested in pursuing your line of work?

I tell all of them the same thing: “Take the stairs and not the elevator!” So often, people want to climb to the top as quickly as possible without strengthening their legs and picking up various small but important bits of knowledge along the way. When opportunity knocks, dive in to the best of your ability, crush it, and do not be afraid to fail. Remember that failure leads to discovery and the wisdom to make better choices. Most importantly, follow your chosen genre and stick to it. There’s nothing worse than feeling trapped in a genre you don’t enjoy.

 

Was there ever a circumstance when you had to rely on the Guild for help or assistance?

Being an active member of the Editors Guild has been super-rewarding on many levels, professionally and personally. When I realized the incredible health insurance benefits that being a working union editor provides for my family, joining the organizing effort became imperative. Life-long friendships I’ve made through the Guild have been a safety net when times are tough. The camaraderie and solidarity of the MPEG community helped me find projects, find teams for my projects, and has been a springboard for my career overall.

 

Is there anything you’d like to say to your fellow Guild members, some words of encouragement?

As many of us face an ever-changing entertainment industry, the uncertainty of landing our next union job can feel overwhelming, but don’t be discouraged. We must challenge ourselves to learn new software and techniques to prepare for these changes, and it’s doable. Remember your worth; value your experience and your humility as you step into roles where people half your age are your bosses. Don’t be afraid to listen, to try new things with gusto, and the work will flow. As someone who helped initiate the “I Am the Union” campaign when I was a member of the MPEG board and the Membership Outreach Committee, I can tell you that it’s up to us to strengthen this organization. We must get involved by attending board meetings, joining committees, shop-stewarding, voting, and attending the amazing events the Guild puts together. Being more active will lead to more jobs, friends, and staying on top of your game.

Warren Hickman - Visual Effects Editor

February 2025

Where are you currently employed?

MGM/Amazon.

 

Current projects?

“Project Hail Mary,” an adaptation of a popular science fiction novel of the same name.

 

Describe your job.

The visual effects editor is a conduit between the editorial and visual effects departments. We need to identify and track all visual effects in the film from inception to completion. We’re also part of the creative process in that we’re often asked to give ideas, or feedback on ideas, when it comes to a shot or sequence that the editor and director are working on — often before the visual effects supervisor gets involved because they’re still in the “what if we tried this?” stage. As a result, we do temp effects using Avid or After Effects to help the filmmakers conceptualize their ideas before other resources or departments invest in the shot.

Responsibilities can vary between films, but it always starts with identifying potential visual effects that will be temp composited in the Avid or have more elaborate temp effects done by a post-visualization team. When a sequence gets to the point where the director, editor, and visual effects supervisor want a vendor (the company that creates the final visual effects shots, e.g., ILM, Wētā FX [co-founded by Peter Jackson], etc.), to officially start work on a shot, we “pull” plates (pieces of original photography that are used as a base for visual effects for each shot), generate EXRs (an uncompressed file format where each frame of the moving picture is delivered as an individual file), and create “count sheets” (documents that lay out a shot’s visual details along with the work that needs to be performed and whatever plates are needed). All of this is delivered to the vendor.  

Once the vendor has a version they’re ready to submit, we receive that shot and I cut it into a sequence. The filmmakers make notes on the shot, and we pass those on to the shot’s vendor. So a lot of it is a process of sending things out, getting them back, checking them, then passing along any additional notes from the filmmakers. The cycle repeats until a shot gets finalized by the director. As the cut progresses, we track those changes and how they affect other visual effects in the film. Then we pass that info along to the visual effects department and vendors. Once we’ve turned over most of the shots to the vendors, we shift into review mode. That’s often a daily meeting, run on the Avid, where we show the shots in context to the editor and the director so they can give their notes directly to the visual effects supervisor. Sometimes this will be in my office or sometimes in a small theatre.

There’s a lot more to it than just the above, but those are the broad strokes. The most important part of the job is supporting the editor and director and ensuring their needs and expectations are being met.

 

How did you first become interested in this line of work?

Well, the TL;DR [too long; didn’t read – ed.] is that I used to be a security guard at a film studio in Vancouver called the Bridge Studios where I eventually moved into a building maintenance position. Between those two jobs, I got to know everyone and eventually asked for a job on one of the TV series filming there.

 

Who gave you your first break?

Michael S. McLean (editor/post supervisor). I had asked him for a job in the visual effects department on the TV series “Stargate SG-1,” but there wasn’t an opening. Instead, he offered me a position in the dub room, making copies of dailies and cuts on VHS and distributing them to the appropriate people. In the dub room, we supported up to three television series and some movies-of-the-week (MOWs) at any given time. It was a great environment to learn in.

 

What was your first union job?

I was an assistant editor on “Stargate SG-1,” which was a trial by fire because it was also the first episode they had shot on HD instead of 35mm film. Additionally, the editing was to be done on Avid, but I had been learning on Lightworks up to that point. I had about five days to learn everything I could about an HD workflow and how to use an Avid system. HD workflows were not common yet, and production had rented the same cine-modified Sony F900 HD cameras that George Lucas had used for the Star Wars prequels. I was mostly left alone to figure it out, which was a challenge, but I was happy for the opportunity.

 

What credits or projects are you proudest of, and why?

I’m especially proud of my most recent project, “Twisters.” Working with editor Terilyn Shropshire, director Lee Isaac Chung, and visual effects supervisor Ben Snow was a great experience. The movie turned out well and had a lot of heart. They involved me a lot in the creative process, which is always very rewarding.

 

What was your biggest challenge in your job (or on a particular project) and how did you overcome/solve it?

The film “Fast & Furious Presents: Hobbs & Shaw” had an extremely aggressive 16-week post-production  schedule. We had over 2200 shots, yet they never locked the cut, so at one point we previewed three different versions of the film on the same night at the Universal lot. We worked six- and seven-day weeks for six months and found it challenging to keep up with the constantly changing edit. But in the end, the movie was a lot of fun to watch, so I’m quite proud that the other visual effects editors and I pulled it off.

 

What was the most fun you’ve had at work?

That’s a tough call. It could be when I worked in the dub room at MGM in Vancouver. It was a relaxed environment full of people willing to share knowledge and encourage growth, plus a healthy dose of crazy hijinks. We watched the latest cuts together as a team and everyone would give feedback and encouragement.

 

I also had fun on “The Foreigner” with Angela Catanzaro, ACE and director Martin Campbell. Working with those two was a great vibe. We were a small but very relaxed team that was all in on making a good film, and there was zero drama behind the scenes. Martin finished his cut early but didn’t want to turn it in, so he’d sit in my office and we’d watch movies together. Poor Angela would have to endure his grumbles when she had to break it up because she needed me to do something, haha.

 

Jobwise, what do you hope to be doing five years from now?

I’m probably giving the same answer as most: I’d like to cut full-time. I am, however, quite happy with the niche I’ve carved for myself over the years.

 

What are your outside activities, hobbies, passions?

I spend a lot of my free time as an avid photographer (pun intended). For me, it’s a form of meditation; I can concentrate on creating images somewhere and escape the stress of work and life. It’s a great excuse to get out of the house and explore.

 

 Favorite movie(s)? Why?

“Taxi Driver” —  amazing performances, and it explores the dangers of loneliness

“Double Indemnity” — a great thriller with witty dialogue

“Strangers on a Train” — another great thriller, with commentary on the idle rich and celebrity

“The Shining” — a masterpiece psychological thriller; I watch this every Halloween 

“Alien” — the perfect blend of science fiction and horror

 

 Favorite TV program(s)?  Why?

“The Sopranos” — extremely engaging writing and performances

“Band of Brothers” — every episode felt like a movie, and it hammered home the horrors of war

“Dark” — a German sci-fi thriller that kept me guessing for three seasons

“Fawlty Towers” — the most awkwardly funny comedy ever

“Battlestar Galactica” (1978) — when I was a kid, it was like a new “Star Wars” every week!

