A few years ago I quit pursuing production work to concentrate on editing. But I keep getting requests to shoot and direct. So I do. And I still enjoy it. I feel my experience in production is a tremendous benefit when working solely as an editor. It gives me a shorthand in which the director and producer and I can speak. Besides aiding in the discovery process, this proficiency speeds up the job, saving time and money. And who doesn’t want to save time and money?
WEAPON OF CHOICE: FCPX
The bane of many an editor since it's release in 2011, when I finally worked on a project in Final Cut X (the MONSTERS tribute in the previous panel), I was amazed at its speed and organizational abilities.
It's commonly agreed that it was released too soon, but since that time this program has really blossomed, making editing fun again. It has become my go-to EDL.
I utilize plug-ins from iZotope (RX5 Audio Editor), Mocha Pro, CoreMelt (Track X, Slice X, Drive X), Digital Anarchy (Beauty Box, Flicker Free), Color Finale and others.
CLIENTS
NBC, ABC, KCBS/KCAL, KCOP, Canon, Getty Museum, Kaiser-Permanente, USC, Little Pictures, Lilly, Pfizer, Boeing, Wells Fargo, DG Entertainment, Bank of America,
Geena Davis Institute on Gender in the Media, United Way, Los Angeles Unified School District, DCLA, Trifecta, The Smithsonian Institute, Urban Vision, Metamoris,
Lopez Tonight, Childrenʼs Hospital Los Angeles, Desert Communities United Way, c2K, NHK, Urban Music Group.