The Rough Cut

Editors - Elísabet Ronaldsdóttir ACE, Nat Sanders ACE and Harry Yoon ACE Shang-Chi and the Legend of the Ten Rings editors Elísabet Ronaldsdóttir ACE, Nat Sanders ACE and Harry Yoon ACE combined their unique skills and sensibilities to craft the heart, comedy and action that made Marvel's latest entry in the MCU a hit with audiences and critics alike. Directed by Destin Daniel Cretton, "Shang Chi" tells the story of a skilled martial artist who was trained to be an assassin by his father at a young age. Shang Chi chooses not to follow the same path as his father, the immortal leader of the "Ten Rings" army of assassins, and runs away to San Francisco to live a mild-mannered life parking cars. ELÍSABET RONALDSDÓTTIR ACE Iceland native, Elísabet Ronaldsdóttir, is widely known for her work on high-adrenaline action films such as Deadpool 2 (2018), Atomic Blonde (2017) and John Wick (2014). She is currently editing the action movie, Bullet Train (2022). NAT SANDERS ACE Once named as part of Filmmaker magazine's "25 New Faces Of Independent Cinema" in 2009, Nat Sanders is known for his work on If Beale Street Could Talk (2018), Moonlight (2016), and the tv series, Girls (2016). Nat is also the only person has won the Independent Spirit Award for Best Editing twice. HARRY YOON ACE Immediately prior to his work on Shang-Chi and the Legend of the Ten Rings, Harry Yoon was being lauded for his work with director Lee Isaac Chung on the Oscar®-nominated film, Minari (2020). Harry's other work includes the films The Last Black Man in San Francisco (2019), First Man (2018) and Detroit (2017). Editing Shang-Chi and the Legend of the Ten Rings In our discussion with Shang-Chi and the Legend of the Ten Rings editors Elísabet Ronaldsdóttir ACE, Nat Sanders ACE and Harry Yoon ACE we talk about: Finding the beats of hand-to-hand fight scenes Turning a problematic open into contextual flashbacks Dialing in characters that exist for comic relief Overcoming the resistance to making big cuts that come with big costs Being typecast into specific genres The Credits Get your free 100GB of media transfer at MASV Visit ExtremeMusic for all your production audio needs See which Avid Media Composer is right for you Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editors - Jess Brunetto, Susan Vaill ACE, Ali Greer Hacks editors Jess Brunetto, Susan Vaill ACE and Ali Greer each find themselves nominated for an Emmy® award for their work on Season One of their hit series. For those not familiar with the show, Hacks is an American comedy-drama series created by Lucia Aniello, Paul W. Downs, and Jen Statsky that streams on HBO Max. The show tells the story of two very funny women at different points in their careers. Deborah Vance, a legendary Las Vegas stand-up comedy diva, is struggling to maintain relevance while the head of the casino where she performs tries to pare down on her performance dates. Ava is a Gen Z comedy writer who is unable to find work due to being "canceled" over an insensitive tweet. The two reluctantly team up to freshen up Vance's material, while learning to respect each other's differences along the way. JESS BRUNETTO Jess Brunetto is a director, writer, producer and editor. Her film work has screened at Cannes, Venice and Sundance. Her directorial debut Sisters (2021) premiered at SXSW and was nominated for the Grand Jury Award. In addition to Hacks, her other editor credits include; Awkwafina Is Nora from Queens (2020), Broad City (2014), American Vandal (2017) and Jordan Peele's The Last O.G. (2018), on which she also served as an associate producer. SUSAN VAILL ACE Susan's love of music-driven storytelling has led her to be described as 'a legendary music supervisor masquerading as an award-winning editor.' After assistant-editing documentaries and feature films like The Last Samurai (2003), Susan edited over 70 episodes of Grey's Anatomy (2005) which won the Golden Globe for Best Drama Series in 2008. Susan also directed three episodes of the series, one of which featured an Emmy-winning performance by guest actress Loretta Devine. In addition to Hacks, her other television editor credits include; Space Force (2020), Grandfathered (2015), Me, Myself and I (2017), This Is Us (2016), and Lodge 49 (2018). ALI GREER In addition to her Emmy® nomination for Hacks, Ali was twice nominated for an ACE Eddie award for her work on the series, Portlandia. In fact, Ali's editorial career is highlighted by several standout series in the comedy genre. Her time as an assistant editor was punctuated with a stint on Kroll Show (2015) as well as the aforementioned Portlandia (2015). From there she went on to edit such shows as Dream Corp LLC (2018), Black Monday (2020) and Schmigadoon! (2021). Editing Hacks In our discussion with the Hacks editing team of Jess Brunetto, Susan Vaill ACE and Ali Greer, we talk about: The money is no object approach to needle drops The danger of checking your email on a Friday night Breaking the rules of network television Honoring When Harry Met Sally Doing mixes over Zoom...in a car The Credits Get your free 100GB of media transfer at MASV Visit ExtremeMusic for all your production audio needs Check out the free trial of Media Composer | Ultimate Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editor - Dean Zimmerman ACE Free Guy editor, Dean Zimmerman ACE wrapped working on location for the film exactly two years ago. Like so many movies lately, Free Guy had been locked in a pattern of pandemic postponement. It was originally supposed to be released late in the spring of 2020, but then got bounced around until it eventually hit theaters on August 13th of 2021. Free Guy stars Ryan Reynolds as a bank teller who discovers he's actually an NPC (non-playable character) in an MMORPG (massive multiplayer online role-playing game). With the advent of his self-awareness, Guy decides to become the hero of the story and save his friends from deletion by the game's creator, played by Taika Waititi. DEAN ZIMMERMAN ACE Free Guy finds Dean collaborating once again with director and longtime friend, Shawn Levy. The two have been working together for over twenty years on projects like the Night at the Museum franchise and a little series called Stranger Things. In fact, a lot of Dean's crew from Stranger Things is on board for Free Guy. Assistant editor Kat Naranjo, VFX editor Brad Tobler and sound editor Craig Henighan are all on hand for the film. So, clearly Dean takes a family-oriented approach to putting a crew together and keeping them together. And editing is a family business in more ways than one for Dean. His father, Don Zimmerman, is a highly accomplished editor in his own right. Dean is currently working on Shawn Levy's upcoming film with Ryan Reynolds, The Adam Project (2022). Editing FREE GUY In our discussion with Free Guy editor, Dean Zimmerman ACE, we talk about: The pain of cutting out Taika Waititi scenes Questions editors ask test screening audiences How working on Free Guy compares to Stranger Things Why stereo is better than 5.1 monitoring Teaching the Duffer brothers about "cowboy shots" The Credits Get your free 100GB of media transfer at MASV Visit ExtremeMusic for all your production audio needs Check out the free trial of Media Composer | Ultimate See Dean's Avid timelines from Free Guy See the Stranger Things panel with Dean, Kat, Brad, Craig and all the gang Listen to the Sound Design podcast with Craig Henighan, Will Files and Ai-Ling Lee Subscribe to The Rough Cut podcast and never miss an episode

Editors - Fred Raskin ACE and Christian Wagner The Suicide Squad editors, Fred Raskin ACE and Christian Wagner join forces once again to assist director James Gunn with his latest movie; a standalone sequel to Suicide Squad (2016) and the tenth film in the DC Extended Universe. The film features Gunn's patented take on action and comedy, plus a little blood, guts and gore for good measure. FRED RASKIN ACE To help him with the latest installment in the DCEU, James called on an old friend from his Marvel days, editor Fred Raskin. Fred worked with Gunn on both Guardians of the Galaxy films, so James knew quite well that Fred was up for the challenge of The Suicide Squad. In addition to his work with Gunn, another prominent director that Fred is known to cut for is Quantin Tarantino. Fred handled the editorial duties for Django Unchained, The Hateful Eight and, most recently, Once Upon a Time in Hollywood. CHRISTIAN WAGNER While Quentin Tarantino has written AND directed most of his films, True Romance is one of the few that he wrote but did not direct. It was directed by Tony Scott and edited by a man Mr. Scott worked with quite often throughout both of their careers, editor Christian Wagner. In addition to True Romance, Chris also cut Man on Fire, The Last Boy Scout, Days of Thunder and several more films for Scott. When he wasn't cutting for Tony Scott, Chris spent a little time on some of the "Fast and Furious" films. Two of which, Fast and Furious and Fast Five, Chris co-edited with Fred Raskin. The Suicide Squad sees the two editors reuniting for the third time. Editing The Suicide Squad In our discussion with The Suicide Squad editing team of Fred Raskin ACE and Christian Wagner, we talk about: Collaborating with a co-editor for the first time Scaling back the Harley Quinn sub-plot The sacrifices editors make in working remotely Directors who don't understand pre-viz Mentoring the next generation of super hero editors The Credits Get your free 100GB of media transfer at MASV Visit ExtremeMusic for all your production audio needs Check out the free trial of Media Composer | Ultimate Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editors - Paul Crowder ACE and Ede Bell Crowder The UFO post production team of editor Paul Crowder ACE and lead assistant editor Ede Bell Crowder didn't just share the workload on JJ Abrams' new docuseries for Showtime, they also share the same last name. Ede had to look no further than her own father, veteran documentary editor Paul Crowder ACE, to know that she wanted to be an editor. While she's hoping for a career in scripted editing, the chance to work with her dad on such a high-profile project was too good to pass up. Together, with the rest of the post team, Paul and Ede created a riveting series that raises new questions about the phenomenon of unidentifiable flying objects; including what the U.S. government might have known (and covered up) all along. PAUL CROWDER ACE A British-born musician turned filmmaker now living in the USA, award-winning editor Paul Crowder ACE is best known for documentaries such as; Dogtown and Z-Boys, Riding Giants, Sound City and The Beatles: Eight Days a Week - The Touring Years. Paul is also known for directing the films Amazing Journey: The Story of The Who and 1. He