 

Do you have an industry mentor?

I’ve been very fortunate to work with many incredible people who have taught me a lot over the years. But I would have to say that Angela Catanzaro and Chris Rouse have probably had the most significant impact on my career and how I approach my job. Both are superb editors and highly collaborative, but they also share a compassion toward their crews, which is rare in our business. I’ve learned a lot from both of them, not just creatively but also how to be professional and compassionate towards the people you’re working with.

I’ve also worked with other exceptional editors like Michael Tronick, Teri Shropshire, and Joel Negron. They are similar in that all three are creative yet compassionate and willing to teach and mentor their crews.

 

 What advice would you offer someone interested in pursuing the kind of work you do?

Learn to use the BCC plugins (Boris FX Continuum Collection — visual effects software plugins) and FileMaker Pro (a database application). If you’re competent at those two things, you’ll be an attractive hire for a busy visual effects editor who can mentor you in the rest.

The cutting room politics for a visual effects editor are different from that of an assistant editor, and you’ll learn that only if you work under someone who has experienced it. Since you’re positioned between the visual effects department and editorial, you need to act as a buffer of sorts and navigate priorities and opinions that can often differ between the two departments. It can be challenging to remain somewhat impartial and know how to best serve the film while maintaining everyone’s trust and confidence through open communication. Although visual effects editorial tends to work as a kind of semi-autonomous sub-department, we ultimately work for both the editor and the director, so while you do everything you can to help the visual effects department, you have to do it without compromising what the editor and director want. It can be a bit of a balancing act.

 

 Was there ever a circumstance when you had to rely on the Guild for help or assistance?

In Season 1 of “The Man in the High Castle,” they didn’t honor our deal memos correctly. Production was trying to pay us for fewer hours than specified in the deal memo they had drafted! One of the other assistant editors got the union involved to help resolve it.

 

 

Any words of encouragement you’d like to impart to your fellow Guild members?

I recently saw a post from Guild member Richard Sanchez that struck me. To paraphrase, the intent was that calling the Motion Picture Editors Guild “the union” makes it an entity of others, whereas calling it “our union” makes it something we build together as a community. I thought that was really on point.

Josh Glass - Animatic Editor

January 2025

Where are you currently employed?

Just wrapped at Titmouse Animation in November.

 

Current projects?

An unannounced animated adult comedy for Netflix.

 

Describe your job.

In the animation medium, an animatic is the roughed-out, usually black-and-white blueprint of a TV program before it’s animated. Directors and storyboard artists draw characters in key poses, choosing the camera angles and action along with pre-recorded dialogue from the script. As an animatic editor, I build the animatic from storyboard sequences and audio typically edited by a separate dialogue editor. I’ll start by doing general timing edits, which involves choosing the pacing of the dialogue and action and filling out temporary sound design and music scoring as needed.

The animatic phase is where we do the bulk of our pacing, whether for comedy, action, or drama, and swap out different takes of dialogue as needed. It’s very collaborative, and it’s fun to try and figure out how to use the tools in your toolbox to manipulate images and sound to make things work in ways they likely could not with live-action footage.  I’ve developed a unique set of skills for this workflow that I was never exposed to in the live-action world, such as removing breaths from dialogue to speed-up an actor’s natural takes.

 

How did you first become interested in this line of work?

I did not come to Los Angeles to pursue editing; I initially wanted to be a comedy writer. My first exposure to editing was in a high school film studies class where we would shoot and edit projects using iMovie. In college, I continued using iMovie to edit photo slideshows to music, which I didn’t even realize was editing. This led me to a post-production class where I was exposed to Avid, Apple’s Final Cut, and Adobe’s After Effects, Photoshop, and Illustrator. I took to these programs and started volunteering to edit projects, whether they were a part of my TV production classwork or not.

After I moved to LA, I had some success picking up small freelance editing gigs. Once I started doing more editing/postproduction work, I realized how much I loved doing it and shifted my goal toward becoming an editor.

 

Who gave you your first break?

I credit several people for giving me a collective first break during my first year in LA. One was a director for whom I did freelance visual effects. I was excited to apply my basic After Effects knowledge and develop that skill set on a small project. The director loved my work and gave me more things to do, including hiring me as a PA for a pilot he was working on. I got a lot of great hands-on experience that enabled me to get direct feedback from a creative professional and also from working on a low-budget film shoot.

My other “break” was when I was brought on as an editing intern for a music documentary, thanks to Guild member and accomplished editor Ishai Setton. Ishai was a great early mentor who taught me important basics of Final Cut Pro and how to organize a project and sequences in an unscripted environment.

 

What was your first union job?

I technically worked one month on an un-scripted union gig, “Project Runway: Threads,” which was Project Runway but with kids. However, I wasn’t employed long enough to join the union. That didn’t happen until years later, when I started an animation gig. A few editors pulled me aside and said they were about to speak with [Guild organizers] Rob [Callahan] and Preston [Johnson] about flipping the company’s editorial team to union. From there, I was fully on board and have been a union member ever since.

 

What credits or projects are you proudest of, and why?

“Frog and Toad.” I not only received two Emmy nominations alongside the animatic editors, but this was one of the most rewarding and fulfilling shows I’ve ever worked on. Everyone involved had such passion for the characters and, from the top down, the crew took a lot of pride in keeping the show true to the tone of the Arnold Lobel stories.

When I was brought on, it was clear I would be respected for my talent and creative input. This show was where I hit my stride as an animation editor, feeling a sort of mastery over both the timeline and storytelling. I was honored and delighted to be treated as an integral part of the creative team.

Once the show was finally released, I was able to show my kids, which is an incredibly humbling and exciting experience as a parent of young children.

 

What was your biggest challenge in your job (or on a particular project) and how did you overcome/solve it?

When I was working on the show “Animals” on HBO, I was tapped to edit some live-action segments in addition to the daily tasks I had of editing and reviewing animation retakes and facilitating other pieces of the final post-production pipeline.

While I was very excited to cut scripted live action, which I hadn’t professionally done yet, it was clear after the first couple of weeks that I just did not have the mental bandwidth or time to handle this additional responsibility.

I shared my concern with the producer, who understood and hired another editor to work on the live-action segments.

While it felt like I was “giving up” on a part of the job that was asked of me, I felt proud that I’d learned how to speak up for myself and accept my creative limits at that time. In the long run, it was the best thing for the show.

 

What was the most fun you’ve had at work?

I can’t think of a particular moment, but I love premieres and parties, lunches, after-work outings, etc. Anytime you can bond with your co-workers and let loose a little bit is important not only for crew morale, but for your mental health and to create friendships.

During working hours, it’s always extra-exciting to attend audio recording sessions and mixes. Watching an actor record lines, then later working with those recordings and remembering what it was like in the room, was a great way to learn about that process and to further understand production audio. I also love going to mixes at the final stages because it’s enjoyable to watch other types of editors in their environment.

 

Jobwise, what do you hope to be doing five years from now?

I honestly love doing what I’m doing, and I hope I’ll still be doing it in five years. Right now, I feel I’m on the cusp of a career point where less-experienced editors in my field look to me for advice or as an example. In that respect, I hope to continue to pay it forward and fight for better wages, recognition, and exposure to animation editing and the animation field in general.

 

What are your outside activities, hobbies, passions?

I’ve loved music and sports my whole life. I started piano at age five and picked up the trumpet and guitar along the way. I played in jazz and concert bands in high school, and with two friends, I started an instrumental rock band that played local shows in my hometown. We even recorded two albums at real studios, which probably helped spur my later career interests. I still play and (slowly) collect guitars and gear, and I occasionally write and record my own music. I love going to concerts, too.

I loved playing basketball as a kid and always wished I had been a little better than I was. I grew up around Boston in the late ‘90s/early 2000s when the Red Sox, Patriots, and Celtics all had championship runs, so I’m a pretty dedicated Boston sports fan, despite not dropping my “r’s” and saying “wicked” all the time.

