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.