can also be seen around Los Angeles playing with the classic power pop band, The Automatics. EDE BELL CROWDER Daughter of editor/director Paul Crowder ACE, Ede is a recent graduate of the University of North Carolina film program. Prior to her work on UFO, Ede had been sharpening her editorial skills on numerous short films. Editing UFO In our discussion with UFO editor Paul Crowder ACE and assistant editor Ede Bell Crowder, we talk about: The critical decisions that go into the opening of a series Using reaction shots to comment on...comments Whether or not to use image manipulation tools on UFO footage How to manage large amounts of media for remote workflows A second-hand account of an actual UFO sighting The Credits Get your free 100GB of media transfer at MASV Visit ExtremeMusic for all your production audio needs Check out the free trial of Media Composer | Ultimate Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editors - Geoff O'Brien and Pierre Takal Framing Britney Spears editors Geoff O'Brien and Pierre Takal joined forces to take on the monumental editorial challenge of compressing twenty years into just over an hour of screen time to tell a story that is both informative and provocative. Released on February 5, 2021 as an edition of The New York Times Presents on FX and FX on Hulu, the documentary explores Spears's rise to fame as a pop star, her treatment by the paparazzi, her highly publicized breakdown in 2007, and her court-mandated conservatorship overseen by her father. The documentary received critical acclaim and garnered two nominations at the 73rd Primetime Emmy® Awards; including a nomination for Geoff and Pierre's work in the cutting room. GEOFF O'BRIEN Aside from his work on Framing Britney Spears, Geoff has been a major creative contributor and editor for series including The Weekly from The New York Times, Fiasco on Epix and PBS's Frontline. He also worked on three award-winning feature documentaries, Note By Note: The Making of Steinway L1037; Brick By Brick (a documentary that chronicles segregation in the Yonkers public school system) and It Started As A Joke (chronicling Eugene Mirman and his comedy festival). PIERRE TAKAL In addition to his work on the New York Times Presents series, Pierre has cut for the PBS investigative series, Frontline and on documentaries such as Eagle Huntress, Rats, I am Human and One Direction: This Is Us. But that's not all. Not only does Pierre Takal do Emmy®-worthy work in the editing room, he's also an accomplished composer, at times taking on both composing and editing duties on the same project. Editing Framing Britney Spears In our discussion with Framing Britney Spears editors Geoff O'Brien and Pierre Takal, we talk about: Utilizing the resources of The New York Times Collaborating remotely during the pandemic Quickly setting the context for the conservatorship controversy Knowing where to stop on a story that is still unfolding How this project evolved their opinions of their own industry The Credits Get your free 100GB of media transfer at MASV Visit ExtremeMusic for all your production audio needs Check out the free trial of Media Composer | Ultimate Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editors - Greg Finton ACE and Lindsay Utz ACE Editors Greg Finton ACE and Lindsay Utz ACE hadn't worked together prior to Billie Eilish: The World's a Little Blurry, but they each had plenty of experience in the world of unscripted storytelling to bring to the table for director R.J. Cutler's film. The story centers around singer-songwriter Billie Eilish and reveals the behind the scenes creation process of her debut studio album When We All Fall Asleep, Where Do We Go? Released in select theaters via Neon and on Apple TV+ on February 26, 2021, the film has garnered four Primetime Emmy® nominations, including Outstanding Picture Editing for Variety Programming for Greg and Lindsay. GREG FINTON ACE Although Greg had previously worked with "Billie Eilish" director R.J. Cutler on the series American High, Greg's storied career in documentary editing actually began in the film cutting rooms of some legendary scripted editors. Working as an assistant to editors such as Lynzee Klingman ACE (A River Runs Through It) and Sandra Adair ACE (Dazed and Confused), Greg learned first hand how just changing the rhythm and pace of the dialogue can have a big impact on the way a scene felt. Greg took this knowledge into his work on highly acclaimed documentaries such as It Might Get Loud, He Named Me Malala and Robin Williams: Come Inside My Mind. LINDSAY UTZ ACE Prior to teaming up with Greg and R.J. Cutler for the "Billie Eilish doc", Lindsay had made quite a name for herself in the documentary world, having been nominated for both an Emmy® and an ACE Eddie award for her work on the Oscar®-winning documentary, American Factory. A recipient of the 2012 Karen Schmeer Fellowship, Lindsay's talent as a storyteller can also be seen in the documentary projects; Bully, Quest, Miss Americana, as well as the experimental narrative feature, Buoy. Editing Billie Eilish: The World's a Little Blurry In our discussion with the editing team of Greg Finton ACE and Lindsay Utz ACE, we talk about: Enjoying the challenge presented by documentary editing The deep reservoir of footage afforded by the cell phone era Lower thirds being a crucial decision in doc filmmaking How award nominations can impact a documentary editor's career The advantages of starting out as an assistant in film cutting rooms The Credits Get your free 100GB of media transfer at MASV Visit ExtremeMusic for all your production audio needs Check out the free trial of Media Composer | Ultimate Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editors - Paul Zucker ACE, Emma McCleave, Calum Ross PAUL ZUCKER ACE (Classic Loki) Prior to making his mark on the MCU, Paul had worked with some of today's most innovative filmmakers; from Harmony Korine (Mister Lonely) and Michel Gondry (Eternal Sunshine of the Spotless Mind, to Lena Dunham (Girls, Camping). Paul cut his first feature at age 24 for Gus Van Sant (Gerry). Moving easily between independent and studio projects, he has worked with such noted directors as Tom Dicillo, Joel Schumacher, and Mike Judge (the pilot episode of Silicon Valley). He has also edited two films for Judd Apatow (This is 40 and Trainwreck, for which he received an ACE award nomination). Paul is also an accomplished commercial editor and a member of American Cinema Editors. EMMA McCLEAVE ("Florida" Alligator Loki) Emma McCleave studied at Flinders University Film School in Adelaide, Australia, and within the York University Film program in Canada. On graduation, Emma moved to Sydney where she started her career as a Commercials Assistant Editor, before moving to films in 2008. Through her career Emma trained under some of the most prolific editors in the film industry, including Dody Dorn ACE (Australia, London Boulevard, Fury, Come Away), Michael McCusker ACE (Australia, Captain America: The First Avenger), Chris Dickens ACE (Rocketman), Conrad Buff ACE (Thor: The Dark World, Infinite) and Paul Hirsch ACE (The Mummy). CALUM ROSS (The One True Loki) Calum Ross has been in TV cutting rooms for fourteen years. Over that time he has routinely taken on one of the most feared genres in editing, comedy. Calum has been in the cutting rooms of shows such as Pixelface, Murder in Successville, Lovesick, Action Team and his latest work featuring the comedy duo of Sue Perkins and Mel Giedroyc, Hitmen. But it was his work on the Netflix original series, Sex Education that first introduced him to director Kate Herron, a job that would ultimate land him on Marvel's Loki, once again working with Kate. Editing Loki In our discussion with the Loki editing team of Paul Zucker ACE, Emma McCleave and Calum Ross, we talk about: Editorial Easter Eggs The demands of a Marvel series compared to a Marvel feature Integrating footage from Avengers: End Game to set up the pilot Having to let go of The Frog of Thunder Who is the True Loki The Credits Get your free 100GB of media transfer at MASV Visit ExtremeMusic for all your production audio needs Hear the podcast with The Falcon and The Winter Soldier team Meet the Emmy®-nominated editors of WandaVision Check out the free trial of Media Composer | Ultimate Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editors - Matthew Schmidt and Leigh Folsom Boyd Editors, Matthew Schmidt and Leigh Folsom Boyd are no strangers to the Marvel Universe, yet Black Widow represents the first time they've ever worked together on a project. It's also the first Marvel film for indie director, Cate Shortland. Black Widow is the 24th film in the MCU, but the first in the franchise's "Phase Four". Eagerly awaited since it was announced after Avengers: End Game, the film has suffered multiple delays in its release due to the pandemic. Taking place after the events of Captain America: Civil War, Black Widow delivers the long overdue backstory and greater depth of focus on the character of Natasha Romanoff (aka Black Widow). MATTHEW SCHMIDT Matthew's career with Marvel dates back to The Avengers. Back then he was an assistant on that film as well as first assistant on Iron Man 3. Matt then made the jump to editor on Captain America: The Winter Soldier and would go on to co-edit the Marvel films, Avengers: Age of Ultron, Captain America: Civil War, Avengers: Infinity War, Avengers: End Game and Black Widow. LEIGH FOLSOM BOYD Even before joining the Marvel Cinematic Universe to co-edit Ant Man and Spiderman: Far From Home, editor Leigh Folsom Boyd had plenty experience cutting blockbuster action movies. Her impressive resume includes films like Fast & Furious, Fast Five, Fast & Furious 6, Furious 7, Pirates of the Caribbean: Dead Men Tell No Tales and Total Recall (2012). Editing Black Widow In our discussion with the Black Widow editing team of Matthew Schmidt and Leigh Folsom Boyd, we talk about: Taking advantage of some extra "lockdown" related time to refine the film Making the 24th film in a series understandable to audiences new to the MCU Developing immersive soundscapes The iterations of an action scene Negotiating the workload between two editors The Credits Get your free 100GB of media transfer at MASV Visit ExtremeMusic for all your production audio needs Check out the free trial of Media Composer | Ultimate Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editor, Myron Kerstein ACE In The Heights editor, Myron Kerstein ACE had plenty of experience to draw from when tackling the film adaptation of Lin-Manuel Miranda's Broadway hit. Not only had he previously worked with In the Heights director John Chu on their film, Crazy Rich Asians, but Myron had a diverse pool of film and tv projects to draw from as well. Myron's film credits include