 

Favorite movie(s)? Why?

I have always struggled to pick something other than the popular choices; “Star Wars,” “Lord of the Rings,” and “Back to the Future” all come to mind.

I’m a huge comedy fan, so if I had to pick a non-franchise movie, it would probably be “Monty Python and the Holy Grail.” Moments from that movie frequently play in the back of my mind, and it can be fun to drop a line or two when it’s appropriate — or better yet, inappropriate.

 

Favorite TV program(s)?  Why?

Comedies – “The Office” and “Arrested Development” were primary influences in my initial goal to be a comedy writer. I had the opportunity to intern for a semester on “The Office” when I did an internship program in LA before I graduated college. It was an amazing opportunity to see a show at its peak in full production, and I also made some great connections.

Dramas – “Breaking Bad,” “Mad Men,” “The Wire.” I love the “prestige TV” type of storytelling where you spend years with characters as they develop throughout a series.

 

Do you have an industry mentor?

Getting started as an assistant editor in animation, I learned very quickly and efficiently from my first few editors: Kris Fitzgerald, Luke Guidici, and Robert Anich. Each had their own way of taking me under their wing or pushing me to learn the necessary tools to get to the editing chair.

 

What advice would you offer to someone interested in pursuing your line of work?

Learn as much as possible about the craft and how to “operate the machinery.” Learn the basics and how each software program executes them.

Practice by shooting your own home movies, downloading stock footage, drawing your own stick figures, recording your own voiceover narration or dialogue —  whatever you need to be around audio and visuals so you can get a feel for, and be comfortable in, the editing environment.

I also love preaching about making your workflow more efficient —  hot keys, keyboard shortcuts, macros, anything you can do to speed up any frequently used or repetitive tasks. Once that stuff becomes muscle memory, you’ll never want to go back.

When you get a chance to be on a project in an assistant or apprentice role, observe and absorb as much as you can from the editor, especially during editing sessions. These are things you can’t learn in school;  it’s about feeling out the creative instincts of whomever you’re working with and eventually learning when and where to provide your input.

 

Was there ever a circumstance when you had to rely on the Guild for help or assistance?

During the basic negotiations of 2021, when we had authorized a strike and the IATSE was about to pull the trigger, I had to reach out to my field rep Olie to help navigate an interesting political situation. Working under a singular contract between the Guild and my employer at the time, we were not expected to strike if/when the IA did. However, the company’s leadership was unaware that an IATSE-wide strike would not affect us. Olie had been saying we’re not expected to strike, I told my production I would still be working, but leadership was confused, and eventually the company’s president emailed me directly. Because of his request, I cordially provided him with Olie’s information, and they discussed the situation on the phone.

 

Is there anything you’d like to say to your fellow Guild members, some words of encouragement?

I know times are tough and a lot of you are not working. I feel for everyone and hope things get better soon. What I love about this community is the passion I see for the craft. Even in tough times, getting to talk one-on-one with another editor about these passions is inspirational. I hope we continue to do that even when the work runs dry. We are a brilliant, talented, magical set of people who help craft and tell stories the whole world gets to see, enjoy, critique, and share with their loved ones. That’s not something we should ever take for granted.

Tana Plaengprawat - Assistant Editor

December 2024

Where are you currently employed?

Disney/20th Television.

 

Current projects?

“The Chi” on Showtime.

 

Describe your job.

As an assistant editor in scripted TV, I primarily use Avid Media Composer editing software. I’m responsible for organizing and labeling footage and elements in the project to ensure a smooth workflow for the editor. Once scenes are assembled, I’ll assist in sound design and scoring temp music.

Occasionally, I’ll create temporary composites for visual effect shots that help tell the story. For shows heavy with visual effects, if there’s a dedicated visual effects editor or assistant, I’ll work closely with them to be sure they have all the materials they need to create temp visual effects and manage the effects in the project.

While my role focuses on supporting the project and creating outputs for review, I may also contribute creatively by editing scenes and addressing notes from the director or producers. After the cut is locked, I’ll work on turning over the project to the online, visual effects, sound, and music teams to begin mastering the show. During this phase, I help the post-producing team finalize each episode. Overall, my job is to help support the editor and streamline the editing process.

 

How did you first become interested in this line of work?

Honestly, it happened by chance. Editing wasn’t always a clear passion for me. We didn’t have an official editing program in college, but there was a summer course on Final Cut Pro. I took it because I wanted to work in the film industry, though I hadn’t yet decided on a specific department. I was in the Media Arts & Technology program where the classes focused mostly on film pre-production and production. When they offered a post-production class, I decided to give it a chance and instantly fell in love with editing. Seeing how differently my classmates cut the same footage amazed me; it highlighted the unique creative possibilities within editing. I left the class feeling inspired and eager to do more. That’s when I knew I wanted to become an editor.

 

Who gave you your first break?

My first year at EditFest, I met Sarah E. Williams, an assistant editor who mentioned that her show was looking for more assistant editors. She connected me to Frank Salinas, the show’s supervising producer with years of post-production experience, and he hired me for my first unscripted TV show, “S.T.R.O.N.G.,” on NBC. It was a fitness competition show hosted by former U.S. volleyball champion Gabrielle Reece

 

What was your first union job?

The unscripted show that had hired me! A few weeks into production, the show turned union — so that became my first union job! Anyone working for a company when it goes union instantly becomes a union member. Because I was “grandfathered” in, my initiation fee was waived and I could work around some of the qualifications typically required to join. To join the Industry Experience Roster and the Editor’s Guild, you need 100 days of non-union work experience and proof of payment. My work experience before this union job didn’t meet the requirements of either the Local 700 Agreement or the Videotape Supplemental Agreement, so I had no work days that would qualify me. But because I was hired through this union job, I could submit my first 100 days of work on the show to complete my membership.

 

What credits or projects are you proudest of, and why?

I’m very proud of Season 1 of “David Makes Man.” I had an incredible time working on this project and the team was fantastic. The writing, directing, and editing were beautifully executed. It was a coming-of-age drama about David, a highly gifted student who faces the harsh realities of his home life and poor neighborhood while trying to balance schoolwork. It felt unique to me because stories about middle schoolers are often shown in a more light-hearted way. “David Makes Man” was dramatized and stylized in a more artistic way that you don’t see in many teenage coming-of-age stories. This project moved me, and I’m grateful to have been a part of it.

 

What was your biggest challenge in your job (or on a particular project) and how did you overcome/solve it?

My biggest challenge has been reading the room when working with producers. I tend to be reserved in team settings, especially in person (as opposed to Zoom). There have been times when I wanted to contribute but felt too self-conscious to speak up. I’ve learned that understanding how to read a room is key, especially knowing when to speak up at the right moment in a way that best supports my editor.

 

What was the most fun you’ve had at work?

Working on “Abbott Elementary.” It was my first time working at the Warner Bros. lot and I loved being so close to our sets. The penultimate episode of Season 3 was set at the historic Smith Memorial Playground in Philadelphia, one of the first playgrounds in the country. The production team recreated the iconic 44-foot wooden slide, which is about 12 feet wide and designed for multiple kids to ride down at once. After we finished filming, the cast and crew were invited to try it out. I went down the slide three or four times. It was such a blast and made me feel like a kid again!

 

Jobwise, what do you hope to be doing five years from now?

In five years, I hope to have booked a full-time editing position.

 

What are your outside activities, hobbies, passions?

I love being creative and getting crafty. One of my favorite creative outlets is making stationery products — notebooks, notepads. I’m also a huge foodie and I love to travel, so when I’m not working, I’m on the lookout for a new restaurant or my next travel destination.

 

Favorite movie(s)? Why?

