Editors - Jason Ballantine ACE and Paul Machliss ACE While THE FLASH editors Jason Ballantine ACE and Paul Machliss ACE* both hail from Australia, this latest entry in the DCEU would be their first time meeting one another.  Both editors have been advancing their careers away from their homeland for quite some time.  Jason has worked in LA for the past ten years, while Paul has been in London for the last twenty.  The director who would be responsible for bringing these two together is Andy Muschietti, Jason's director for IT (2017) and IT CHAPTER TWO (2019).  The two editors split editing duties pretty much down the middle for THE FLASH, each taking five of the film's ten reels.  One thing that did separate them for much of the film's development was geography.  While Jason was holding down the fort at Warner Brothers Studios in LA, Paul was on location in the UK for seven months, assembling main unit footage with Muschietti.  Following production, Machliss would join Jason in LA for six additional months of editing.  And it would be six more months before Ballantine would put the final touches on the highly anticipated "metahuman" movie. Based on the DC Comics character of the same name, THE FLASH is the thirteenth installment in the DC Extended Universe (DCEU). The film is directed by Andy Muschietti from a screenplay by Christina Hodson and stars Ezra Miller as Barry Allen (The Flash) alongside Ben Affleck, Michael Keaton, Sasha Calle, Michael Shannon, Ron Livingston and Maribel Verdú.  In the film, Barry travels back in time to prevent his mother's death, which traps him in an alternate reality without metahumans. Barry enlists the help of; his younger self, an older Batman and the Kryptonian castaway Supergirl in order to save this world from General Zod and return to his universe. JASON BALLANTINE ACE Jason Ballantine began his editing career in the horror genre (one which he would return to often) with the Australian thriller WOLF CREEK (2005).  From there he would edit other fright flicks, such as PROM NIGHT (2008), CRUSH (2009) and NEEDLE (2010).  But it would be his work on director Andy Muschietti's adaptation of Stephen King's IT (2017) and IT: CHAPTER TWO (2019) that would put an exclamation point on Jason's work in the horror medium.  Jason has also previously teamed up with directors Baz Luhrmann and Matthew Vaughn for THE GREAT GATSBY (2013) and THE KING'S MAN (2021) respectively. PAUL MACHLISS ACE While known most prominently for his work with Edgar Wright; SPACED (1999-2001), SCOTT PILGRIM VS THE WORLD (2010), THE WORLD'S END (2013), BABY DRIVER (2017) and LAST NIGHT IN SOHO (2021), Paul also edited; the pilot episode of FLEABAG (2016), eighteen episodes of THE IT CROWD (2006-2008) and films such as THE KID WHO WOULD BE KING (2019) and THE GENTLEMEN (2019).  For his work on BABY DRIVER, Paul was nominated for an Oscar® alongside co-editor John Amos. * [Publisher's Note] The guests wish to express their regret and apologies for using he/him pronouns in referencing Ezra Miller (they/them). No disrespect was intended toward Ezra or anyone else.  This oversight should be attributed to all of the following conditions: jet lag, old age, and recording this interview way too early on a Sunday morning.  Thanks for your understanding. Editing The Flash In our discussion with THE FLASH editors, Jason Ballantine ACE and Paul Machliss ACE, we talk about: Turning up the volume capture way past eleven Taking techniques from Baby Driver to a Baby Shower Sounds that shouldn't be heard, but still be felt Editors having The Knack for needle drops...until they don't Scoring points off Zack Snyder and Danny Elfman The Credits Visit ExtremeMusic for all your production audio needs Hear Jason Ballantine talk about IT Chapter 2 and The Guilty Listen to Paul Machliss talk about Baby Driver and Last Night in Soho 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 - Franky Guttman and Ali Greer ACE While BARRY editors Franky Guttman and Ali Greer ACE worked independently on their own episodes of the series (the finale being the lone exception), the pair worked closely with one another and Bill Hader to review and refine each episode.  