All Posts - Filmsupply Blog

All Posts

Art, in its purest form, isn’t born from chasing metrics. It’s born from a deeply personal place of reflection and introspection—from being honest about your point of view and the way you see the world. It’s important to know that in today’s oversaturated media-landscape, consumers are constantly being fed an algorithm of ads, and they’re smart enough to sniff out the bullshit.

Occasionally Filmsupply’s blog features articles from guest contributors. Today’s article comes from our CEO Daniel McCarthy. It’s no secret that, for decades, using stock footage has been synonymous with choosing to settle. When we started Filmsupply, the quality of footage that was out there more or less reinforced that negative stigma. It was only natural

Cinematographer and Technical Director Christopher Webb has been shooting design-driven work drawing from multiple disciplines for over a decade. Together with founding partner, Graceann Dorse, Chris has built a studio to focus on this work full time. FX WRX specializes in cinematographic effects magic that derives from in-camera shooting. Their work has garnered multiple Promax Broadcast Design Global Excellence Awards and an Emmy. 

Behind the Work is a series by Filmsupply that brings you lessons from leading creatives where they share essential techniques they bring to their work. All shot from their own homes or studios, Behind the Work brings you an entirely new set of skill sets that you can put into practice to grow in your craft. In the second episode of Behind the Work, we sat down with Golriz Lucina, Co-Founder and Head of Creative at SoulPancake — the creative agency behind series like Kid President, Science of Happiness and more. 

Behind the Work is a series by Filmsupply that brings you lessons from leading creatives who share essential techniques they bring to their work. All shot from their own home or studio, Behind the Work brings you an entirely new set of skill sets you can put into practice to hone your craft. In the first episode of Behind the Work, Bruton Stroube Editor/Partner Lucas Harger shares how he practices his craft by translating poetry to different editing styles.

If you’re reading this, chances are you’re one of the millions of people around the world who’s spending more time than usual inside. Luckily for editors, our work is generally not dependent on a specific location. If we have a computer and our brain, then we can work. But, that isn’t to say remote work is easy. 

The team at Evolve never partially commits to a project—and apparently, neither does Pearl Jam. They recently collaborated on the band’s latest music video for the song “Dance of the Clairvoyants”, and the project didn’t stay simple for long. 

As an editor, Michael helped bring television into the major leagues in the early 2000s, editing throughout the entirety of Six Feet Under and working on major projects like True Blood, Dexter, Homeland, The Leftovers, and much more. Most recently, he took on Amazon’s sweeping fantasy series Carnival Row.

Creativity can’t exist without tension. There needs to be a problem, and a solution. A question, and an answer. An obstacle, and a breakthrough. And no one understands this tension better than filmmakers. We spend so much of our time in the middle of it, trying to generate the ‘aha’ moment so we can nail a pitch, rough cut, or, if we’re lucky, a final film.

Editing, in many ways, works like a magic trick. You’re using spectacle and distraction to achieve your true goal—to make the audience feel something. Or, as Oscar-winning Editor Michael McCusker puts it, you’re making your audience “emotionally smart.”

What does it mean to be a complete editor? Well, to Victor Jory, it means being “one part musician, one part painter, and one part construction worker.”  As the Head of Editorial at The Mill L.A., Victor has built his career on this recipe. There’s a constant tension between collaboration, creative expression, and the ever-looming