My favorite movies tend to change depending on my mood and what I’m going through, but I always love a good coming-of-age story. My current favorites are “The Half of It” and “Didi.” Both films are well made and have a good representation of first-generation Asian American families. As a first-generation Asian American, I didn’t see much of that growing up. In “Didi,” there’s a moment when Chris’ mom explains why she chose to move to America for her kids despite the challenges. It was similar to a conversation I’d had with my mom, so I was deeply moved to see something so personal appear on screen.

 

Favorite TV program(s)?  Why?

I enjoy sci-fi/dystopia shows like “Stranger Things,” “Altered Carbon,” “Black Mirror,” and “The Handmaid’s Tale.” I like shows that explore different worlds and alternate realities. I also love watching Korean dramas, like “Start-Up” and “Itaewon Class.” What I love about K-dramas is the storytelling;  they can make you feel every emotion in just one scene.

 

Do you have an industry mentor?

I’m fortunate to have many mentors. Editors Jordan Goldman, ACE, Sarah Zeitlin, Susan Vaill, ACE, and Scott Powell, ACE, have coached me throughout my career. They have always been my biggest supporters, and I’m honored to have shared co-editing credits with them. They taught me Avid tips and tricks, what it takes to succeed as an editor, and how to use the best performances to shape the strongest scenes. I know I can always rely on their advice. Every editor I’ve had the privilege to work with has shared valuable lessons, and I strive to incorporate that knowledge into my work every day.

 

What advice would you offer someone interested in pursuing your line of work?

First, learn to anticipate what’s coming next in the workday or schedule. Being proactive will keep you ahead of the game and help you stay organized while assisting your editor. Second (and maybe most important), network as much as you can. Our industry is filled with talented assistant editors and editors willing to help support and guide you through your career. Finally, if you want to become an editor, edit as much as you can. Hands-on experience is always the best way to learn.

 

Was there ever a circumstance when you had to rely on the Guild for help or assistance?

Fortunately, I haven’t had to rely on the Guild for help yet, but I know that if I ever need that help, they are just a phone call and/or email away.

 

Is there anything you’d like to say to your fellow Guild members, any words of encouragement?

I’m proud to be a part of the Guild. As I mentioned, there are many talented people here, and many are willing to offer support and pay it forward. Don’t hesitate to reach out when you need help. Keep pushing on, you’ve got this!

Paul Hackner - Z-2 (Sound Effects or Dialogue Editor)/Y-1 (Re-Recording Mixer)

November 2024

Where are you currently employed?

I have my own company called Kent Road Sound Design. I’m also a sound editor at NBC Universal, and I freelance with Transported Audio.

 

Current projects?

I’m supervising and mixing two independent features: “Horntak” and “Informal Crooks.” Also, I’m editing sound effects for “The Irrational,” a procedural drama on NBC.

 

Describe your job.

On features, I wear many hats, including supervising, editing dialogue and ADR, and working as a re-recording mixer.

For my current television project, I’m enjoying the opportunity to work again with one of my mentors, Jeff Kaplan, creating ambiences and doing sound effects editing for his various NBC drama projects.

 

How did you first become interested in this line of work?

I was exposed to audio technology at the radio station at Emory University in Atlanta in the 1990s. Around that same time, I attended the SXSW music conference before it was a film festival. They had several panels on independent film. I heard Richard Linklater speak about filmmaking, and I caught the moviemaking bug.

 

Who gave you your first break?

Thomas Patrick Smith, First Assistant Director, hired me as the sound intern on the set of “Kalifornia” (starring Brad Pitt, David Duchovny, and Juliette Lewis). I had the incredible opportunity to shadow and learn from award-winning sound mixer Juan Antonio Garcia.

 

What was your first union job?

I was a Y-16 at Westwind Media where I was a transfer operator and mix tech.

 

What credits or projects are you proudest of and why?

One of my very first supervising and mixing gigs was for the Academy Award-nominated documentary, “The Garden.” I’m also very proud of my sound design on the seminal horror films “Sinister,” “It,” and “The Black Phone.” But I’m probably proudest of my sound editing and re-recording work on the DreamWorks Animation features “Trolls World Tour” and “Trolls Band Together.” These two films gave me an opportunity to work on projects that have meaningful stories and rely heavily on great sound design and music. I’m happy to say that I’ve been able to work on many projects in which sound has a central role in the cinematic storytelling.

 

What was your biggest challenge in your job (or on a particular project) and how did you overcome/solve it?

My goal on every film is to create the best-sounding tracks that elevate the storytelling and support the director’s vision. Each project is unique and can present different challenges, anything from filmmakers who are stressed and fatigued to difficult technical hurdles. I always try to produce my best work and leave frustrations at the door.

 

What was the most fun you’ve had at work?

I love recording everything from group ADR to custom sound effects in the field. Some of my most creative experiences have been on horror and animated projects on which I collaborated with loop group actors and principal actors like Bill Skarsgård, Frank Welker, Michael McKean, and Fred Tatasciore. It’s thrilling to improvise and experiment with different sounds and to discover something terrifying, hilarious, and unexpected.

 

Jobwise, what do you hope to be doing five years from now?

I hope to be supervising or mixing more shows that I feel are artistic and entertaining. I want people to continue enjoying cinema in all its forms.

 

What are your outside activities, hobbies, passions?

I enjoy spending time with my family, traveling, seeing live music, and playing with synths and drum machines.

 

Favorite movie(s)? Why?

Some of my favorite films: Francois Truffaut’s “The 400 Blows,” Disney’s “Fantasia” (the first one, from 1940), Richard Linklater’s “Slacker,” Wim Wenders’ “Wings of Desire,” Anthony Minghella’s “The English Patient,” Miyazaki’s “Totoro,” and Denis Villeneuve’s “Arrival.” The movies I love tend to have great soundtracks and music, complicated themes and narrative, and have a strong voice provided by the filmmaker. Films have the potential to move the audience in metaphysical ways, showing the world through a different lens and inspiring the audience to appreciate the awe of being alive. All of these films spark creativity, curiosity, and reflection, which I believe is a higher cause for art in general.

 

Favorite TV program(s)?  Why?

 The most inspiring television shows for me have been “The Twilight Zone,” “Star Trek” (especially TOS [the original series] and Next Generation), and David Simon’s “The Wire.” All of these shows have used the serial nature of television to explore important topics in both short vignettes and long arcs. These shows have been able to spark deep philosophical discussions about science, spirituality, and ethics in a way that usually cannot be achieved in the short duration of a feature film. I share so many ideas and values with the writers of these shows and think that, through their work, they all are striving to make the world a better place.

 

Do you have an industry mentor?

I have several industry mentors: Mark Kaplan, Dane Davis, Greg Hedgepath, Bobbi Banks, Eric Lindemann, Scott Ganary, Jeff Kaplan, and Jon Taylor. I feel so blessed to have worked with these amazing sound professionals, editors, and mixers. I have tremendous gratitude for what they and many other folks have done for me.

 

What advice would you offer to someone interested in pursuing your line of work?

My main advice is to form bonds with your colleagues and mentors. Ask questions, stay in touch, and be vulnerable. It can be a difficult job, but when we create amazing sounds and work with great colleagues, post-production sound is an absolutely wonderful career path. Repeating myself for emphasis: make sure you text and call your friends and colleagues and stay connected on a personal level.

 

Was there ever a circumstance when you had to rely on the Guild for help or assistance?

In addition to fantastic health benefits [through MPI], the Guild is great at providing training on new technology. It has also given me the opportunity to mentor young sound professionals through the Guild’s Women’s Steering Committee’s new mentorship program.

 

Is there anything you’d like to say to your fellow Guild members, some words of encouragement?

We are all in this together. The best film and television projects rely on collaboration. Maintain solidarity with your colleagues, and in the future there will be opportunities to get back to the childlike state of playing in the sandbox and building fantasy worlds together.

Anthony Cappellino - Sound Editor

October 2024

Where are you currently employed?