This was a process the two not only enjoyed, but credit for helping the show to maintain its high quality throughout. BARRY follows Barry Berkman, a U.S. Marine and Afghanistan veteran from Cleveland, who works as a hitman and wrestles with loneliness, depression, and guilt caused by his lifestyle as well as his actions during his service. He travels to Los Angeles to kill a target and finds a new sense of purpose when he follows his target into an acting class. After joining the class and making plans to become an actor, using his newfound passion as an outlet for his anxiety, he struggles to distance himself from his old life and keep his past a secret from new friends and colleagues. FRANKY GUTTMAN Having joined the series in Season One as an assistant editor, working closely with editor Jeff Buchanan, Guttman laid his cards on the table with showrunners Alec Berg and Bill Hader after Season Two, declaring his desire to take on lead editorial duties for the show.  The gambit not only worked, but resulted in an ACE Eddie and HPA award nomination for his work on that season's sixth episode (710N).  In addition to his work on BARRY, Franky is also known for Swarm (2023) and Kidding (2018). ALI GREER ACE Aside from her Emmy® win in 2021 for her work on BARRY in Season Three, Ali was twice nominated for an ACE Eddie award for her work on the series, Portlandia.  Ali also received an Eddie nom for the same episode of BARRY which brought her the Emmy®.  In fact, Ali's editorial career is highlighted by several standout series in the comedy genre.  Ali's time as an assistant editor was punctuated with stints 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), Schmigadoon! (2021) and Hacks (2021), for which she received her first Emmy® nomination. Editing Barry In our discussion with the BARRY editing team of Franky Guttman and Ali Greer ACE, we talk about: Giving the audience "2+2" instead of giving them "4" Being an editor at night and the "king security guard" by day Bringing an improv mentality into the cutting room The incomparable sweatiness of Fred Armisen How to make sure both editors tell the same story The Credits Visit ExtremeMusic for all your production audio needs Check out the free trial of Media Composer | Ultimate Hear from Ali Greer ACE and the rest of the editing team from Hacks Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editors - Melissa McCoy, ACE and A.J. Catoline, ACE Ted Lasso editors, Melissa McCoy and A.J. Catoline re-join this episode of The Rough Cut podcast to tell us about what goes on in the cutting room to make all 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. MELISSA McCOY ACE Michigan native, Melissa McCoy is an editor and producer, known for Ted Lasso (2020), Rush Hour (2016) and Whiskey Cavalier (2019).  Melissa won an ACE Eddie for her work on Ted Lasso in 2021. A.J. CATOLINE, ACE Emmy-winning editor, A.J. Catoline is a graduate of NYU's Tisch School of the Arts and USC's Master of Professional Writing Program, and a Board Member of the Motion Picture Editors Guild, Local 700 IATSE. He is a picture editor working in television and documentary film in Los Angeles. He attended the American School in Paris and grew up in Falmouth, Cape Cod, Massachusetts. Editing Ted Lasso - Season 3 In our discussion with Ted Lasso editors, Melissa and A.J., we talk about: Not doing the notes, just making them disappear VFX for football teams that don't have any balls The way Sudeikis lays his cards out on the table Making a mega montage One last look back on Lasso The Credits Visit Extreme Music for all your production audio needs Check out what's new with Avid Media Composer See Melissa and A.J.'s Timeline Tour from Season One Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube  

Editors - Timothy A. Good, ACE and Emily Mendez THE LAST OF US editors Tim Good, ACE and Emily Mendez are the perfect example of mentoring in action.  Paying forward the mentoring he received from editor Norman Buckley, ACE, Tim has always looked for ways he could elevate assistants into the first chair.  Building on her work with Tim on THE UMBRELLA ACADEMY, Emily was more than ready to grab the editorial reins when the time came for THE LAST OF US. THE LAST OF US is set in 2023, twenty years into a pandemic caused by a mass fungal infection which causes its hosts to transform into zombie-like creatures and collapses society.  The series follows Joel (Pedro Pascal), a smuggler tasked with escorting an immune teenager named Ellie (Bella Ramsey) across a post-apocalyptic United States.  The creative force behind the video game on which the series is based is Neil Druckmann.  