Garden State, Nick and Norah's Infinite Playlist, Little Fockers, The Dukes of Hazard, Fame (2009). On the tv side, he's done shows such as Girls and Home Before Dark. Editing In The Heights In our discussion with In The Heights editor, Myron Kerstein ACE we talk about: The similarities between musicals and VFX heavy action movies Using ScriptSync to manage lyrical performance takes The roundtrip workflows between picture and sound Cutting with or against the beat of the music The impact musicals impose on spotting sound effects The Credits Learn how to easily manage and move media everywhere with MASV Visit ExtremeMusic for all your production audio needs See the latest Special Offers for Avid Media Composer Ultimate Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Small Axe editor, Chris Dickens ACE Small Axe editor, Chris Dickens ACE first made a name for himself cutting director Edgar Wright's zombie comedy, Shaun of the Dead. A few years later Dickens would collaborate with Wright once more on the movie, Hot Fuzz. But it was a film Dickens did in 2008 that would bring him his highest honor to date. Chris was awarded an Oscar® for Best Film Editing for Slumdog Millionaire. In subsequent years Chris would edit such films as Mary Queen of Scots and Rocketman. After wrapping up the Elton John biopic, Chris began discussions with director Steve McQueen (12 Years a Slave) about his upcoming project, Small Axe. Small Axe consists of five films that tell distinct stories about the lives of West Indian immigrants in London from the 1960s to the 1980s. The series kicks off with the courtroom drama Mangrove. Next up is Lovers Rock, which takes place over the course of one day at a house party. Next is Red, White and Blue starring John Boyega as a young man who trades a promising career in medicine to become a police officer intent on creating reform from within the department. The fourth film in the series is Alex Wheatle, a historical drama about a novelist sentenced to imprisonment after the 1981 Brixton uprising. The series concludes with the film Education, which takes place in the 70's and addresses the transferring of disproportionate numbers of black children from mainstream education to schools for the so-called "educationally subnormal". Editing Small Axe In our discussion with Small Axe editor, Chris Dickens ACE we talk about: Editing five different films in different formats Non-linear editing in a linear fashion Why 16mm is shunned by streamers The challenge of editing a "plotless" film The editorial gift of a non-stop musical backdrop The Credits Visit ExtremeMusic for all your production audio needs Hear Chris and Music Editor Andy Patterson talk about making Rocketman Check out the free trial for Media Composer | Ultimate Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editors - Jeff Seibenick, Andrew S. Eisen ACE, Adam Gerstel Editors Jeff Seibenick, Andrew S. Eisen ACE and Adam Gerstel (along with editor Dylan Firshein) joined "forces" to deliver a follow-up season to the Lucasfilm/Disney+ hit that surpassed even the highest expectations from the ardent fanbase. Using their now legendary virtual set technology, known as "the volume", the post team was completely integrated into the production process and could help craft and refine the storylines at a highly accelerated rate. JEFF SEIBENICK With a background rich in comedy tv editing on series such as; Parks and Recreation, Eastbound & Down and Vice Principals, Jeff helped craft one of the more serious aspects of Season 2...getting inside the mind of the imperial troops! ANDREW S. EISEN ACE Considering the cinematic approach the editing team applies to The Mandalorian, it's no surprise to see Andrew's name in the credits of big sci-fi / action films like Transformers: Age of Extinction and The Guardians of the Galaxy Vol 2. ADAM GERSTEL While Season 2 is Adam's first on The Mandalorian, he's no stranger to virtual set technology or working with showrunner/director, Jon Favreau. Adam edited both The Jungle Book and The Lion King live action remakes with Favreau. Editing The Mandalorian - Season 2 In our discussion with The Mandalorian editing team of Jeff Seibenick, Andrew S. Eisen ACE and Adam Gerstel, we talk about: The differences between using the virtual set process in films vs television Manipulating story lines and character tone through ADR Creating both new sound effects and leveraging the Star Wars Sound Library The scoring process between editor and composer Collaborating with one another through the pre-viz process The Credits Visit ExtremeMusic for all your production audio needs Listen to parts one and two from the Season One interview with The Mandalorian editors A New Hope editor, Paul Hirsch ACE on turning a Camaro into Vader's TIE fighter The Empire Strikes Back editor, Paul Hirsch ACE reflects on the film forty years later Hear editor Bob Ducsay talk about cutting The Last Jedi Listen to Maryann Brandon ACE talk about her work on The Force Awakens and The Rise of Skywalker Check out the limited time special offer for Media Composer | Ultimate Subscribe to The Rough Cut for more great interviews with the heroes of the editing room! Visit The Rough Cut on YouTube!

Editors - Josh Drisko, Steve Welch ACE, Trevor Penna From the creative team behind It's Always Sunny in Philadelphia comes the AppleTV+ original series, Mythic Quest! Created in part by and starring Rob McElhenney, the series is about a video game studio that produces a popular online role playing game. Even though it's a "workplace comedy", the MQ team knows how to surprise an audience every now and then with a dramatic turn. Both seasons one and two featured episodes that were not really part of the show's primary story line nor did they really feature the main characters. In S1 this was an episode called A Dark Quiet Death and in S2 it was an episode called Backstory. Both episodes were standouts in their respective seasons and drew praise from the critics. On top of that, between season one and two Mythic Quest had two special episodes; one of which was not only created during quarantine, it was about the quarantine. JOSH DRISKO Josh Drisko has an amazing 92 episodes (and counting) of It's Always Sunny in Philadelphia under his belt; including the legendary pilot episode of "Sunny" that he cut on a laptop back in 2005. Josh has also worked on the series The Mick, The Grinder and Maron. STEVE WELCH ACE Steve Welch ACE has had a prolific career in comedy editing with such shows as Malcolm in the Middle, New Girl, Mr. Show with Bob and David and Arrested Development. TREVOR PENNA While Mythic Quest is the first series where Trevor has been lead editor on multiple episodes, he's been assisting editor Tim Roche on some pretty big shows, including Curb Your Enthusiasm and WandaVision. Editing Mythic Quest In our discussion with the Mythic Quest editing team of Josh Drisko, Steve Welch ACE and Trevor Penna, we talk about: The challenge of incorporating video game footage into the show Working from home to do a special episode about working from home The power of ScriptSync for cutting comedy Taking a break from the laughter for more dramatic episodes The best things an editor can do besides edit to be a better editor The Credits Visit ExtremeMusic for all your production audio needs Check out the limited time special offer for Media Composer | Ultimate Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

It's a Sin editor, Sarah Brewerton It's a Sin editor, Sarah Brewerton said, "Yes!" before ever reading the scripts for the British television miniseries written and created by Russell T. Davies (Queer as Folk). The series follows a group of gay men who each move to London in 1981 as the fast-developing HIV/AIDS crisis in the United Kingdom impacts their lives. Over the five episode arc, the group are shown living through an entire decade as they become determined to live life on their terms despite the threat posed by HIV. Pulling off a story like that, honoring and being true to an important era in our shared history, is never easy. On top of that, in regards to the actual post process, more often than not on a series you have multiple editors in some kind of rotation to handle the editorial duties. That is not the case with It's a Sin. Sarah and her assistant editor (Daniel Gale-Coyne) did the entire series themselves. They also did it without a music editor. Considering how prominent a role music plays in setting the scene for England in the 80's, that should tell you just how much care and effort Sarah and Daniel had to put into every aspect of the series. Editing It's a Sin In our discussion with It's a Sin editor, Sarah Brewerton we talk about: The burdens and blessings of cutting a series on your own Letting the material lead the edit The opportunities for finding work in 2021 Making the jump from assistant to lead editor Giving back to the next generation of editors The Credits Visit ExtremeMusic for all your production audio needs Check out the limited time special offer for Media Composer | Ultimate Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editor, Tatiana Riegel ACE Cruella editor, Tatiana Riegel ACE and director Craig Gillespie were already quite familiar with one another prior to their work on Disney's most recent reimagining of its iconic I.P.. Starting with Lars and the Real Girl in 2007, the two also worked together on Fright Night, Million Dollar Arm, The Finest Hours and the critically acclaimed I, Tonya. I, Tonya also notched Tatiana an ACE Eddie award and an Oscar® nomination for Best Film Editing. Set in 1970s London amidst the punk rock revolution, Cruella follows a young grifter named Estella. Recently orphaned, Estella befriends a pair of juvenile thieves and together they are able to build a life for themselves on the streets of London. One day, while toiling away in London's Liberty department store, Estella's flair for fashion catches the eye of legendary designer, Baroness von Hellman, but their relationship sets in motion a course of events and revelations that will cause Estella to become the raucous and revenge-bent "Cruella". Editing Cruella In our discussion with Cruella editor, Tatiana Riegel ACE we talk about: The sometimes necessary evil of voice overs Delaying the use of audio until later in the edit Keeping an eye on continuity in the quiet scenes Eavesdropping on conversations between Quentin Tarantino and editor Sally Menke during Pulp Fiction The Credits Visit ExtremeMusic for all your production audio needs See the latest Special Offers for Avid Media Composer Ultimate Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editor - Dody Dorn ACE, Assistant Editor - Carlos Castillón Army of the Dead editor Dody Dorn ACE and asst editor Carlos Castillón were quite busy during the past year or