I’m on staff at Sound Lounge in New York City as a sound editor and re-recording mixer.

 

Current projects?

I help out on mixing “Sesame Street,” and I just finished the sound effects edit on an upcoming animated show created by Ramy Youssef called “#1 Happy Family USA” that will stream on Prime Video. Working on both has been some of the most fun I’ve had in my career so far.

 

Describe your job.

Being a sound editor and mixer, I’m on hand to work on any projects that come our way as a company, and to apply any of my skills as needed. This can range from working dialogue or sound effects for one project, supervising ADR (Automated Dialogue Replacement) and effects editing for another, and mixing while supervising other sound editors. There’s a wide array of work that comes our way, and I love the variety. But above all else, my job is to support the team and to support our clients. I know it’s a business, but I really enjoy putting out my best work along with my co-workers and making stuff that people will love.

 

How did you first become interested in this line of work?

In high school, a friend recruited me to the auditorium stage crew where I got my first exposure to live sound. There was something so appealing about the intersection of technology and creativity that really drew me in. Funny enough, I didn’t study anything related to post sound at SUNY (State University of New York) Fredonia, where I attended college. I learned how to record bands and get quality drum sounds, which is where I thought I wanted to end up. But after some internships, I quickly learned that the 8 a.m. to 3 a.m. music studio life was not for me. I reached out to an alum, Steve “Major” Giammaria, and he invited me to apply for an ADR  internship at Sound Lounge. That was a turning point for me. Seeing the collaborative process between actors and directors — the infinite amount of decisions that went into making my favorite shows and movies — was eye-opening. I knew then that I wanted to grow my career in those same collaborative environments.

 

Who gave you your first break?

If by first break you mean my first job in post, that would have to be Steve Koch. He was our machine room manager at the time, and he offered me an assistant position. From there, I worked my way up to the role I have now. If we’re talking first project breaks, my work on a film called “Story Ave” was a stepping-up moment for me. It was one of the bigger features I’d done, as well as my first experience being a supervising sound editor. It was projected to premiere at SXSW in 2023, so I had to make sure I was firing on all cylinders. I came out of that role with even stronger convictions about what I wanted my career to look like.

 

What was your first union job?

That would be Season 1 of the Netflix comedy-drama “Survival of the Thickest” as a dialogue editor and ADR supervisor/editor. My mixer and supervising sound editor, Evan Benjamin, was a real guiding light on that project. He taught me a plethora of tricks and tactics to speed up my workflow. I also developed some crucial skills in working with actors during ADR supervising. It was so inspiring working with such talented people who were all locked in from the jump. Shout out to the AEs on that first season: Bart Keller and Marina Catala, they saved me more times than I can count!

 

What credits or projects are you proudest of, and why?

It feels cliché, but I’m always proudest of whatever I’m working on currently. I think I improve on every project that I get to be on, and I always feel like my best work is whatever I’m doing next. The effects editing I’m doing on “#1 Happy Family USA,” in particular, has been a really rewarding challenge to unravel. I’m also proud of my work on the first season of “Survival of the Thickest.” I felt like I worked harder than I ever had; I learned entirely new skills and workflows within days and somehow kept it all together for eight-plus weeks. I feel like that experience left me ready for any project.

 

What was your biggest challenge in your job (or on a particular project) and how did you overcome/solve it?

Challenges will always vary from job to job. Most recently, I was working on a short film with a client, and we had been reviewing this one scene that involved a body being dragged across the ground. After exhausting the sound options from our library, we still had not landed on the perfect dragging sound. Finally, I got up and ran to the janitor’s closet and grabbed the mop and bucket. I wet the mop, aimed a 416 (Sennheiser MKH 416 microphone) at the floor, and handed him the mop. After several takes, we landed on a movement that felt authentic, and that’s the sound we used for the short! Having a surge of inspiration in a moment of complete frustration taught me that with time and a bit of luck, you can find the solution.

 

What was the most fun you’ve had at work?

I have a lot of fun roaming around the office with headphones and my H1N compact digital recorder, asking folks to help me record little incidental sounds for projects. Most recently, I did this anime fight sequence that was styled after the ‘90s era Japanese anime series “Dragon Ball Z.” I had to cross reference sounds with the actual show, as well as create sounds to match the vibe and era. I was grinning from ear to ear the whole time! Anytime you get to work on something that the childhood version of yourself would be floored by is both really cool and really special.

 

Jobwise, what do you hope to be doing five years from now?

I couldn’t be happier with my job at the moment. My colleagues here at Sound Lounge are excellent, and I’m incredibly proud to be a member of Local 700. In five years, I hope I’ll have moved more fully into a re-recording mixer and supervising sound editor role. Mixing is where I feel most creative and in my element with clients. I’d love to do more of that in the coming years — maybe even a full series!

 

What are your outside activities, hobbies, passions?

I love photography. I started shooting on film a little before 2020 and then transitioned to digital photography earlier this year. Film is an amazing medium that imparts a kind of ethereal quality to real-life images, which I love. I’m also very much a lover of games in general: chess, board games, card games, pen and paper, etc. To sit down at a table across from another person or people and interact directly, enjoying each other’s time, is such a rarity these days. It’s been a nice respite for me in recent years.

 

Favorite movie(s)? Why?

I usually give two answers for this sort of question: favorite movies in general and favorite movies for sound. In general, The Daniels’ (writer/directors Daniel Kwan and Daniel Scheinert)  “Everything Everywhere All At Once” is up there. Seeing that in theaters was a very special experience for me. I’m also a big fan of John Carpenter’s “The Thing,” as I think it’s really a perfect movie in structure and execution. For sound, I think pretty often about Darius Marder’s “Sound of Metal.” The use of contact mics and mimicking cochlear implants is not only creative  — it feels like wizardry when it’s on screen. I could only hope to work on something like that in which sound is an integral part of the story.

 

Favorite TV program(s)? Why?

I have a few, but I think I have to give it solely to “Adventure Time.” I have a very big love and appreciation for many animated shows, but “Adventure Time” to me was a perfect encapsulation of what animation can be. It was equal parts silly, serious, fantastical, mundane, impossible, and real. From a viewer’s perspective, it was a very fun and beautiful show; and as an audio person, I cannot imagine how much fun the post audio team had working on it.

 

Do you have an industry mentor?

I wouldn’t say officially, but I often lean on the advice and knowledge of my friend and colleague, Steve “Major” Giammaria. Aside from having a keen ear and an impeccable feel for sound and narrative, he frequently offers me ideas and solutions from an entirely unexpected perspective. It’s always refreshing to get his view on things. He has been in my shoes, so I have someone to ask, “Is this normal?” from time to time. I’m grateful to learn from him and to work with someone whose work I so admire.

 

Was there ever a circumstance when you had to rely on the Guild for help or assistance?

Not yet, but part of the reason I’m so proud to be in the Guild is that I feel like I have many brothers and sisters in my corner. It can be scary to think about the state of the industry and the livelihood of the professionals in it, but my instinct has always been to lean on the community and to have solidarity in the face of that uncertainty.

 

Is there anything you’d like to say to your fellow Guild members, some words of encouragement?

I’m a relatively young and new voice to the Guild, but I hope we’ll always keep learning and listening to one another; so much of my work has improved when I did those two things with colleagues and clients, I think change is ultimately a force for good. It’s good to strive to be a little better, a little faster, a little prouder of your work. I think change pushes us all to adapt for the better.

Drew Mixon - Assistant Editor

September 2024

Q Where are you currently employed?

I’m between engagements.

 

Q Current projects?

Since the work slowdown caused by the strikes, I’ve been the cohost/editor for a weekly wrestling video podcast called “Home Wrestling League.” I’ve been a wrestling fan since I was five years old, and a friend and I decided to create a video pro wrestling podcast from a Black point of view because there was no Black-centered wrestling podcast.

 

Q Describe your job.