One of the game’s legion of fans was writer / director Craig Mazin (Chernobyl). The two would go on to successfully pitch HBO on the concept of adapting the game into a series. TIMOTHY GOOD ACE In addition to THE LAST OF US, Tim is known as both an editor and producer for his work on such shows as The Umbrella Academy (2019) and Fringe (2008). EMILY MENDEZ Emily Mendez is known for The Umbrella Academy (2019), The Resident (2018) and Light as a Feather (2018). Editing The Last of Us In our discussion with The Last of Us editors, Tim and Emily, we talk about: How to SUCCESSFULLY adapt a video game into a series Sound design...the assistant's advantage When 1 episode + 1 episode = 1 pilot The benefits of bottle episodes Meaningful mentoring The Credits Visit Extreme Music for all your production audio needs Learn about Avid's new Media Composer for Students program Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editors - Craig Hayes, Varun Viswanath ACE, Chris Chandler and Trevor Penna The Blindspotting editing team of Craig Hayes, Varun Viswanath ACE, Chris Chandler and Trevor Penna collectively crafted a show unique in both its structure as well as its visual style.  On the audio side, the show is underscored by a soundtrack that pays homage to the Bay Area roots of Blindspotting creators, Rafael Casal and Daveed Diggs.  Hayes and Viswanath took on the task of cutting Season One, while Chandler and Penna split editorial duties for the sophomore effort. Taking place six months after the events of the film Blindspotting, the tv series begins with Miles, Ashley's partner of 12 years and father of their son, suddenly being incarcerated.  The situation leaves Ashley to navigate a chaotic and humorous existential crisis when she and her son Sean are forced to move in with Miles' mother and half-sister. CRAIG HAYES Craig Hayes has cemented a career as a spirited and versatile editor. He studied film at Ithaca College in New York, which inspired Craig to hone his craft and move forward in his career.  From there, Craig worked as associate editor on Gus Van Sant’s To Die For and M. Night Shyamalan’s Lady in the Water, and as assistant editor for Steven Spielberg’s War of the Worlds and Quentin Tarantino’s Django Unchained.  Craig was also first assistant editor for the award-winning HBO series John Adams.  Craig has recently worked on the critically acclaimed The Hate U Give, directed by George Tillman Jr. as well as being nominated for a best editing award for HBO’s Righteous Gemstones. VARUN VISWANATH ACE Varun is a Film & TV Editor based in Los Angeles, CA. He is a member of the American Cinema Editors and the Motion Pictures Editors Guild, and has an MFA in Film Editing from The American Film Institute Conservatory. His work on What We Do In The Shadows was nominated for Best Edited Comedy Series at the 2021 ACE Eddie awards. CHRIS CHANDLER Blindspotting is Chris’s first full series as an editor. Prior to this series, he was an assistant and co-editor on FX’s Dave, as well as HBO’s Curb Your Enthusiasm, which he refers to as his “master class training in comedy and storytelling.” He received an ACE Eddie nomination for his work co-editing the "Curb" Season 11 finale, “The Mormon Advantage,” alongside one of his mentors, Roger Nygard ACE. TREVOR PENNA Trevor began his postproduction career assisting editor Tim Roche on shows such as Curb Your Enthusiasm and WandaVision. Following those jobs he then took on lead editorial duties for the Apple TV+ series, Mythic Quest. Editing Blindspotting In our discussion with the Blindspotting editing team we talk about: Making magic out of monologues Musical misunderstandings with remote editorial Fluidmorph and Animatte...it's all Fluidmorph and Animatte Nailing the needle drops to honor Oakland artists Cutting choreography The Credits Visit ExtremeMusic for all your production audio needs See what's new with Avid Media Composer Meet the editor of the film Blindspotting, Gabe Fleming Hear Trevor Penna talk about his work on Mythic Quest Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editor - Greg O'Bryant EXTRAPOLATIONS editor, Greg O'Bryant has once again teamed up with writer/director Scott Z. Burns, this time to take on the challenge of creating an entertaining, educational and hopefully motivational series about the future effects of climate change.  Delivered as an anthology series, one of the more daunting tasks for the team would be managing the often dramatic shifts in tone, as well as the delicate balance between drama and, on occasion, comedy. Taking place in the not-too-distant future, but over the span of thirty-three years, EXTRAPOLATIONS shows how the effects of climate change have become embedded into people's everyday lives; through eight interwoven stories that explore the intimate, life-changing choices that must be made when the planet is changing faster than the population. GREG O'BRYANT Greg first began his partnership with Scott Z. Burns on the latter's political drama, THE REPORT (2019).  