After 30 days and over 900 submissions, it’s time to announce this year’s Filmsupply Edit Fest winners.
In this article from our friends at Defacto Sound, Dallas Taylor and Jai Berger talk about how editing and sound design go hand in hand.
Enter Filmsupply’s Edit Fest for a shot at over $50K in prizes, including an all-expenses-paid trip to Sundance Film Festival and feedback from industry-leading judges.
There’s a saying among novelists and screenwriters: “My character surprised me.” When you breathe as much truth and life as you can into the characters on the page, you find they take on a life of their own. At the very least, they might surprise you with things they say or decisions they make. At most, they might hijack your entire story and tell you that the wonderful outline you’d envisioned over the last two years is bunk, and their own problems and conflicts are more important than the contrived twists and turns you planned out for them.
Chris Franklin’s resume is extensive. He’s edited spots for American Express, Verizon, Nikon, Mastercard, and hundreds more. He’s received Cannes Lions Awards, Webby Awards, Emmy Awards, and an Oscar nomination. He’s on the board of AICP. He founded Big Sky Edit. It’s quite the list. But, what so many don’t recognize about someone at Chris’ level is that he didn’t just get here because he’s good. He got here because he loves it.
Richard Pearson’s body of work defies any easy categorization or niche. The features he has cut, beginning with the comedy Bowfinger, range from light fare like the Muppets from Space, and Blades of Glory to the drama of United 93, Safe House and The Accountant. Then there’s the bevy of franchise tentpoles he’s worked on, like The Bourne Supremacy, Quantum of Solace, Men in Black II, Iron Man 2 and the MonsterVerse entries Godzilla: King of the Monsters and Kong: Skull Island.
When we talked with Richard about his work, he acknowledged just how extensive his body of work is: “I’ve been fortunate to delve into childhood fantasies, from dealing with the space program to comic book adventures and the Bond movies, which I loved seeing as a kid. Going on the set of Bond for the first time was pretty cool and made me feel like, ‘I’m ten years old again!’”
Enter Filmsupply’s Edit Fest for a shot at $50K, feedback from industry-leading judges, and an official credit as the editor of a rising star’s latest music video.
At a foundational level, editors are specialists in what feels right. We’ve had countless conversations with post-production professionals who all say similar things like, “You have to go with your gut” or “It just needs to feel right.” Editors are trained in the art of operating at a subliminal level and drawing it up to the surface.
“We all watch TV. We’ve all watched tens of thousands of hours of footage and videos,” Editor Alex Morrison told us. “After a while, your mind starts to get used to what looks nice and feels good. Editing is more about understanding what feels good, knowing why, and then making it happen.”
And knowing why may be the biggest differentiator between an editor and a great editor. In his work with Stept Studios on an Oakley spot announcing their partnership with the NFL, Alex had to dive deeply into small moments that paid off big, moments that had to feel right to the viewer without them even noticing. It’s a tricky business, one that Alex has learned firsthand.