My job is to help make the editors’ day less hectic, so I assist them with graphics, sound work, and mostly technical problems that affect them. Sometimes an assistant editor gets the opportunity to edit a scene or two, but everything we do is to help the editor.

 

Q How did you first become interested in this line of work?

I’ve wanted to be an editor since I was 16 years old back in Las Vegas. When I was in high school, my broadcasting class needed an editor, so I did it. It wasn’t until I was attending the University of Nevada, Las Vegas (UNLV) and talked to one of my best friends, Jason Edmiston, that I decided to make editing the focus of my career. Jason is a professor at UNLV and gave me the confidence to actively pursue that. He gave me notes and we talked about movies for hours on end.

 

Q Who gave you your first break?

Tom Hietter, who was a story producer for unscripted (reality) TV. The story producer watches hours and hours of footage and creates a story from it. Tom gave me my first job directly out of grad school as a story assistant for a season on an unscripted TV show called “Kendra on Top.” (Kendra Wilkinson is a former Playboy playmate who was married to retired NFL player Hank Bassett.) My job was to watch hours of footage, find certain phrases, and then put markers on them as I tried to conceive a functional story for the show.

 

Q What was your first union job?

In 2016, Shiran Amir, ACE (a member of the Editors Guild board) said that her boyfriend (now husband) Cody Miller needed an assistant editor for a movie he was working on in Boston. She told me on a Thursday, while I was at a Chelsea FC soccer match with my friend Franzis Muller, who’s also an editor. She told me to take the job. On Friday, I said yes. On Saturday, I quit the job I was working on. On Sunday, I was working in Boston.

 

Q What credits or projects are you proudest of, and why?

Pre-pandemic, I worked on a lot of movies that no one has seen. (I did an interview with a friend who actually said that to my face.) I answered an ad to work on Season 3 of “You,” the Netflix psychological thriller. I assisted Rita K. Sanders, who allowed me to work with her on something that people have actually seen. Thanks to Rita, who is one of the best and most generous editors working in the industry, I got a lot of experience. I would die for her.

 

Q What was your biggest challenge in your job (or on a particular project) and how did you overcome/solve it?

Sometimes, dealing with stress. As an assistant, your job is more technical and about the details. So you may forget little things and get incredibly stressed out. But you have to persevere and take your time to do the many things that are needed to finish the task.

 

Q What was the most fun you’ve had at work?

When I worked on “Wu Tang: An American Saga,” which streams on Hulu, part of my job was to find sources for music cues. I picked a song that has deep personal meeting for me; when I spent time with my uncle, he would play this song a lot. It’s called “Meth vs Chef,” by Method Man and Raekwon. It’s about the two of them competing with freestyle rhymes. I picked it, and the show was able to use it in the final cut of an episode.

 

Q Jobwise, what do you hope to be doing five years from now?

June 10th, 2022 is an important day for me, not only because Steph Curry dropped 43 in Boston in the NBA Finals, but also because someone said something to me that I wasn’t a fan of. I’m not going to get into details, but ever since then, my goal is to become an editor in under 20 years, and I’m working every day to accomplish that goal.

 

Q What are your outside activities, hobbies, passions?

I collect sneakers, trading cards, and I talk to my friends via Twitter Spaces.

 

Q Favorite movie(s)? Why?

“Singing in the Rain” is my favorite movie – at least in part because it’s a movie about trying to save a movie, which editors often do. Other favorites include “The Warriors” because it’s a gritty look at gang life in the ‘70s and “Drop Dead Gorgeous” because it’s a hilarious mockumentary that takes a look at the madness that is beauty pageants.

 

Q Favorite TV program(s)? Why?

My favorite show ever is a three-season show that came out in the mid-2010s called “Happy Endings.” It’s one of those shows that, sadly, was underrated. It’s one of the best written comedy shows ever that not that many people know of. The dialogue was zippy. It was very fun and it was incredibly well edited. So I am one of the primary flag bearers for it. I watch “Rick and Morty,” “Law and Order: Special Victims Unit,” and “The Simpsons” (Seasons 1 through 12, because the writing gets weak after that).

 

Q Do you have an industry mentor?

Cody Miller was the first person I assisted edited for on a union gig. Rita Sanders gave me that opportunity to work on a popular show. Jim Carretta is one of the few people that I know who actually enjoys movies, and we would have very long conversations about the movies that we genuinely like. And Dominique Ulloa is essentially the reason I’m still in post; she has frequently gone out of her way to help me. Q What advice would you offer to someone interested in pursuing your line of work?
When I guest lecture at my alma mater, UNLV, I realize everyone is significantly younger than I am, but they all grew up with this movie: “Finding Nemo,” I tell them, has the most important advice for any career you go into: “Just keep swimming.”

 

Q Was there ever a circumstance when you had to rely on the Guild for help or assistance?

When I took that job in Boston, I didn’t get paid for nearly four weeks. The union had to step in and fix that problem. Also, now: I haven’t worked full-time in a year, and if it weren’t for the union, I would be in significantly worse shape than I currently am. I have my healthcare until September, so I hope to find some sort of work by then.

 

Q Is there anything you’d like to say to your fellow Guild members, some words of encouragement?

Like I said earlier, you just gotta keep swimming and you’ll find your path. Also, Blake Griffin once said, “You have to be in love with the process of becoming great to become great,” and I have used that ideal for a good chunk of my career. If you are in love with it, then you accept everything that happens with it.

Kira Berlin - Music Editor

August 2024

Where are you currently employed?

I am a freelance music editor in Brooklyn, NY. The majority of my work occurs remotely in my studio in DUMBO (Down Under the Manhattan Bridge Overpass). I join directors and editors during spotting  sessions and music reviews. In spotting sessions, the director, post-producer, picture editor and I review the film scene by scene and identify the exact moments on screen that require music. Music reviews are discussions about whether a specific piece of music is working for a scene and how (if necessary) it could be improved to be more emotionally resonant. I attend final score recording sessions with composers. I also work in person at dub stages during final re-recording mixes. That’s when I catch up with my colleagues in the sound department and problem-solve music matters on the fly.

 

Current projects?

I recently started working on a musical/rock-opera titled “O’Dessa” that will be released in early 2025. Earlier this year, I collaborated on a feature, “The Friend,” that will premiere at the Toronto International Film Festival (TIFF) in September. I also worked on an A24 fantasy film, “Death of a Unicorn,” and about a month ago, I wrapped up the final mix on a horror film from New Regency.

 

Describe your job.

Music editor is a vesica piscis between picture, sound and music departments. You get to work with the director/showrunner on creating a temporary music score that establishes the emotional and stylistic languages of the project. You then work closely with the composer on developing, organizing, recording and showcasing their original material. You work in tandem with music supervisors on selecting and presenting source material and needledrops. You are heavily involved during the final mix, providing any support that the sound team and re-recording mixer might need. 

 

Who gave you your first break?

It took a while. Unfortunately, there is no longer a formal path to becoming a music editor. Barely any projects have a budget for an assistant music editor, a position where you can learn more about the craft while tangibly and practically being of help in a music department. In addition, my schooling was not in the film world, but in arts and music. I have had two viable, involved creative careers before transitioning into film. In retrospect, I think it was helpful to have worked in visual arts first, in order to conceptually be able to bridge music and moving image. However, I had no understanding of how the post-production process worked or how to break into this field. After years of my futile bounced cold-call emails to other music editors in NY, a veteran editor, Dan Farkas, took a chance and arranged for me to shadow him. First, I was a fly on a wall on the “Warrior” TV series, just watching him work. Sometime later, I assisted him on a Netflix TV series, “The Sinner.”

 

What was your first union job?

It was a small horror feature: “You Should Have Left” by Blumhouse Productions. I was hired for the final three weeks of the project: get the score ready for the mix; the re-recording mix itself; and a few days of preparing music deliverables/wrap-up.