Greg would also edit an episode of the series, THE LOUDEST VOICE (2019) that Burns helmed.  In addition to his work with Scott Z. Burns, Greg is also a frequent collaborator with show runner, Nick Antosca.  Their partnership first began on CHANNEL ZERO, a SyFy Channel anthology series based on the popular Internet "Creepypastas" Candle Cove, The No-End House and Butcher's Block.  Subsequent projects with Antosca would include Hulu's original series, THE ACT, as well as the Netflix series, BRAND NEW CHERRY FLAVOR.  Greg also edited the tv series, THE GIRLFRIEND EXPERIENCE, adapted from the film by Steven Soderbergh...who directed CONTAGION...written by Scott Z. Burns. Editing Extrapolations In our discussion with EXTRAPOLATIONS editor, Greg O'Bryant, we talk about: Not crossing the streams of comedy and drama The only geography that matters Why you need sixty mice Entertaining and educating for the sake of motivating Learning to love VFX, while still bemoaning blue screen The Credits Visit ExtremeMusic for all your production audio needs Check out the free trial of Media Composer | Ultimate Hear Greg discuss his work on the Netflix series, BRAND NEW CHERRY FLAVOR Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editors - Fred Raskin ACE and Greg D'Auria GUARDIANS OF THE GALAXY: VOL. 3 editors Fred Raskin and Greg D'Auria find themselves in familiar territory; collaborating on a James Gunn project.  But their twenty-year plus relationship dates back much further than their work with Gunn.  The two first collaborated on Tarantino's KILL BILL: VOL. 1 (2003). In James Gunn's final installment of the "Guardians" trilogy, Peter Quill, still reeling from the loss of Gamora, must rally his team to defend the universe and protect one of their own. If the mission is not completely successful, it could possibly lead to the end of the Guardians as we know them. FRED RASKIN ACE Fred has worked with Gunn on all three Guardians of the Galaxy films, as well as the tv series PEACEMAKER and Peacemaker's origin film, THE SUICIDE SQUAD (2021).  In addition to his work with Gunn, another prominent director that Fred is known to cut for is Quentin Tarantino.  Fred handled the editorial duties for DJANGO UNCHAINED (2012), THE HATEFUL EIGHT (2015) and, most recently, ONCE UPON A TIME IN HOLLYWOOD (2019). GREG D'AURIA Editor Greg D'Auria has crossed paths with Fred Raskin on more than one occasion in their careers.  Also a veteran of the "Quentin Tarantino Extended Universe", Greg has worked as assistant and editor on films such as KILL BILL: VOL 1 (2003) and DJANGO UNCHAINED (2012).  D'Auria also lent his editorial talents to films like FAST & FURIOUS 6 (2013), F9: THE FAST SAGA (2021) and the GUARDIANS OF THE GALAXY HOLIDAY SPECIAL (2022). Editing GUARDIANS OF THE GALAXY: VOL. 3 In our discussion with Guardians of the Galaxy Vol 3 editors, Fred and Greg, we talk about: VFX being the tail that wags the...raccoon? Cutting a film without reading the script Bowling for sound effects The family business of temp tracks Final thoughts on the Guardians trilogy The Credits Visit Extreme Music for all your production audio needs Learn about Avid's new Media Composer for Students program Hear Fred and Greg talk about their work on Gunn's PEACEMAKER Listen to Fred and editor Chris Wagner discuss Gunn's THE SUICIDE SQUAD Editor Fred Raskin talks about cutting Quentin Tarantino's ONCE UPON A TIME IN HOLLYWOOD Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editors - Glenn Garland ACE, Bob Ducsay ACE, Paul Swain, Shaheed Qaasim The POKER FACE editing team of Garland, Ducsay, Qaasim and Swain might sound like a formidable name for a law firm, but their real talents lie in making a great "howcatchem" show with noted director and series creator, Rian Johnson. POKER FACE is a murder mystery series stylized as a character-driven, case-of-the-week mystery, with each episode adapting the inverted detective story format popularized by COLUMBO.  The series centers around Charlie Cale, a casino worker with an innate ability to detect lies, traveling across the United States on the run from a casino boss following a suspicious death. Along the way, she encounters colorful characters and solves homicides in a variety of settings. GLENN GARLAND, ACE Accomplished editor Glenn Garland, ACE has over three decades of experience plying his skills on fan favorite tv series such as; STAN AGAINST EVIL, PREACHER and THE VAMPIRE DIARIES, as well as feature films like; HALLOWEEN (2007), KING OF CALIFORNIA and the infamously unreleased THE FANTASTIC FOUR (1994). BOB DUCSAY, ACE Editor Bob Ducsay ACE has forged a tight collaborative bond with director Rian Johnson, going back to their first film, LOOPER (2012).  