so. Not only did they edit the new film from Zack Snyder, but they also did his cut of Justice League during their "break". With Army of the Dead, Snyder is back doing what he does best, blending different genres into something not seen before. It's a "zombie" movie; in some ways a follow up to Snyder's Dawn of the Dead. Then you've got the heist movie genre, in that the protagonists are racing against a clock to steal a big pile of cash. Finally you've got Las Vegas, which isn't a genre of movie…but it's Vegas; always a category unto itself. No matter how you categorize it, Army of the Dead delivers the requisite action, comedy, gore and moments of tenderness one would hope for in a zombie-Vegas apocalypse. DODY DORN ACE Although she began her career as a sound editor, Dody Dorn made her transition to picture editing with projects such as the director's cut for Terminator 2. From there she would go on to edit such notable films as Christopher Nolan's Memento, Fury and Zack Snyder's Justice League. CARLOS CASTILLÓN Carlos Castillón has been immersed in the world of big VFX super hero movies for quite some time. He started his editorial journey assisting on films such as Iron Man 2, Cowboys and Aliens, Man of Steel and Batman vs Superman: Dawn of Justice. Without questions it is this extensive background that also enabled him to be the lynchpin between the two cuts of Justice League. Editing Army of the Dead In our discussion with Army of the Dead editor Dody Dorn ACE and asst editor Carlos Castillón we talk about: Offloading opening sequence work to trailer editors Turning Zack's iPad storyboards into action sequences The art of zombie vocalization The challenges handheld shots put on VFX What Zack Snyder likes to see in the first assembly The Credits Visit ExtremeMusic for all your production audio needs See Dody's Avid Timeline for Army of the Dead Check out the full 4+ hr Avid Timeline from Zack Snyder's Justice League See the latest special offers for Avid Media Composer Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editors - Tai Erskine, Amelia Allwarden, John Daigle The PEN15 editing team of Tai Erskine, Amelia Allwarden and John Daigle (along with editor Matt McBrayer) form the post production backbone of Hulu's original series. Starring and co-created by Maya Erskine (Tai's sister) and Anna Konkle, PEN15 is described as a "middle school as it really happened" comedy. That is if two of your classmates were actually in their thirties! TAI ERSKINE In addition to PEN15, Taichi Erskine is known for Allergic to Flowers, Bigfoot County and Balcony. AMELIA ALLWARDEN In addition to PEN15, Amelia Allwarden is known for Little Fires Everywhere and Westworld. JOHN DAIGLE In addition to PEN15, John Daigle is known for Adam Ruins Everything and the new NBC series, Kenan. Editing PEN15 In our discussion with the PEN15 editing team of Tai Erskine, Amelia Allwarden and John Daigle, we talk about: Managing the improv components of the show What it's like editing a show that stars your mother and sister Tracking towards a darker tone from one season to the next The process of joining a show that's already into its second season Interviewing for jobs in the era of "Zoom" The Credits Visit ExtremeMusic for all your production audio needs Hear Amelia Allwarden discuss editing Little Fires Everywhere Save 20% on a new 1yr subscription to Media Composer | Ultimate and other special offers Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

The Oscar®-Winning Sound and Picture Post Team from Bohemian Rhapsody Despite having faced many obstacles and an uncertain future, the Queen biopic Bohemian Rhapsody went on to become a global hit at the box office and achieve widespread critical acclaim; evidenced by the fact that the sound and picture post team members each walked away with an Oscar® in their respective categories. Just two months after the Oscars®, the team joined Avid for a special live presentation of their work at the NAB 2019 convention in Las Vegas. EDITOR - JOHN OTTMAN ACE Not only an accomplished, award-winning editor, John Ottman ACE is also a composer and writer. Among his many credits are his frequent collaborations with director Brian Singer on the films The Usual Suspects, Superman Returns, Valkyrie and X2: X-Men United. SUPERVISING DIALOGUE and ADR EDITOR - NINA HARTSTONE In her role as Supervising Dialogue and ADR editor for Bohemian Rhapsody, Nina Hartstone had the enviable yet daunting task of bringing the voice of Freddie Mercury back to life. Her impressive skills as a sound post pro have been on display in such films as Gravity, The Hours, Bridget Jones's Baby and Enola Holmes. SUPERVISING SOUND EDITOR - JOHN WARHURST Coming into Bohemian Rhapsody, John Warhurst had already racked up some impressive credits as both a music and sound editor, honing his craft on 127 Hours, Edge of Tomorrow, Les Misérables and One Direction: This is Us. MUSIC MIXER and RE-RECORDING MIXER - PAUL MASSEY With a phenomenal career that spans almost forty years, music and re-recording mixer Paul Massey has lent his talents to films like Boyz N the Hood, Clueless, Jerry Maguire and Ford v Ferrari. Including his Oscar® win for Bohemian Rhapsody, Massey has been nominated for the Academy's top sound prize a total of nine times. Editing and Mixing Bohemian Rhapsody In our discussion with the Bohemian Rhapsody post team, we talk about: Making montages that drive the narrative Using hi-res footage and VFX to turn a three-shot into a two-shot Combining three different vocals to make the "voice" of Freddie Mercury How many guitar tracks are enough to reinvent the Fox Studios anthem Recording live reverb instead of using plug-ins The Credits Visit ExtremeMusic for all your production audio needs Save 20% on a new 1yr subscription to Media Composer | Ultimate and other special offers Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

The Girlfriend Experience editor, Nick Carew The Girlfriend Experience editor, Nick Carew started off the new season of his series with a bang, premiering his work at SxSW 2021 before it began its run on the STARZ network on May 2nd. Based on the Steven Soderbergh movie of the same name (Soderbergh is also an exec producer on the show), The Girlfriend Experience is an anthology series with each season having its own narrative thread and characters, but staying true to a general motif or theme of a young woman in some sort of professional field who also works as an escort. Season Three features Iris, a high-end escort in London who offers clients "the girlfriend experience" while leading a double life as a neuroscience major. In addition to his skills as a scripted editor on series like The Girlfriend Experience, Nick has racked up a lot of reps in unscripted and documentary editing as well, unquestionably one of the most challenging types of projects an editor can undertake. Editing The Girlfriend Experience In our discussion with The Girlfriend Experience editor, Nick Carew we talk about: Charting a new course for an anthology series in the pilot episode Shooting and editing a show about intimacy under pandemic restrictions Establishing the mood through cutting What showrunners look for in an editor Applying the skills acquired in unscripted projects to narrative series work The Credits Visit ExtremeMusic for all your production audio needs Download the free trial of Avid Media Composer | Ultimate Learn Avid for free with Media Composer | First Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editors - Rosanne Tan ACE and Todd Desrosiers The Falcon and the Winter Soldier editors; Rosanne Tan ACE and Todd Desrosiers teamed up to lend their super editing powers to Marvel Studio's second series for Disney+. Set six months after the events of Avengers: Endgame, the show takes on social issues and conflicted characters, all within the framework of the big action and visual effects familiar to fans of the MCU. Todd Desrosiers Editor, Todd Desrosiers was already familiar with the MCU, having cut the Marvel Television series Legion. His work has also recently been on display in The Umbrella Academy, with its similar "super power" component. And, without question, his time spent on the series Californication helped hone the comedy chops that would come into play in the interaction between Sam Wilson and Bucky Barnes. Rosanne Tan ACE Editor, Rosanne Tan ACE makes her triumphant return to The Rough Cut! Although she was new to the MCU, Rosanne had plenty of prior experience editing series (Mr Robot and Homecoming) that featured action, intrigue and high drama. Editing The Falcon and the Winter Soldier In our discussion with The Falcon and the Winter Soldier editors; Rosanne Tan ACE and Todd Desrosiers, we talk about: How they like to set up their Avid editing systems What it's like editing on a Marvel series vs their other series work Managing large amounts of footage under tight schedules How the VFX pipeline affects the priority of what they cut Modulating the tone of a character to reflect changes in other episodes The Credits Visit ExtremeMusic for all your production audio needs Hear Rosanne Tan's interview for her series, Homecoming Meet the Avid Media Composer family Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editor, Yorgos Lamprinos The Father editor, Yorgos Lamprinos, considers himself a "blue color" editor who never wants to be pigeonholed for a certain genre or project type. That being said, his Oscar-nominated work on The Father may result in many offers to work on suspenseful, psychological dramas. Although The Father was shot almost entirely on a soundstage in London, Yorgos (a native of Greece), edited the film in Paris where he has lived and worked for many years now. Editing The Father In our discussion with The Father editor, Yorgos Lamprinos, we talk about: Slightly distorting frames to create unease in the viewer His preferred process for working with directors Using wide shots to convey geography and close-ups to convey emotion The balancing act of misdirecting the audience while keeping them engaged What it was like returning to Greece as an Oscar-nominated editor The Credits Visit ExtremeMusic for all your production audio needs See Yorgos and his fellow Oscar nominees as part of the ACE Invisible Art Visible Artists panel See the latest Special Offers for Avid Media Composer and Media Composer Ultimate Learn Avid for free with Media Composer | First Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Assistant Editor, Riccardo Bacigalupo Assistant Editor, Riccardo Bacigalupo seemingly started off his career already in the high speed lane of post production. Working alongside editor, Eddie Hamilton, Riccardo was able to cut his teeth on such films as X-Men: First Class, Kick-Ass 2, Kingsman: The Secret Service, Kingsman: The Golden Circle and