 

What credits or projects are you proudest of, and why?

All of them.  A) I still don’t believe I get to do the job that I love, considering how impenetrable this field seemed earlier in my career. B) Every single credit means so much because I get to learn more about myself and grow as a professional through every project.

 

What was your biggest challenge in your job (or on a particular project) and how did you overcome/solve it?

Most of my challenges are self-inflicted, and the only way to overcome them is to keep working. I tend to improve professionally by embarking on new projects.

 

What was the most fun you’ve had at work?

I’m having a great time on a project I’m currently working on. Although I joined the team after the score was mostly finalized, I get to attend recording sessions and score mixes. It’s such a significant part of the process because we bring to life the story and characters on the screen through balancing the elements, augmenting harmonies and refining the blend of instruments. For example, there was a rather solemn scene with a heavy brass instrumentation underscoring the moment, but by highlighting certain synth textures, we managed to tie together the hero’s grief to a dream-like vision that is woven into the final act. This has allowed us musically to bookend the tale in the most cohesive manner.

 

Jobwise, what do you hope to be doing five years from now?

The ultimate hope is to learn how to have more fun at work in whatever form the job takes.

 

What are your outside activities, hobbies, passions?

I keep my hand on the pulse of sonic art installations and multi-sensory experiences that involve music —and taste buds! I’m about to start an online course taught by a Michelin-star chef that explores relationships between taste, sight and sound. I am very curious how all human senses are connected (which in a weird way is an extension of what I do professionally). I also have two Lagotto pups that keep me very busy. They are very musical dogs, and I love coming up with marching tunes for our leash walks; it’s hard to believe it, but I find that they behave better on the leash if I sing or whistle to them.

 

Favorite TV program(s)?  Why?

I am a big fan on Noah Hawley’s projects. Whether “Fargo” or “Legion,” he makes outstanding music choices!

 

What advice would you offer to someone interested in pursuing your line of work?

In my opinion, it’s a three-dimensional career.

There is a technical aspect and importance of keeping up with the latest music technologies, Pro Tools releases, new audio plugins, music libraries, cue sheet maintenance software, deliverables  requirements, etc.

There is a social aspect. Being able to read the room. Picking up on nuances and intricacies of workplace dynamics. Establishing a rapport with director, producers, pictures editors, AE’s, sound department, music supervisor, composer. It’s a delicate web of collaborations and ideas where everyone wants to be heard.

There is a conceptual ingredient. All your creative choices are meant to support the story unfolding on the screen. Therefore, you have to have a broad knowledge base of music aesthetics and styles to underpin your technical and theoretical choices.

 

Was there ever a circumstance when you had to rely on the Guild for help or assistance?

There was a small project early on in my career that didn’t work out the way I had hoped it would. The East Coast branch representative at the time stepped in and advocated on my behalf. They also made sure that all contractual obligations were fulfilled by the hiring party, which I would have overlooked due to my inexperience.

 

Is there anything you’d like to say to your fellow Guild members, some words of encouragement?

I sincerely hope the industry will bounce back in the next six months and everyone will return to work. Crossing fingers for 2025 to become the new Golden Age for Film and TV — although perhaps not Golden, but a Copper Age? It seems to be the most in-demand metal for clean-energy technologies right now, so let’s hope there is a sustainable future for all of us in the Guild.

 

Compiled by David Bruskin. 

Emily Yang - Y-9 Recordist/Mix Tech

July 2024

Where are you currently employed?

I am a mix technician at Signature Post. I am also a freelance dialogue editor.

 

Current projects?

I have been working as a mix tech on the HBO Max documentary for Lady Gaga, “Chromatic Ball Concert,” and the FX episodic show “American Sports Story.”

 

Describe your job.

As a mix technician, I am responsible for configuring the stage with precise technical specifications to ensure that the mix is recorded and delivered in accordance with industry standards for theatrical or episodic releases. This involves close communication with re-recording mixers, sound supervisors, and post producers.

 

How did you first become interested in this line of work?

I have always been drawn to storytelling through various mediums, whether it’s through sound or visual media. It was during my time at Berklee College of Music that I delved deeper into the intricate soundscape of film and animation. Immersed in this world, I discovered my passion for audio production, where creativity and technical precision intertwine. From that moment, I knew I wanted to pursue it as a career; I was driven by the desire to bring stories to life through the power of sound.

 

Who gave you your first break?

My first break to join the Guild came thanks to the encouragement and support of my good friend and colleague, Christina Wen, along with the belief of engineer Scott Oyster. Their confidence in me opened doors to new opportunities and allowed me to work on many meaningful projects.

 

What was your first union job?

Working on a television show called “The Old Man” and a feature film called “Significant Other.” Through these projects, I have met many talented professionals who have since become valued colleagues and friends.

 

What credits or projects are you proudest of, and why?

The documentary “King Coal” was particularly special because I had the opportunity to collaborate with close colleagues, which made the experience both rewarding and enjoyable. The final product was a testament to our collective effort and expertise.

 

What was your biggest challenge in your job (or on a particular project) and how did you overcome/solve it?

As a mix technician, the main challenge lies in anticipating and addressing potential issues with adaptability and calmness. While it is impossible to predict every problem, staying alert and responsive allows me to troubleshoot effectively on stage.

 

What was the most fun you’ve had at work?

The most enjoyable aspect of my work is witnessing the seamless collaboration between sound and visuals in the final form before it’s shared with the outside world. It’s truly rewarding to see how each element contributes uniquely to the overall composition, serving as a testament to the time and effort invested in the project.

 

Jobwise, what do you hope to be doing five years from now?

In five years, I aspire to collaborate with talented peers from around the world, broadening my horizons and engaging in diverse projects that challenge and enhance my skills. Expanding my global network and contributing to a variety of creative endeavors are key goals as I continue to grow and evolve in my career.

 

What are your outside activities, hobbies, passions?

Outside of work, I have a passion for pottery, photography and cooking. These hobbies allow me to express my creativity in different mediums. Pottery has been a very therapeutic and challenging experience. The process of throwing, firing and glazing the pottery pieces can leave much room for error but the end result is very satisfying. There’s just something truly special about enjoying a home-cooked meal served on a bowl or plate that I’ve crafted myself!

 

Favorite movie(s)? Why?

My favorite movies are “The Last Emperor” and “Our Little Sister.” Both films tell great stories and have stunning cinematography. “The Last Emperor” holds a special place in my heart because the soundtrack was composed by my role model, Ryuichi Sakamoto. His compositions leave a lasting impression and have become a staple on my playlist ever since.

 

Favorite TV program(s)?  Why?

My favorite shows that I often rewatch are “Clarkson’s Farm” and “Derry Girls.” “Clarkson’s Farm” is an  unscripted docuseries about a man trying to run a farm despite having no experience. It provides a humorous yet insightful look into rural life and agriculture. It reminds me of the significance of nature, especially for someone like me who spends much of their time working indoors. The characters on the dark teen comedy “Derry Girls” engage in a chaotic yet captivating portrayal of life that I would never be able to live: teens (with charming Irish accents) experiencing typical growing pains amidst the Troubles in Northern Ireland during the ‘90s.

 

Do you have an industry mentor?

Absolutely! Having mentors like re-recording mixers Tim Hoogenakker, Alexandra Fehrman, Rich Weingart, and Zach Seivers has been invaluable to me. Their guidance, support, and shared knowledge have played a significant role in my career development, allowing me to work on meaningful projects alongside them and grow both personally and professionally.

 

What advice would you offer to someone interested in pursuing your line of work?

My advice to anyone interested in pursuing a career in audio postproduction is to be persistent and curious. Embrace every opportunity to learn, whether it’s through formal education, internships, or hands-on experience. Network with professionals in the industry, seek out mentors, and never be afraid to ask questions. (There is no such thing as a dumb question!) The more you immerse yourself in the field, the more you’ll understand its nuances and develop your unique skills.

 

Was there ever a circumstance when you  had to rely on the Guild for help or assistance?

While I haven’t personally needed to rely on the Guild for assistance, I’m well aware of the resources available and know where to turn if the need arises.

 

Is there anything you’d like to say to your fellow Guild members, some words of encouragement?

I want to express my gratitude for the supportive community we have in the Guild. Let’s continue to celebrate each other’s accomplishments and inspire one another to do our best work!

Elizabeth Berganza Pozzi - Assistant Editor

April 2024

Where are you currently employed?

I’m freelancing on a documentary film project.

 

Current projects?

I’m assistant editing on an unannounced documentary that will hopefully make the festival circuit. Prior to this, I was an assistant editor on the first season of an unannounced Netflix show, on a Sundance feature called “Birth/ Rebirth,” and on “A Black Lady Sketch Show” on Max/HBO.

 

Describe your job.

My job as an assistant editor is to organize and prep the project for my team of editors. I work with the post house and production to confirm that all of the footage received has no issues on the post end. Then I prep it so my editors can begin watching footage for the scene that was shot the previous day and they can begin to build out their cut. The most important part of my job is making sure my editors are supported in every way possible so they can do their best work. Other aspects of my job include assisting with sound design, doing temp visual effects, creating continuities that include noting music cues and timing scenes and acts, and doing final turnovers of the full cut to our finishing house when picture is locked. Although the job has many technical aspects, it’s also creative and requires great communication, not just with my editors but with the entire post team, from other assistants to post producers.

 

How did you first become interested in this line of work?

When I was in middle school, my cousin took a film course and asked me to be in her short film. I was fascinated by the process, from storyboarding to editing. I began to research what editors do and started making little videos with friends and piecing them together.

 

Who gave you your first break?

I got my first entertainment job through a friend and former classmate, Tori Weller, who’s now a great editor. She helped me get my first job in unscripted television as a logger; I watched raw footage and gave a brief description of what was happening in a shot so that whoever received the footage could get a quick overview of what they were about to watch and could find a specific moment more easily. From there, I was able to work my way up to assistant editor. I got my first big break into scripted television from Bradinn French, ACE, who so graciously messaged me on Facebook (thank God I looked at Messenger) to ask if I was available for an opening on “A Black Lady Sketch Show,” which was a hugely positive experience, in part because the people were so wonderful.

 

What was your first union job?

“A Black Lady Sketch Show.” I was a huge fan from season one and even met up with editor Stephanie Filo, ACE, to talk about the show and to network. Sometime after that, I got a message from Bradinn (whom I had worked with on “The Fresh Prince of Bel-Air Reunion”) asking if I was available to fill an assistant editor spot on the show. It was an amazing feeling as I had really challenged myself to break from nonunion and into union.

 

What credits or projects are you proudest of, and why?

I’m extremely proud of working on “The Fresh Prince of Bel-Air Reunion,” “A Black Lady Sketch Show,” and “Birth/Rebirth.” “The Fresh Prince” reunion was my first big show as a lead assistant and it was cut on Adobe Premiere. I had primarily worked on Avid most of my career, so it was a challenge to navigate an edit team on a high-profile reunion, especially one that was so nostalgic.

 

“A Black Lady Sketch Show” will always hold a special place in my heart because it signified the change in my career path. I was moving from reality/docs to scripted content, and I was proving to myself that I could navigate the workflow. I learned to be more creative and confident with my skillsets.

 

“Birth/Rebirth” was my first indie feature. It was just my editor and me, and I had to navigate setting up a remote workflow along with turning around a longer format since I’d mostly delivered 30 to 45 minute shows, which are set up differently from a movie that runs longer than an hour. I’m really proud of working on that movie, which ultimately got into Sundance.

 

What was your biggest challenge in your job (or on a particular project) and how did you overcome/solve it?

I worked on a show that was using Premiere Pro until they decided mid-run to switch to Premiere Pro Productions — a whole new workflow that I had not yet tested or been acquainted with. The challenge was to take the entire project offline and migrate it all into a new Premiere Pro Productions project — overnight — so that the edit team would have a project and media to continue working on the next day. The turnaround was tight on this particular project, so my second assistant and I discussed the best practice to complete the task — and late into the night, we were off on a race against the clock. When it was done, it did have its kinks, but the project was a success. I’m extremely proud that I was able to complete that challenge.

 

What was the most fun you’ve had at work?

Being in the office when I worked on “The Real World: Mexico City.” It was the greatest time because although that project was very fast-paced, it was also filled with some of the greatest post people I’ve ever met. It was the first time in my life that I was surrounded by a team that shared a similar cultural background to my own, and it felt like being at work with family.

 

Jobwise, what do you hope to be doing five years from now?

I hope I’ll have the confidence to be editing. I think my biggest setback is not feeling like I’m ready to level up because I’m always learning or don’t feel up to par with my peers. But the best thing would be to take a chance.

 

What are your outside activities, hobbies, passions?

I love spending time with my husband Jacob watching movies, walking our dog Athena, and playing Scrabble. Besides time with my partner, I love to frequent Disneyland with friends. It’s a great escape from my environment (when the crowds aren’t terrible), and it’s nice to feel like a kid.

 

Favorite movie(s)? Why?

I don’t like favorites of anything. It depends on what I’m in the mood to watch, and I’m constantly changing my mind. Some movies that I could never tire of include:

 

“The Wedding Singer”— it’s nostalgic and always reminds me of my dad. I could quote a lot of that movie.

 

“Everything Everywhere All at Once” — I cried in the theater when I watched it. I felt such a connection to the story of the mom and daughter, and it was all so well done.

 

“Ever After” — this is my favorite version of Cinderella, and I love Drew Barrymore in the role.

 

Favorite TV program(s)? Why?

My current TV obsessions are “Severance” and “The Night Agent”:

 

“Severance” – I love the way each episode of this show always ended with a cliffhanger. The story is so well thought out that I can’t wait for season two! Please call if you need an assistant editor!

 

“The Night Agent” — I love a mystery and romance. The cheese in this show was just enough for me, and I was hooked.

 

Do you have an industry mentor?

Everyone I have ever met who has helped get me to this point is a mentor, and I am beyond grateful. I’d like to give a special mention to Taylor Mason, ACE, who has really helped me blossom into the assistant editor I am today and allowed me to feel confident with editing. Thanks, Jack-to-my-Rose partner.

 

What advice would you offer to someone interested in pursuing your line of work?

 

Don’t get comfortable in one spot. I was feeling comfortable in one area of entertainment that I knew,  and I was scared to try other things. It’s important to open yourself up to other opportunities, whether it’s working on different shows, learning new crafts, or changing the work environment all together. The greatest thing for my career was to shift from reality to documentaries to scripted. I gained more knowledge on workflows, networked with more people, and learned from other assistants.

 

I also think it’s important to strengthen your skillset by learning other software, like Photoshop and After Effects. These two apps have been the most beneficial in my line of work. They especially help me to stand out among other candidates for a job. Visual effects are a big part of the job in entertainment, and knowing how to use templates or create temp visual effects from scratch allows you to be helpful in the edit, not only to the post team but to your editor.

 

Was there ever a circumstance when you had to rely on the Guild for help or assistance?

I’ve been very fortunate not to have needed extra assistance from the Guild, but it’s reassuring to know they are available for support.

 

Is there anything you’d like to say to your fellow Guild members, some words of encouragement?

 

This past year has been extremely difficult for many of us — I know the impact it’s had at my home — but I hold out hope that we can all resume work soon. Here’s to hoping that in 2024, we all get back on our feet and hit the ground running, doing what we love. I’m extremely proud to be part of a Guild full of such talented individuals. Every time I meet a member who tells me what they do on their project, I am fascinated. As someone who is still new to the Guild, I find it inspiring to see how so many members have come so far and regularly get to work on talent-rich projects.


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