The Rough Cut

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!