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Editing

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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.

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
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