And although POKER FACE is only their first tv series together, the quality of their feature work has already been recognized by audiences, critics and the industry at large.  The pair were recently honored with the inaugural Variety Creative Collaborators Award at the 10th annual Middleburg Film Festival. PAUL SWAIN Rock drummer turned editor Paul Swain has brought his natural sense of rhythm to such projects as; THE UNICORN, THE EX-PM and THE MOODYS, for which he won an Australian Screen Editors ASE award in 2014. SHAHEED QAASIM Editor by day, swing dancer by night, Shaheed Qaasim's storytelling chops can be seen in shows like; MODERN FAMILY, THE WALKING DEAD: WORLD BEYOND and FUTURE MAN. Editing POKER FACE In our discussion with the POKER FACE editing team, we talk about: Paying homage to 70's procedurals Going from swing dancing to swings in tone Reinventing the audio and visual languages throughout Teaching your audience how to watch the show Holding off on temp score until you really need it The Credits Visit Extreme Music for all your production audio needs Learn about Avid's new Media Composer for Students program Hear Bob's interviews about his work on Rian Johnson's; KNIVES OUT, GLASS ONION and THE LAST JEDI. Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editor - Kristi Shimek INVITATION TO A MURDER editor Kristi Shimek, like the protagonist of her new film, is not afraid of a challenge when it comes to figuring out how to piece a complex story together.  Having already amassed a credit list that is both long and varied, Kristi is equally comfortable cutting a classic whodunnit as she is with a rom-com or a grizzly horror flick.  Part of that comfort may come from feeling at home, quite literally and figuratively, with the her frequent director and full-time husband, Stephen Shimek. Set in 1934, INVITATION TO A MURDER tells the tale of how a reclusive billionaire invites amateur sleuth Miranda Green and five other, seemingly random, strangers to his remote island estate in the south of England.  When one of the guest turns up dead, Miranda must get to the bottom of the malicious plot behind the gathering.  As the weekend progresses, the clues about why they have been invited begin to unfold along with a sinister mystery. Editing INVITATION TO A MURDER In our discussion with INVITATION TO A MURDER editor Kristi Shimek, we talk about: The present and possible future of remote editorial Making room for personal time, even when you're married to the director Leading the audience through a mystery with and without the protagonist Developing the characters without delaying the dynamics What Kristi wishes they would teach in film school The Credits Visit Extreme Music for all your production audio needs See the latest new features in Avid Media Composer Send me your feedback and questions here Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editor - Ryan Folsey RENFIELD editor Ryan Folsey never went to summer camp and never went to film school.  His formative years were spent on the lot at Universal Studios and on location with his father, editor George Folsey Jr. (ANIMAL HOUSE, THE BLUES BROTHERS, COMING TO AMERICA, MICHAEL JACKSON'S THRILLER).  It was there that Ryan learned and fell in love with the craft of editing.  In his professional life, Ryan has applied his craft to films such as; CABIN FEVER (2002), THE LEGO NINJAGO MOVIE (2017), SCOOB! (2020) and THE ADAMS FAMILY 2 (2021). RENFIELD was directed by Chris McKay from a screenplay by Ryan Ridley, and based on an original idea by Robert Kirkman featuring characters from Bram Stoker's 1897 novel Dracula. The film stars Nicholas Hoult as Count Dracula's lackey R. M. Renfield, who finds a new lease on life in modern-day New Orleans when he falls in love with Rebecca Quincy (Awkwafina), a traffic cop, and decides to finally stand up to his creator in hopes of finally breaking free of his servitude.  Editing RENFIELD In our discussion with RENFIELD editor Ryan Folsey, we talk about: Finding the right balance between comedy and horror To explain, or not to explain, the mythology of Dracula Speed ramping up the action Nic Cage and more Nic Cage Getting tossed into a trim bin by the Blues Brothers The Credits Visit Extreme Music for all your production audio needs See the latest new features in Avid Media Composer Send me your feedback and questions here Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube