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