Mission Impossible: Fallout. It was his experience on those films, coupled with his deep workflow and technical knowledge acquired through assisting Eddie, that made him an ideal post team member for the tv series, Pennyworth. Pennyworth explores the early life of Bruce Wayne's (AKA Batman) butler, Alfred Pennyworth, as a former British SAS soldier who is forming his own security company in a kind of "alternate universe" London that has a distinct 50's/60's vibe and an action movie flair. But working at such high speeds in the most demanding environments can take its toll on anyone in this field, and Riccardo details how he's learned to work under such challenges; finding a balance between life and work that will set him up for a long and rewarding career in creative editorial. From Kick Ass to Pennyworth In our discussion with Assistant Editor, Riccardo Bacigalupo we talk about: The rigors of wrapping up a tv season Building remote and redundant editing workflows for film What assistants need to know for 5.1 audio environments Ways to network and build your skills outside of the edit suite Using Avid workspaces to make it easier to move from room to room The Credits Visit ExtremeMusic for all your production audio needs Check out the podcast with Mission Impossible: Fallout editor, Eddie Hamilton ACE Download the free trial of Avid Media Composer | Ultimate Learn Avid for free with Media Composer | First Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editors - David Brenner ACE, Dody Dorn ACE, Carlos Castillón Zack Snyder's Justice League editors David Brenner ACE, Dody Dorn ACE and Carlos Castillón joined forces, thought not all at the same time, to tackle one of the most discussed, debated and anticipated recuts in the history of filmmaking. Thanks to incredible social media support from a dedicated fan base, the film found new life on HBO Max. Clocking it at over four hours, the film digs deeper into the back stories of the super heroes of Justice League and employs a new coda to lay the groundwork for a larger "Snyderverse". DAVID BRENNER ACE David Brenner started off his career editing director Oliver Stone's Talk Radio, The Doors and Born on the Fourth of July (for which he won an Oscar). In more recent years it's been Zack Snyder at the helm of David's films. The two collaborated on Men of Steel, 300: Rise of an Empire, Batman vs Superman: Dawn of Justice and now, Zack Snyder's Justice League. DODY DORN ACE Although she began her career as a sound editor, Dody Dorn made her transition to picture editing with projects such as the director's cut for Terminator 2. From there she would go on to edit such notable films as Christopher Nolan's Memento, Fury and Zack Snyder's upcoming film, Army of the Dead. CARLOS CASTILLÓN Carlos Castillón has been immersed in the world of big VFX super hero movies for quite some time. He started his editorial journey assisting on films such as Iron Man 2, Cowboys and Aliens, Man of Steel and Batman vs Superman: Dawn of Justice. Without questions it is this extensive background that enabled him to be the lynchpin between the two cuts of Justice League. Editing Zack Snyder's Justice League In our discussion with Zack Snyder's Justice League editors; David Brenner ACE, Dody Dorn ACE and Carlos Castillón, we talk about: Whether the epic 4hr film was ever conceived as a series How adding more material to a film can make it actually feel shorter The decisions behind using the 1:33 aspect ratio Keeping Zack's cut "alive" between films Using sounds from the broader "Snyderverse" for Justice League The Credits Visit ExtremeMusic for all your production audio needs Check out the full 4+ hr Avid timeline from Zack Snyder's Justice League Download the free trial of Avid Media Composer | Ultimate Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editor, Joshua Schaeffer Godzilla vs Kong editor, Joshua Schaeffer has been working in the Monsterverse for some time now, having had a hand in cutting Kong: Skull Island and Godzilla: King of Monsters with editors such as Bob Ducsay and Rick Pearson. But for director Adam Wingard's latest entry in the franchise, Josh takes the lead among that crew. Josh's love and enthusiasm for these big VFX films really comes through in our discussion and he teaches us a lot about the rigor and discipline that goes into the world building that happens in post production; not to mention the marathon that is editing a big VFX blockbuster like Godzilla vs. Kong. Editing Godzilla vs. Kong In our discussion with Godzilla vs Kong editor, Joshua Schaeffer we talk about: Adjusting shot speed to support the scale of the titanic characters How sound design can be one of the best "visual effects" The advantages of working with a director who also edits The stages of vfx within post production The creative liberation of big-budget movies The Credits Visit ExtremeMusic for all your production audio needs Check out past podcasts with: Bob Ducsay for Star Wars: The Last Jedi and Knives Out Rick Pearson for Wonder Woman 1984 See the latest Special Offers for Avid Media Composer and Media Composer Ultimate Learn Avid for free with Media Composer | First Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editor, Kristan Sprague Judas and the Black Messiah editor, Kristan Sprague wasn't exactly unfamiliar with director Shaka King going into this project. The two had been friends all the way back to their teen years growing up in New York City. And while their new film is not the first time the two have worked together, there's no question it's the project that made a name for both of them while drawing critical acclaim and award nominations. Judas and The Black Messiah tells the story of Fred Hampton (Daniel Kaluuya), the chairman of the Illinois chapter of the Black Panther Party in late-1960s Chicago and how he was betrayed by small time crook turned FBI informant, William O'Neal (Lakeith Stanfield). Editing Judas and the Black Messiah In our discussion with Judas and the Black Messiah editor, Kristan Sprague we talk about: The early days with director Shaka King and the film school experience How an actor's mistake can be utilized as a character's mistake Figuring out how to set the historical context while keeping up the pace Who is the protagonist vs who is the antagonist in the movie Utilizing documentary and recreated footage of Bill O'Neal to open and close the film The Credits Visit ExtremeMusic for all your production audio needs See the latest Special Offers for Avid Media Composer and Media Composer Ultimate Learn Avid for free with Media Composer | First Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editors - Tim Roche, Zene Baker ACE, Nona Khodai ACE WandaVision editors; Tim Roche, Zene Baker ACE and Nona Khodai ACE joined forces to wield their super editing powers on Marvel Studio's first series for Disney+. Set three weeks after the events of Avengers: Endgame, the show centers around the MCU characters Wanda Maximoff and Vision, living an idyllic suburban life in the town of Westview, New Jersey, while also trying to conceal their true identity as super heroes. Where the series departs from the more traditional super hero tropes, is that most episodes are developed in the style of iconic tv sitcoms from the 1960's and up into the 21st century. ZENE BAKER ACE Of the three, Zene was already familiar with the MCU, having cut Thor: Ragnarok as well as other films in the action and comedy genres such as Men In Black: International and This is The End. NONA KHODAI ACE Editor, Nona Khodai ACE makes her triumphant return to The Rough Cut! While she may be new to the MCU, she's no stranger to tv series about super heroes. Nona also worked on Seasons 1 and 2 of Amazon Studios, The Boys. TIM ROCHE Tim Roche is not only new to Marvel, but to the super hero genre as well. Prior to WandaVision, Tim honed his editorial skills in the field of comedy tv, having cut such shows as Curb Your Enthusiasm and It's Always Sunny in Philadelphia, having just been nominated for a 2020 ACE Eddie award for his work on the former. Editing WandaVision In our discussion with WandaVision editors; Tim Roche, Zene Baker ACE and Nona Khodai ACE, we talk about: How editing a multi-camera "in studio" episode compares to a single camera episode The contrast of working on a Marvel series vs working on a Marvel feature film Manipulating aspect ratios between different scenes and times in the series Overcoming "Drunken Mouse Syndrome" How the pandemic and the shift to remote editing affected their work The Credits Visit ExtremeMusic for all your production audio needs Hear Nona Khodai's interview for Amazon Studios' The Boys Check out the Avengers: End Game podcast with Jeff Ford and Robin Buday See the latest Special Offers for Avid Media Composer and Media Composer Ultimate Learn Avid for free with Media Composer | First Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editor, Doc Crotzer ACE Chaos Walking editor, Doc Crotzer ACE would be the first to tell you that most of the time when you're working on a movie or tv show, you're trying to remove noise; audible noise, visual noise, story noise. But in his new film with director Doug Liman, Doc and his team worked very hard to add it in. Why would they do that? Because the noise in Chaos Walking is the outwardly expressed thoughts of the characters. It's literally their thoughts in words and images that float around their heads, for everyone else to see and hear. Think about what that would be like to convey in editing. You have the spoken words in production audio and ADR. Then you have the characters true thoughts in a voice over that's happening a few beats after the spoken words. Then you have this purple cloud of visual imagery that ebbs and flows depending on how strongly they feel about something, all the way up into actual images representing their thoughts. That's a lot of work and a lot of timing and a lot of creative thinking, and Doc tells us all about how he and his crew "brought the noise" to Chaos Walking. Editing Chaos Walking In our discussion with Chaos Walking editor, Doc Crotzer ACE we talk about: Using ScriptSync to quiet "the noise" Why such a large post team was assembled for this film The challenge of editing a film over several years What makes a good assistant The Credits Visit ExtremeMusic for all your production audio needs Listen to the Little Fires Everywhere podcast with Doc's former assistant editor, Amelia Allwarden See the latest Special Offers for Avid Media Composer and Media Composer Ultimate Learn Avid for free with Media Composer | First Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editor, Jeff Groth ACE Cherry editor, Jeff Groth ACE had a tough act of his own to follow, coming off of his ACE Eddie and Oscar nominated work on Todd Phillips' Joker, but follow it he did with his old friends, directors Joe and Anthony Russo. The Russo brothers turned to Jeff for his editorial expertise in adapting Nico Walker's 2018 novel of the same name into a cinematic experience both stylized and surreal. Starring Tom Holland (Cherry) and Ciara Bravo (Emily), the film follows a veteran Army medic with PTSD who resorts to robbing banks to support his opioid addiction. We first met Jeff when he had just finished cutting Todd Phillip's critical and audience favorite, Joker. Having worked previously with Philips on such films as The Hangover III and War Dogs, with Joker Jeff not only started making a name for himself as an editor to be recognized, but also proved his mettle as a filmmaker who could deftly craft stories about complex characters and their descent into desperation; a skill that came in quite handy on the dark and delicate aspects of Cherry. Editing Cherry In our discussion with Cherry editor, Jeff Groth ACE we talk about: Helping the Russo's to land their gig with Marvel Studios Why two good speakers is all he needs in the edit suite Getting too close to the action by editing on location The psychology of altering aspect ratios during the film The Credits Visit ExtremeMusic for all your production audio needs Listen to the original Joker podcast with editor, Jeff Groth ACE See the latest Special Offers for Avid Media Composer and Media Composer Ultimate Learn Avid for free with Media Composer | First Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Filmmaker, Chloe Zhao Nomadland filmmaker Chloe Zhao is as "indie" as it gets, but she may not be able to hold onto that title much longer considering that she just finished directing the new Marvel film Eternals, due out in November 2021. But for now let's keep our attention on her indie cred and how she started turning heads in the film world. We'll start with her debut feature, Songs My Brothers Taught Me. She wrote, directed and co-edited this one, as well as having co-produced it with Forest Whitaker. The film was accepted and lauded at both the Sundance and Cannes film festivals. Her next film, The Rider, was also a highly acclaimed picture about a Lakota cowboy named Brady. The film was made with non-professional actors on the Pine Ridge Indian Reservation. Although this film also made it to Cannes, what is most significant is the use of non-professional actors. The reason being that, with a couple of exceptions in the lead roles, Chloe does the same thing with Nomadland. And it really has an impact on the feel of the movie in a good and very necessary way. If you look at the credits on IMDB, you'll see character names such as; Swanky, Patty, Doug, Angela, Carl…and then when you look over to see the names of the "actors" who played them…you see the exact same names. As I mentioned, there are two big exceptions to the "non actor" aspect. Frances McDormand plays "Fern" and David Strathairn plays, you guessed it..."Dave". The film is based on the 2017 non-fiction book Nomadland: Surviving America in the Twenty-First Century by Jessica Bruder, and is about a woman who leaves her small town to travel around the American West. Of course it's about a lot more than that, but you should definitely give the film a look to fill in the rest of the blanks for yourself. Editing Nomadland In our discussion with Nomadland filmmaker Chloe Zhao we talk about: The influence of Manga and comic books on her style and love of editing Whether or not editors should be on location and on set How she takes inspiration from director Wong Kar-wai Abandoning the two-shot How her nomad-like editorial setup has evolved The Credits Visit ExtremeMusic for all your production audio needs Get to know the American Cinema Editors See the latest Special Offers for Avid Media Composer and Media Composer Ultimate Learn Avid for free with Media Composer | First Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editor, Harry Yoon ACE Minari editor, Harry Yoon ACE joins The Rough Cut to tell us about cutting this amazing movie from Korean American writer and director, Lee Isaac Chung. Minari is a semi-autobiographical take on Chung's upbringing and tells the story a family of South Korean immigrants who try to make it in rural America during the 1980s. Jacob Yi, the father played by Steven Yeun, dreams of a better life for himself and his family than just working as a chicken sexer, so he moves his wife and two young children from California to Arkansas to make that dream a reality. As you would imagine, they face a few challenges following that dream and those challenges and how the Yi family meets them, is what makes the film so captivating. On top of that, the performances across the board are just fantastic. Minari had its world premiere at the 2020 Sundance Film Festival, winning both the U.S. Dramatic Grand Jury Prize and the U.S. Dramatic Audience Award. Not only that It was named one of the ten best films of 2020 by the American Film Institute and the National Board of Review. Not too shabby. We first caught up with Harry when he was working alongside editor Tom Cross on the Damien Chazelle film, First Man. It was obvious then that Harry was someone to watch and there were big moments ahead for him. Minari is, without question, a big moment for Harry. Editing Minari In our discussion with Minari editor, Harry Yoon ACE we talk about: Getting ready for Sundance and the experience of having a hit film there Editing a film largely spoken in Korean, but working with a script written in English His working relationship with writer/director Lee Isaac Chung Operating under a tight budget but on a film you believe in The freedom great performances give you to stay with wide shots The Credits Visit ExtremeMusic for all your production audio needs See the latest Special Offers for Avid Media Composer and Media Composer Ultimate Learn Avid for free with Media Composer | First Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editor, Fred Thoraval Promising Young Woman editor, Fred Thoraval could make a claim to knowing a thing or two about editing movies about revenge. Taking a quick glance at his IMDB page not only reveals revenge tales like Unforgettable and Peppermint, but also the Liam Neeson classic...Taken. But in talking to Fred we meet an editor who readily embraces all kinds of storytelling; which comes in handy with Promising Young Woman as that film gracefully blends multiple genres at once. Editing Promising Young Woman In our discussion with Promising Young Woman editor, Fred Thoraval we talk about: Building the movie around a music playlist from director Emerald Fennell Balancing the tonal shifts between mystery, horror and romantic comedy The differences between men and women directors Literally slowing down time to slow down time The Credits Visit ExtremeMusic for all your production audio needs See the latest Special Offers for Avid Media Composer and Media Composer Ultimate Learn Avid for free with Media Composer | First Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editor, Tariq Anwar One Night in Miami editor, Tariq Anwar has a career that spans over fifty years and features such memorable films as American Beauty and The King's Speech. For his latest movie, Tariq collaborated with actor and first time director Regina King to turn Kemp Powers' play into a critically acclaimed film that's currently streaming on Amazon Prime Video. With such an extensive resume, it should come as no surprise that this isn't even the first time Tariq has worked with a director who is also an actor. During the podcast Tariq recounts his time working with Robert DeNiro on The Good Shepherd. Despite being such a celebrated and formidable actor, DeNiro proved to be a humble and collaborative director who even followed Tariq's advice for reshooting a scene because the actor's eye line was off. Editing One Night in Miami In our discussion with One Night in Miami editor, Tariq Anwar we talk about: Convincing Director, Regina King to let him do temp music The skills and processes from cutting film that still hold up in the digital world Blocking scenes in tight spaces so that the editor always has something to work with The importance of an editor being uninhibited and working without fear Building smooth transitions between scenes His low success rate in job interviews The Credits Visit ExtremeMusic for all your production audio needs See the latest Special Offers for Avid Media Composer and Media Composer Ultimate Learn Avid for free with Media Composer | First Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editor - Mikkel E.G. Nielsen, Supervising Sound Editor - Nicolas Becker Sound of Metal editor Mikkel E.G. Nielsen and Supervising Sound Editor Nicolas Becker took the aspects of collaboration between picture and sound to new levels for director Darius Marder's narrative feature debut. Despite being a scripted film, the movie has a strong documentary style and an innovative approach to immersing the audience into the experience of a man coming to grips with the loss of his hearing. Debuting at the 2019 Toronto International Film Festival (TIFF), Sound of Metal has been winning over critics and audiences with this "radically organic" approach to storytelling. The film is currently available to watch on Amazon Prime Video. Editor Mikkel Nielsen was brought up on Danish documentary films and had previously made a name for himself on such projects as Beasts of No Nation. For Sound of Metal, he implored director Darius Marder to give him some room to do an assembly of the film near the end of production without distraction or interruption. Meanwhile, Supervising Sound Editor Nicolas Becker, who had previous experience working with the sound of silence on the film, Gravity, jumped right in on production; capturing and developing the sounds that would create the world of drummer Ruben Stone's decaying hearing and define the Sound of Metal. Making Sound of Metal In our discussion with Sound of Metal editor Mikkel E.G. Nielsen and Supervising Sound Editor Nicolas Becker we talk about: Waiting until late in production to start an assembly cut Creating a visual and auditory language for a film Manipulating sound to awaken the senses of the audience Working in stereo to stay portable and show that less is more Shooting on film to "up the game" of the cast and crew The Credits Visit ExtremeMusic for all your production audio needs See the latest Special Offers for Avid Media Composer and Media Composer Ultimate Learn Avid for free with Media Composer | First Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editors - Craig Alpert ACE, James Thomas, Michael Giambra Borat - Subsequent Moviefilm editors; Craig Alpert ACE, James Thomas and Mike Giambra drop in on this episode of The Rough Cut to talk about bringing Sacha Baron Cohen's most notorious character back in 2020. Although Cohen had stated he was retiring his Borat character back in 2007, largely due to the fact that everybody now knows who Borat is and that it would be difficult to pull off the same feat he accomplished in the original film, current geopolitical events dictated that the world needed Borat once again. The main question is, how do you make this film happen in secret AND during a global pandemic? For one thing, you start with three talented and experienced editors; ones who are both familiar with Sacha and his storytelling sensibilities, but who also have a proven track record in comedic filmmaking. Craig Alpert ACE not only logged some hours on the original "Borat" movie, but also has films such as Knocked Up, Pineapple Express and Deadpool 2 under his belt. Editor James Thomas goes all the way back with Sacha to the classic British comedy series, The 11 O'Clock Show, where characters like Borat and Ali G were born, and James would continue to be a mainstay on Sacha's work from them on. Rounding out the team, Michael Giambra brought his formidable editorial skills in comedy and docu-style storytelling from his experiences on Nathan For You, The Eric Andre Show, Kroll Show and Baskets. Editing Borat - Subsequent Moviefilm In our discussion with Borat - Subsequent Moviefilm editors; Craig Alpert ACE, James Thomas and Mike Giambra, we talk about: When then idea for bring Borat back came about and working in secrecy Closing the cutting rooms and their methods for going remote in the pandemic How the story of the film evolved alongside politics and the pandemic Balancing the workload amongst multiple editors How crucial transcriptions are for finding footage Cutting docu-style "man on the street" scenes vs scripted The benefit of doing old school "KEM" string outs Having fun temping Borat's voice The Credits Visit ExtremeMusic for all your production audio needs See the latest Special Offers for Avid Media Composer and Media Composer Ultimate Learn Avid for free with Media Composer | First Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editor, William Goldenberg ACE News of the World editor, William Goldenberg ACE ("Billy" to his friends), joins The Rough Cut to discuss his new film with director Paul Greengrass. News of the World is the second film Billy has done with Paul, their first being the film 22 July. Based on a book of the same name by author Paulette Jiles, News of the World follows Captain Jefferson Kidd (played by Tom Hanks), a Civil War veteran who now makes a living traveling the American south reading newspapers to townsfolk for ten cents a head. During his travels, Kidd finds a young girl who was captured by a Native American tribe as an infant and takes it upon himself to return her to her last remaining family. A highly accomplished editor, Billy has been nominated for an OSCAR® a total of five times; The Insider, Seabiscuit, The Imitation Game, Zero Dark Thirty and Argo. The latter two nominations came on the same year, with Billy ultimately winning for Argo, directed by Ben Affleck. The two also worked together on Live By Night and Gone Baby Gone. Editing News of the World In our discussion with News of the World editor William Goldenberg ACE, we talk about: Working with different assistants in different locations How to change the audience's alignment with the characters through editing How to create character arcs while cutting action scenes Why everyone just wants to hear about his time on The Breakfast Club Learning at the hands of editing legends, Dede Allen and Michael Khan Memories of working with comedian-turned-director Richard Pryor on his autobiographical film The Credits Visit ExtremeMusic for all your production audio needs See the latest Special Offers for Avid Media Composer and Media Composer Ultimate Learn Avid for free with Media Composer | First Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editor, Richard Pearson ACE Wonder Woman 1984 editor, Richard Pearson ACE checks in on this episode of The Rough Cut to share his experience cutting Patty Jenkins' new super hero blockbuster. Rick's no stranger to the DC Extended Universe or the Marvel Cinematic Universe either for that matter. Rick co-edited the much discussed Justice League and also cut Iron Man 2 alongside Rough Cut "three-timer" Dan Lebental. Rick also has plenty of experience doing sequels with other big franchises, cutting Men In Black 2, Quantum of Solace and The Bourne Supremacy. His name can also be found on monster movies like, Godzilla: King of Monsters and Kong: Skull Island. In 2007 he was nominated for an OSCAR® for his work on United 93, so you know he can deliver the goods with historical dramas. And if it's comedy you're after, he's got those too, with his very first feature being Bowfinger, directed by Frank Oz, written by and starring Steve Martin and co-starring Eddie Murphy. Rick is currently working at home (in his adult son's old bedroom) on his next feature. Editing Wonder Woman 1984 In our discussion with Wonder Woman 1984 editor Richard Pearson ACE, we talk about: His collaborative process with directory Patty Jenkins and her "hands off" approach during production Having two opening sequences for the film His system for maintaining multiple sequence versions and doing "beauty contests" Playing in the visual effects sandbox to create storytelling beats Having different assistants in different locations The benefits of an editor visiting the set The Credits Visit ExtremeMusic for all your production audio needs See the latest Special Offers for Avid Media Composer Learn Avid for free with Media Composer | First Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editor, Stephen Mirrione ACE The Midnight Sky editor, Stephen Mirrione ACE has spent the past twenty-five years building an impressive body of work. Unlike many editors who begin their journey into post production as assistants, Stephen made a name for himself right away as an editor in the indie film world. His work with directors Doug Liman (Getting in, Swingers, Go) and Jill Sprecher (Clockwatchers, Thirteen Conversations About One Thing) quickly established Stephen as a creative force to be reckoned with in the editing room. Soon after Stephen would meet a director who would have a significant impact on Mr. Mirrione's career...Steven Soderbergh. Their time together would begin with the film Traffic. This would not only be the first of Stephen's three Oscar nominations, but also his first Oscar win. Following Traffic, Stephen would take on the duties of editing Soderbergh's "Ocean's" films, starring an actor that would eventually become a prominent director in his own right, George Clooney. When Clooney began looking for an editor for his first project, Confessions of a Dangerous Mind, Soderbergh recommended Mirrione. The creative partnership between Clooney and Mirrione currently spans over eighteen years and encompasses seven feature films, culminating with their latest effort, The Midnight Sky. Not one to rest on his laurels too long, over that same time period Mirrione would also edit five of Alejandro G. Iñárritu's films (21 Grams, Babel, Biutiful, Birdman or (The Unexpected Virtue of Ignorance) and The Revenant). Editing The Midnight Sky In our discussion with The Midnight Sky editor Stephen Mirrione ACE, we talk about: How Stephen's collaborative workflow with George Clooney has evolved over the past eighteen years Knowing how and when to offer objective opinions Putting together the tools and the team for a film The challenge of screenings and reshoots in a "pandemic post" workflow Balancing the pacing of films featuring lots of quiet moments The Credits Visit ExtremeMusic for all your production audio needs Hear from Stephen's assistant editors, Patrick J Smith and Chelsea Dinsdale See the latest Special Offers for Avid Media Composer Learn Avid for free with Media Composer | First Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Hillbilly Elegy editor James Wilcox, ACE joins the Rough Cut to talk about cutting Ron Howard's new film. James first collaborated with Howard on the series, Genius, and received an ACE Eddie award for his work on the episode, "Einstein - Chapter 1". Unlike most feature editors who started their journey in post as an assistant, James actually started out as an editor, but working in news and sports. This experience proved invaluable to him later in his career when he started cutting scripted shows and features. The Crew James D. Wilcox, ACE - Genius "Einstein - Episode 1", Hawaii 5-0, CSI - Miami, My Wife and Kids The Coverage Using the book as a reference for adding voice over How editing news can help you with cutting scripted features Acting classes for editors The different approaches to editing film vs tv Falling in and out of love with temp mixes Modulating masterful performances The Credits Visit ExtremeMusic for all your production audio needs See the latest Special Offers for Avid Media Composer Learn Avid for free with Media Composer | First Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

In this episode of The Rough Cut, we debut the first in our series of podcasts celebrating the all too often unsung heroes of post production, the assistants! Assistant editing in film and television can be a demanding, but crucial first step in an editor's journey. On hand are three very talented and experienced assistants who share their insights, advice and experiences from the cutting room. The Crew Patrick J. Smith - Top Gun: Maverick, The Revenant, Zero Dark Thirty Anna Terebelo - Marvel's Agents of S.H.I.E.L.D., Helstrom, Grace and Frankie Chelsea Dinsdale - Borat Subsequent Moviefilm, Ocean's Eight, Suburbicon The Coverage The pros and cons of film school The importance, or not, of a reel Tools and techniques you need to know as an assistant Union regulations and the importance of good negotiating skills Walking the line between competition and collaboration Favorite moments from their time in film and tv post The Credits Visit ExtremeMusic for all your production audio needs See the latest Special Offers for Avid Media Composer Learn Avid for free with Media Composer | First Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

As one of the most revered series in television history, it should come as no surprise the the post team from Breaking Bad would know a thing or two about "breaking in" to the industry. And not just breaking in, but staying in and staying at the top of your game. Presented by Avid as a live Zoom webinar, editors Kelley Dixon ACE and Chris McCaleb ACE along with sound supervisor Kathryn Madsen entertained and informed a worldwide audience with their collective thoughts, experiences and insights. BIOS Kelley has spent the last thirteen years editing Breaking Bad, Better Call Saul, The Walking Dead, Preacher, HBO's Luck, and Shameless, among others. She cut her first feature The Goldfinch in 2018. She has won 1 Emmy for Breaking Bad and has received 9 Emmy nominations and 7 ACE nominations for her work. Chris McCaleb has been editing TV series like Better Call Saul, Halt and Catch Fire, Fear the Walking Dead, Patriot, Lodge 49 and Narcos since 2014. He has received three Emmy and three ACE nominations for Better Call Saul and Breaking Bad. Kathryn began her career in sound as an assistant editor. She soon moved up to ADR Supervisor and then to Sound Supervisor. Her favorite gigs have been the TV series Breaking Bad and Better Call Saul, and the film Hell or High Water. In 2013 she was dubbed the "Goddess of Sound" by Aaron Paul and Bryan Cranston Kathryn has been nominated for seven Golden Reel awards, winning in 2020, as well as eight Emmy nominations. During the presentation the team touched on a wide variety of topics including... How important is a demo reel and an agent The impact of being in a union The schedule of a 1hr series Cutting trailers to sharpen your skills The tools they use now vs what they used when they were starting out Avoiding the pigeon holes Visit ExtremeMusic for all your production audio needs Learn Avid editing for free with Media Composer | First Learn Pro Tools for free with Pro Tools | First Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Da 5 Bloods editor, Adam Gough is on this edition of The Rough Cut to talk about his work on Spike Lee's latest film, now streaming on Netflix. For over a decade Adam was sharpening his storytelling skills in the cutting room before getting some much deserved recognition for his work on Alfonso Cuaron's Roma. Not only did it grab him around 20 different award nominations, it also got his phone to start ringing. On one particular occasion it was director Spike Lee on the other end of the line. Apparently the call went well, because Spike signed Adam up for his next project, a film about four African American vets who return to Vietnam in the present day in search of the remains of a fallen comrade and another precious thing they left behind. It's definitely one of Spike Lee's biggest and most ambitious projects and Adam did a fantastic job editing the film. During the podcast, the Da 5 Bloods editor talks about... Working with archival footage to craft the context of the film The visual dynamics of double cuts The surprise vs suspense of walking through minefields Paying homage to films that came before Moving between 5.1 surround sound and stereo while editing What being a technical editor is all about Visit ExtremeMusic for all your production audio needs See the latest Special Offers for Avid Media Composer Learn Avid for free with Media Composer | First Subscribe to Media Composer | Ultimate and get the best Avid has to offer Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

The Trial of the Chicago Seven editor, Alan Baumgarten ACE is on the podcast this week to discuss his new film with writer/director, Aaron Sorkin. This is the second time working together for Alan and Aaron, and since this is also only the second thing that Aaron Sorkin has ever directed, the basic math will tell you that Alan is his "go to" guy. And why not? Aside from doing Aaron's first film, Molly's Game, Alan has proved his mettle on just about every kind of film. Dramas like American Hustle and Trumbo. Comedies like Dodgeball and Meet the Fockers. Superhero action movies like Venom…and of course my personal favorite, which falls into all the above categories, Zombieland. Hey, if you can't see the drama in Zombieland, that's on you. The Trial of the Chicago Seven is a legal courtroom drama, much like the film that launched Aaron Sorkin's writing career, A Few Good Men. But "Chicago Seven" takes on the even more ambitious challenge of detailing an actual historical event, which is the trial of seven men charged with inciting the riots that took place in 1968 at the Democratic National Convention in Chicago. As you would imagine, this is a big story with a big cast and has many details that need to be fleshed out and brought to life in the most engaging way possible. In our discussion with Alan, he talks about: The challenge of setting up the characters and context of the film in the opening prologue sequence Negotiating for who and what you need in the cutting room The effect of the pandemic on finishing the film from the director's cut onward What he looks for in an assistant Visit ExtremeMusic for all your production audio needs See the latest Special Offers for Avid Media Composer Try Media Composer | Ultimate for free Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Ted Lasso editors, Melissa McCoy and AJ Catoline join this episode of The Rough Cut podcast to tell us about what goes on in the cutting room to make the magic from the locker room. Ted Lasso is an AppleTV+ series developed by Jason Sudeikis, Bill Lawrence, Joe Kelly and Brendan Hunt, based on a character of the same name that Sudeikis first portrayed in a series of promos for NBC Sports' coverage of the The English Premier League. The premise is that American college football coach Ted Lasso is recruited to coach an English Premier League team, AFC Richmond, despite having no experience in English football. So, to overly simplify the whole thing, it's a fish out of water series. More aptly put, it's a goldfish out of water series. That's a little joke you'd get if you watched the series. And if you don't, you really should. Maybe it's a case of the right show at the right time, but Ted Lasso and his relentless optimism could not have come along at a better time. AJ and Melissa talk to us about: Zooming with Coach Lasso How reality TV experience comes into play for improv The challenge of cutting sports in a scripted comedy plus, breaking down key scenes from the series Visit ExtremeMusic for all your production audio needs Go Behind The Scenes of Ted Lasso with a "Timeline Tour" on YouTube See the latest Special Offers for Avid Media Composer Learn Avid for free with Media Composer | First Subscribe to Media Composer | Ultimate and get the best Avid has to offer Subscribe to The Rough Cut podcast and never miss an episode

The Queen's Gambit editor Michelle Tesoro ACE (House of Cards, When They See Us) first collaborated with writer/director Scott Frank in 2017 for his series, Godless. In fact, The Queen's Gambit also reunites Michelle with fellow Godless alums Wylie Stateman (sound designer) and Steven Meizler (cinematographer). The fusion of their collective talents has resulted in a critically acclaimed series that stormed its way into the Top 10 on Netflix. The Queen's Gambit is adapted from the Walter Tevis novel of the same name, released back in 1983. It follows the journey of Beth Harmon, a young girl who was orphaned at the tender age of nine. While awaiting adoption at the orphanage, she develops a passion for chess and an addiction to tranquilizers; both tapping into an inner genius that propelled her into the world of competitive chess as a teen and then young adult. Thanks in large part to Michelle's graceful sense of storytelling, this drama unfolds with brilliantly balanced pacing, while maximizing Frank's fantastic writing and a career making performance from actor, Anya Taylor-Joy. In this episode of The Rough Cut, Michelle talks with us about: compressing time while keeping the emotional beats developing discrete visual styles for the different chess matches cutting dialogue that's purposefully hard to hear working within a "oner" Visit ExtremeMusic for all your production audio needs See Michelle's guided Timeline Tour on YouTube See the latest Special Offers for Avid Media Composer Learn Avid for free with Media Composer | First Subscribe to Media Composer | Ultimate and get the best Avid has to offer Subscribe to The Rough Cut podcast and never miss an episode

Inbal B. Lessner, ACE, is an Emmy®- and Eddie-nominated editor and producer. On her latest project, "Seduced: Inside the NXIVM Cult"—which she co-created with her filmmaking partner, director Cecilia Peck—she takes on the roles of lead editor, writer and executive producer. This four-part documentary series, premiering on STARZ, follows one young woman's perilous journey through the dark and criminal world of NXIVM, the notorious self-help group turned sex-slave cult. Lessner and Peck's last collaboration was the Emmy®-nominated feature documentary Brave Miss World, which debuted on Netflix in 2014. It is the story of an Israeli beauty queen who was raped seven weeks prior to her winning the Miss World pageant and her crusade to reach out to fellow survivors while trying to keep her own rapist behind bars. In 2019, Lessner edited and coproduced "The Movies" ("The Golden Age" episode), executive produced by Tom Hanks, Gary Goetzman and Mark Herzog. This was the latest in her four-year-long collaboration with the team that produced CNN's Emmy®-nominated "Decades" series. She has edited seven episodes in the series, and she was nominated for an ACE Editing Award for "The Nineties" episode "Can We All Get Along?" Lessner's editing credits include ReMastered: The Two Killings of Sam Cooke (Netflix Original, Dir. Kelly Duane), which was nominated for an Outstanding Documentary NAACP Image Award, as well as Autism: The Sequel (HBO, Dir. Tricia Regan), a follow-up to the Emmy®-winning Autism: The Musical (2007). She edited and coproduced the internationally acclaimed, award-winning I Have Never Forgotten You, a documentary about Nazi-hunter Simon Wiesenthal. She also directed the docudrama Night Bites, and she was second-unit producer on the HBO/ARTE documentary Watermarks. Over the course of her career, Lessner has worked in the cutting rooms of directors such as Davis Guggenheim (Teach), R.J. Cutler ("American Candidate"), Kief Davidson and Daniel Junge (A Lego Brickumentary), Jeremy Simmons ("Transgeneration"), Tracy Droz Tragos (Be Good, Smile Pretty) and Natalie Portman (A Tale of Love and Darkness). Lessner began making films when she was in high school and later produced training films for the Israel Defense Forces. At NYU, she was the recipient of the prestigious, merit-based WTC Johnson Fellowship, which is awarded to one student filmmaker a year. Since moving to Los Angeles, she has edited hundreds of hours of non-scripted network and cable television shows. She was also a visiting professor at UNCSA Filmmaking School and a mentor in the Karen Schmeer Diversity in the Edit Room Program. Visit ExtremeMusic for all your production audio needs See the latest Special Offers for Avid Media Composer Learn Avid for free with Media Composer | First Subscribe to Media Composer | Ultimate and get the best Avid has to offer Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube