Editors - Julia Bloch and Taylor Levy BODIES BODIES BODIES editors Julia Bloch and Taylor Levy combined their editorial talents, albeit not always at the same time, to craft a sly and satirical take on the horror genre.  Although the two NYC-based editors had never (really) met before, each had a few "prerequisite" genre films to their credits and that experience served them well in the cozy confines of their shared cutting room. The film's distributor, A24, describes the plot of BODIES BODIES BODIES as such; When a group of rich 20-somethings plan a hurricane party at a remote family mansion, a party game goes awry in this fresh and funny look at backstabbing, fake friends, and one party gone very, very wrong. JULIA BLOCH Julia Bloch has edited such films as; Chaos Walking (2021), His House (2020), Hold the Dark (2018), The Wall (2017), Green Room (2015) and Blue Ruin (2013). TAYLOR LEVY Editor Taylor Levy's work can be seen in; Mona Lisa and the Blood Moon (2021), Prisoners of the Ghostland (2021), Drunk Bus (2020) and Yellow Rose (2019).  He also assisted on the critically-acclaimed film, Manchester-by-the-Sea (2016). Editing BODIES BODIES BODIES In our discussion with the editors of BODIES BODIES BODIES, we talk about: Finding the right tone between comedy, horror and satire Using sound to help the audience with geography Handing off a film from one editor to another The tight-knit filmmaking community of New York City Knowing when a joke or a scare is working The Credits Visit ExtremeMusic for all your production audio needs Download your free trial of Avid Media Composer Ultimate Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editors - Robert Komatsu ACE, Emily E. Greene ACE, Ivan Victor ACE, Jennifer Barbot ACE PAPER GIRLS editors Rob Komatsu and Emily Greene make their triumphant return to THE ROUGH CUT, having previously visited to discuss their work on the FX/HULU series, MRS. AMERICA (2020).  Although Ivan Victor and Jennifer Barbot are joining the podcast for the first time, both editors bring with them a wealth of tv editing experience in documentary/reality, comedy, sci-fi and drama. PAPER GIRLS follows four young girls who, while out delivering papers during the dark morning hours after Halloween in 1988, become unwittingly caught in a conflict between warring factions of time-travelers, sending them on an adventure through time that will save the world. As they travel between time periods, they encounter future versions of themselves and must choose to embrace or reject their fate.  It is based on the 2015–2019 comic book series of the same name written by Brian K. Vaughan and illustrated by Cliff Chiang. ROBERT KOMATSU ACE Editor Rob Komatsu is know for his work on; AMERICAN HORROR STORY (2011), HALT AND CATCH FIRE (2014-17), THE X-FILES (2016-18) and MRS. AMERICA (2020). EMILY E. GREENE ACE The work of editor Emily Greene can be found in; THE BLACKLIST (2015-17), AMERICAN CRIME STORY (2018), MRS. AMERICA (2020) and FOUNDATION (2021). IVAN VICTOR ACE Editor Ivan Victor has edited such tv series as; PARKS AND RECREATION (2009-12), THE GOLDBERGS (2013-14), LODGE 49 (2018-19) and KEVIN CAN F**K HIMSELF (2021). JENNIFER BARBOT ACE Editor Jennifer Barbot's work can be seen in; UGLY BETTY (2007-10), JESSICA JONES (2018), THE MAN IN THE HIGH CASTLE (2019) and RAISED BY WOLVES (2020). Editing PAPER GIRLS In our discussion with the editors of PAPER GIRLS, we talk about: Finding time to explore the characters between the sci-fi set pieces Building a killer robot battle To keyframe or to not keyframe Running ADR over Zoom Using less score for bigger impact The Credits Visit ExtremeMusic for all your production audio needs Hear Rob Komatsu and Emily Greene talk about their work on MRS. AMERICA Download your 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 - Elísabet Ronaldsdóttir, ACE BULLET TRAIN editor and Iceland native Elísabet Ronaldsdóttir is widely known for her work on high-adrenaline action films such as JOHN WICK (2014), ATOMIC BLONDE (2017), DEADPOOL 2 (2018) and Marvel's SHANG CHI AND THE LEGEND OF THE TEN RINGS (2021); the first three of which were helmed by BULLET TRAIN director, David Leitch. Based on the Japanese novel Maria Beetle (published in English as Bullet Train) by Kōtarō Isaka, the film tells the story of Ladybug (Brad Pitt), a trained killer who wants to give up the life but is pulled back in by his handler Maria Beetle (Sandra Bullock).  His mission is to collect a briefcase on a bullet train heading from Tokyo to Kyoto with only a few stops in between.  Onboard the train, he and other competing assassins discover their objectives are all connected.  The question becomes, who will make it off the train alive and what awaits them at the terminal station? Editing BULLET TRAIN In our discussion with BULLET TRAIN editor, Elísabet Ronaldsdóttir we talk about: Working with a director who is also a stunt coordinator Jumping right into the action and saving the exposition for later Teaching a class in action editing Editing action in claustrophobic confines The Credits Visit ExtremeMusic for all your production audio needs Hear Elísabet talk about her work on SHANG-CHI AND THE LEGEND OF THE TEN RINGS See which model of 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 - Tom Costantino ACE and Hillary P. Wills THE ORVILLE: NEW HORIZONS editors Tom Costantino and Hillary Wills forged their future working relationship on the bridge of The Orville itself.  After not so subtly stalking Tom, who had already cut Season One, Hillary expressed her desire to join the Planetary Union as its newest assistant editor.  Being the master of understatement that he is, Tom casually said to Hillary, "job's yours if you want it".  Along with the rest of the editorial team, the pair would go on to collaborate on Season Two of the show (its last on Fox Television) and the third season for Hulu, dubbed "THE ORVILLE: NEW HORIZONS". Created by and starring Seth Macfarlane as series protagonist Ed Mercer, an officer in the Planetary Union's line of exploratory space vessels in the 25th century, THE ORVILLE is set on the titular spacecraft: USS Orville (ECV-197), a mid-level exploratory vessel for the Planetary Union. The show consists of adventures encountered by the ship's crew, usually involving planet exploration and visits to various parts of the galaxy. TOM COSTANTINO ACE Editor Tom Costantino is known for his work on; 48 HOURS (2004-2015), SCARRED (2007), CSI: MIAMI (2010-2012), AMERICAN NINJA WARRIOR (2014-2015) and 9-1-1 (2018-2019). HILLARY P. WILLS Assistant Editor / Editor Hillary Wills has worked on such projects as; CALL 911 (2009), VANISHED WITH BETH HOLLOWAY (2011), THE BRIEFCASE (2015) and THE NIGHT SHIFT (2016-2017). Editing THE ORVILLE: NEW HORIZONS In our discussion with the editors of THE ORVILLE, we talk about: Navigating the change between network tv and streaming Seth Macfarlane....audio post professional Taking temp effects to the limit Working with a 75-piece, excuse me, 90-piece orchestra Advice on moving up from assistant to editor The Credits Visit ExtremeMusic for all your production audio needs Download your 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 - Nicholas Monsour NOPE editor Nicholas Monsour has been collaborating with writer/director Jordan Peele since their days together on the comedy sketch tv series KEY & PEELE (2015).   When the comedy team took their talents to the big screen with the Peele-penned feature, KEANU (2016), Monsour knew it would be a big leap for him to take on the editorial duties, but made his best pitch anyway.  The bet paid off and Nick found himself behind the Avid for his very first feature film.  Peele would reach out to Nick once again for his sophomore film directing venture, US (2019).  Prior to reteaming with Peele for US, Nick continued to refine his cutting chops on tv series such as; BROCKMIRE (2017), COBRA KAI (2018) and WHISKEY CAVALIER (2019). NOPE was written, directed, and co-produced by Jordan Peele under his Monkeypaw Productions banner.  It stars Daniel Kaluuya, Keke Palmer, Steven Yeun, Brandon Perea and Michael Wincott.  In the film, two ranch-owning siblings, with the help of a tech salesman and a renowned cinematographer, attempt to capture and sell video evidence of an unidentified flying object. Editing NOPE In our discussion with NOPE editor, Nicholas Monsour we talk about: His incubator post process at Universal Not sacrificing tone in favor of tempo Jaws meets The Wizard of Oz The anatomy of a "social" thriller The impact of IMAX on NOPE The Credits Visit ExtremeMusic for all your production audio needs See which model of Avid Media Composer is right for you Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editor - Robert A. Martinez LUCY AND DESI's Robert A. Martinez has built a career working as an assistant editor and editor on documentary films like; THE BEATLES: EIGHT DAYS A WEEK - THE TOURING YEARS (206), THE APOLLO (2019), PAVAROTTI (2019) and THE BEE GEES: HOW DO YOU MEND A BROKEN HEART (2020), for which Robert received an ACE Eddie nomination.  All of these projects were great preparation for LUCY AND DESI, for which Robert has received an Emmy nomination. From director Amy Poehler, LUCY AND DESI explores the unlikely partnership and enduring legacy of one of the most prolific power couples in entertainment history. Lucille Ball and Desi Arnaz risked everything to be together.  When Lucille was finally granted the opportunity to have her own television show, she insisted that her real-life spouse, Desi, be cast as her husband. Defying the odds, they re-invented the medium, on the screen and behind the cameras. The foundation of I LOVE LUCY was the constant rupture and repair of unconditional love. What Lucy and Desi couldn’t make work with each other, they gave to the rest of the world. LUCY AND DESI is an insightful and intimate peek behind the curtain of these two remarkable trailblazers – featuring interviews with Lucie Arnaz Luckinbill, Norman Lear, Desi Arnaz Jr, Carol Burnett and Bette Midler. Editing LUCY AND DESI In our discussion with editor, Robert A. Martinez we talk about: Building a doc around newly discovered, private audio tapes of the pair The relationship between writer and editor on a documentary Telling the story through the voices of Lucy and Desi The power of ScriptSync in documentary editing Making the jump from janitor to editor The Credits Visit ExtremeMusic for all your production audio needs See which model of 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 – Matt Villa and Jonathan Redmond, Sound Designer/Re-recording Mixer/Supervising Sound Editor - Wayne Pashley ELVIS editors Matt Villa and Jonathan "Jono" Redmond are no strangers to director Baz Luhrmann's unique style of cinema.  For that matter, neither is Sound Designer and Re-recording mixer, Wayne Pashley.   Matt and Jono first worked together on MOULIN ROUGE! (2001) with Jono serving as 1st assistant editor and Matt doing VFX editing.  Wayne Pashley goes all the way back with Baz Luhrmann to Baz's first film, STRCITLY BALLROOM (1992).  But it was Luhrmann's THE GREAT GATSBY (2013) where Matt, Jono and Wayne first worked together on a film for the acclaimed Aussie director. Delivered in Luhrmann's trademark style of lush soundscapes and rich, high-energy visuals, ELVIS is told through the voice of  Elvis Presley's former manager, "Colonel Tom Parker".  While on his deathbed in 1997, Parker recalls how he discovered the future King of Rock and Roll and chronicles their time together throughout Elvis' ascension to icon status, as well as the downward spiral that ultimately led to Presley's death in 1977. MATT VILLA Matt Villa is known for PREDESTINATION (2014), The Great Gatsby (2013) and The Lego Batman Movie (2017). JONATHAN REDMOND Jono Redmond is known for his work as 1st assistant editor (digital) for MOULIN ROUGE! (2001) and editor for THE GREAT GATSBY (2013) and THE GET DOWN (2016-17). WAYNE PASHLEY Wayne Pashley is known for Mad Max: Fury Road (2015), The Great Gatsby (2013) and Daybreakers (2009). Editing ELVIS In our discussion with the ELVIS editors we talk about: Keeping it moving, keeping it transitional Protecting the king at all costs The three different voices of Elvis from the 50's, 60's and 70's Cutting concert performances compared to cutting the narrative Applying the "poetic glue" The Credits Visit ExtremeMusic for all your production audio needs See what's new with Avid Media Composer Subscribe to The Rough Cut for more great interviews with the heroes of the editing room! Visit The Rough Cut on YouTube!

Editors – Dean Zimmerman ACE, Kat Naranjo, Casey Cichocki and VFX Editor Brad Tobler The STRANGER THINGS editing team reunites once again to chronicle the fantasy/horror phenomenon taking place in Hawkins, Indiana; this time with a greater emphasis on the horror.  Although there was a longer break than usual between the two seasons, this tight knit team was never far apart, collaborating on the feature films, FREE GUY and THE ADAM PROJECT. Season Four of STRANGER THINGS is set in March 1986, eight months after events of the third season, the fourth season is split between different plotlines.  The first plotline takes place in Hawkins, where several teenagers are killed in mysterious ways.  The second plotline involves Mike Wheeler visiting Eleven, Will and Jonathan Byers at their new home in California.  The third plotline follows Joyce Byers and Murray Bauman, who learn that Jim Hopper may still be alive and are told to bring money to arrange for his transfer home from a Russian prison. DEAN ZIMMERMAN ACE In addition to working with the Duffer Brothers as their lead editor for STRANGER THINGS, Dean is a frequent collaborator with STRANGER THINGS 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, FREE GUY and THE ADAM PROJECT. KAT NARANJO Kat started her journey on Season 1 as an assistant, but over the following seasons started picking up full time editorial duties as well.  She also assisted Dean on his features, THE ADAM PROJECT and FREE GUY.  Earlier in her career, Kat assisted on HALT AND CATCH FIRE and served as post coordinator on ONE TREE HILL. CASEY CICHOCKI Casey started on STRANGER THINGS in season one as a post coordinator and then in subsequent seasons moved into assistant editing. For Season Four Casey has multiple additional editing credits. Like Kat, Casey assisted Dean on FREE GUY and THE ADAM PROJECT as well. BRAD TOBLER VFX editor Brad Tobler joined the STRANGER THINGS team in Season Three and also helped out Dean as VFX editor on FREE GUY, as well as pre-vis editor on THE ADAM PROJECT. Editing STRANGER THINGS - SEASON 4 In our discussion with the STRANGER THINGS - SEASON 4 editing team we talk about: Ramping up the VFX workload Reasons for, and benefits of, splitting the season into two parts Creating the voice of Vecna Developing a "flashback" tracker Breaking the show out into multiple storylines The Credits Visit ExtremeMusic for all your production audio needs Watch VFX Editor Brad Tobler walk you through the VFX process on Stranger Things See the STRANGER THINGS picture editing and sound team discuss Season Three Heat the O.G. interview with Dean Zimmerman ACE from 2019 Editor Dean Zimmerman ACE discusses FREE GUY Jonathan Corn and Dean Zimmerman ACE on cutting THE ADAM PROJECT See what's new with Avid Media Composer Subscribe to The Rough Cut for more great interviews with the heroes of the editing room! Visit The Rough Cut on YouTube!      

Editor - Rupert Houseman CHERNOBYL: THE LOST TAPES editor Rupert Houseman is a documentary and drama editor known for his work on; RIOTS: ONE WEEK IN AUGUST (2021), GUN NO. 6 (2018), 7/7: ONE DAY IN LONDON (2013), BEDLAM (2014), LIFE AND DEATH ROW (2014), THE DETECTIVES (2015), THE WATCHMAN (2016) and UNSPEAKABLE (2017).  In 2019 Rupert received a BAFTA award for his editing on GUN NO. 6. CHERNOBYL: THE LOST TAPES tells the full, unadulterated true story of what happened in one of the most iconic but least understood tragedies of the twentieth century.  While radio programs and scripted dramas have all told their version of events, no-one has ever made a documentary that reveals the full, shocking reality of this cataclysmic, world changing event – until now.  Using both a recently discovered hoard of dramatic footage filmed at the nuclear plant during the disaster, as well as newly-recorded, deeply personal interviews of those who were there, the film shows how Chernobyl and the cover-up that followed sparked unprecedented distrust in the authorities and gave birth to a protest movement in Ukraine which would eventually lead to the collapse of the Soviet Union. Editing CHERNOBYL: THE LOST TAPES In our discussion with editor, Rupert Houseman we talk about: Recovering and converting Soviet-era propaganda footage Breaking away from the traditional treatment of talking heads Editing footage in a language foreign to your own Having fun with aspect ratios Getting sound design advice from Bob Geldof The Credits Visit ExtremeMusic for all your production audio needs See which model of Avid Media Composer is right for you Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editor - Mark Sanger ACE, BFE JURASSIC WORLD: DOMINION editor Mark Sanger ACE, BFE not only faced the challenge of editing a big action blockbuster, but also a film that was; a sequel to JURASSIC WORLD: FALLEN KINGDOM (2018), the sixth installment in the Jurassic Park franchise, the third and final film in the Jurassic World trilogy, and the conclusion to the storyline started in the original Jurassic Park trilogy.  Thankfully, Mark had plenty of experience working on big action franchise films.  Mark began his career as an assistant working on Bond films like ;TOMORROW NEVER DIES (1997) and THE WORLD IS NOT ENOUGH (1999), and also director Stephen Sommers' THE MUMMY (1999) and THE MUMMY RETURNS (2001).  As a lead editor, Mark helmed the Avid for TRANSFORMERS: THE LAST KNIGHT (2017), MOWGLI: LEGEND OF THE JUNGLE (2018) and POKÉMON: DETECTIVE PIKACHU (2019).  Amongst all these big films, the critical highlight of his career would come in 2014, when Mark would win the Oscar for Best Film Editing for his work on GRAVITY (2013). The plot of JURASSIC WORLD: DOMINION is this...Four years after the cataclysmic volcanic eruption on Isla Nublar and the Lockwood Estate incident, de-extinct dinosaurs freely roam the earth, causing environmental upheaval and human deaths. With government approval, Biosyn Genetics has established a dinosaur sanctuary in Italy's Dolomite Mountains where they conduct genomics research, ostensibly seeking groundbreaking pharmacological and agronomic applications.  The film stars an ensemble cast including Chris Pratt, Bryce Dallas Howard, Laura Dern, Jeff Goldblum, Sam Neill, DeWanda Wise, Mamoudou Athie, BD Wong, and Omar Sy.  Dern, Goldblum, and Neill reprise their roles from the Jurassic Park trilogy, appearing together for the first time since the 1993 film JURASSIC PARK. Editing JURASSIC WORLD: DOMINION In our discussion with editor Mark Sanger ACE, BFE we talk about: The 2nd director side hustle Working with animatronics versus VFX Presenting a proper prologue Starting with silence in your edit Listening, learning and speaking up! The Credits Get your free 100GB of media transfer at MASV Visit ExtremeMusic for all your production audio needs See which model of 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 – Jeff Seibenick, Andrew S. Eisen ACE, Dana E. Glauberman ACE, Dylan Firshein Editors Jeff Seibenick, Andrew S. Eisen ACE, Dylan Firshein and Dana E. Glauberman ACE got the band back together from Season One of THE MANDALORIAN to help tell the story of the legendary bounty hunter, Boba Fett. THE BOOK OF BOBA FETT follows bounty hunter Boba Fett, from THE MANDALORIAN and the STAR WARS feature films, as he establishes himself as the new crime lord of Jabba the Hutt's former territory on the planet Tatooine. JEFF SEIBENICK In addition to his work on the Star Wars shows for Disney+, Jeff has a background rich in comedy tv editing.  You can see his work on series such as; PARKS AND RECREATION, EASTBOUND & DOWN and VICE PRINCIPALS. ANDREW S. EISEN ACE Considering the cinematic approach the editing team applies to THE MANDALORIAN and THE BOOK OF BOBA FETT, 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. DANA E. GLAUBERMAN ACE When she's not lending her editorial talents to the Star Wars universe, Dana is cutting films like GHOSTBUSTERS: AFTERLIFE, CREED II,  UP IN THE AIR and JUNO. DYLAN FIRSHEIN While THE MANDALORIAN and THE BOOK OF BOBA FETT are the projects that helped establish Dylan as a lead editor, he has also assisted on features like SOLO: A STAR WARS STORY, THE CLOVERFIELD PARADOX and tv series such as GREY'S ANATOMY. Editing The Book of Boba Fett In our discussion with THE BOOK OF BOBA FETT editing team of Jeff Seibenick, Andrew S. Eisen ACE, Dylan Firshein and Dana E. Glauberman ACE , we talk about: Making a stylistic departure from what we know of THE MANDALORIAN Find the performance of characters behind a mask Breathing life into a gun duel The challenge of deep fake editing Working with the relentless Robert Rodriguez 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 Check out the Season Two interview with the editors from The Mandalorian Editor Dana E. Glauberman ACE on cutting Ghostbusters: Afterlife 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 See what's new with Avid Media Composer Subscribe to The Rough Cut for more great interviews with the heroes of the editing room! Visit The Rough Cut on YouTube!

David Hunter Jr. and Daniel Hunter David Hunter Jr., Host of POST IN BLACK, and his brother Daniel Hunter, Founder of POST IN BLACK, joined forces with Executive Producer Tatiana Johnson to create a podcast that has quickly caught fire amongst the film and tv post community.  In featuring African American creative professionals working in the world of media and entertainment, their mission is to reach out to a new generation who may not be aware that a variety of career opportunities exist for them not just in front of the camera, but behind the lens as well.  In this special edition of The Rough Cut, David and Daniel not only give us the scoop on "the guys behind the podcast", but also some new perspectives on the lack of diversity in the industry today. DAVID HUNTER JR. David Hunter Jr. is an actor, writer and producer born in Washington DC and raised in the surrounding Metro Area. His acting training began on the stage at Hampton University, a prestigious HBCU located in Hampton, Virginia. From there, David performed on stage in DC performing at the Historic Lincoln Theatre, Atlas Theatre and the DC Improv where he performed monthly with a local improv troupe. Since relocating to LA, David has voiced campaigns for Blavity, Google, Samsung along with a variety of Commercials and animated projects. He also served as the "Voice of God" for the theatre staff at the Dolby Theatre (formerly Kodak) for the Oscars for over 10 years. In 2016, David's versatility shined bright as he created, co-wrote and starred in the Web Series, "The Process". The series had 2 seasons and aired on numerous streaming platforms. In 2018, David auditioned for and was accepted into the inaugural class of the Los Angeles branch of the award-winning Identity School of Acting. While there, he was nominated for Best Actor in his group's showcase. The ability to create has allowed David to make a lane for himself that lets others see him as more than just an actor. This lead to David starting his own production company, Made For More Entertainment. Underneath the Umbrella of Made For More, David hosts a popular Podcast / Web Series called "Post In Black". This podcast highlights the work of African Americans working behind the scenes in Post Production with guests including the likes of Terilyn Shropshire (Jumping The Broom, When They See Us, The Old Guard) and Daysha Broadway (The Forty Year-Old Version, Insecure, A Black Lady Sketch Show) David has a genuine love for kids and performed Children's Theatre in the LA area for LAUSD for over 8 years with the theatre company, Enrichment Works. He has also worked as an elementary school teacher for 1st and 2nd grade as well as a middle school teacher for 6th, 7th and 8th grade. He loves to give back to the youth through the arts as well as one-on-one mentorship. DANIEL HUNTER When he's not doing his full time job of being David Hunter Jr.'s brother, Philadelphia-based Daniel works as both a sound postproduction professional as well as a driving force behind POST IN BLACK. Talking POST IN BLACK In our discussion with David Hunter Jr. and Daniel Hunter, we talk about: How you can't desire something you weren't aware of That winding road from school teacher, to tour guide, to actor, to... The time-tested approach of "thinking globally and acting locally" Sound design being just like music composing with sound effects The importance of above the line talent crediting their crews The Credits Celebrate Black excellence behind the lens by visiting POST IN BLACK. Be sure to check out MADE FOR MORE ENTERTAINMENT too Subscribe to The Rough Cut podcast and never miss an episode Leave me a message on The Rough Cut website Visit The Rough Cut on YouTube  

Editor - Vikash Patel OZARK editor Vikash Patel not only has the distinction of cutting twenty episodes over four seasons of the hit Netflix series, but also receiving an Emmy® nomination for his editing on a standout episode that featured the critically-acclaimed performance of guest actor Tom Pelphrey, playing the part of Wendy Byrde's (Laura Linney) brother, Ben.  In addition to his contributions on OZARK, Viks has also lent his storytelling talents to; THE MORNING SHOW (2019), BATES MOTEL (2015-16), LONGMIRE (2012-14), SMALLVILLE (2009-11) and TOP CHEF (2006-07).  Viks also cut the pilot for the TNT series, SNOWPIERCER (2020). The plot of OZARK is built around financial advisor Marty Byrde (Jason Bateman) who, after a money laundering scheme for a Mexican drug cartel goes wrong, proposes to make amends by offering to set up a bigger laundering operation in the Lake of the Ozarks region of central Missouri. Marty suddenly moves his family from the Chicago suburb of Naperville to the remote summer resort community of Osage Beach, Missouri.  When the Byrdes arrive in Missouri, they become entangled with local criminals, including the Langmore and Snell families, and later the Kansas City Mafia. Editing OZARK In our discussion with OZARK editor, Vikash Patel we talk about: Working with directors who are new to a series Living in two-shots and wide shots to let the performances play out How premieres and finales differ from other episodes Jason Bateman's interaction with post while producing, directing and starring in OZARK What Viks will take away from his experience on OZARK The Credits Visit ExtremeMusic for all your production audio needs See which model of Avid Media Composer is right for you Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube    

Editor - Eddie Hamilton ACE TOP GUN: MAVERICK editor Eddie Hamilton ACE has been immersed in the TCEU (Tom Cruise Extended Universe) since 2015 when Eddie took the editorial helm of MISSION IMPOSSIBLE: ROGUE NATION.  And with the exception of a quick return to his roots with director Matthew Vaughn for KINGSMAN: THE GOLDEN CIRCLE (2017), Eddie has spent all his subsequent time working on MISSION IMPOSSIBLE: FALLOUT (2018), TOP GUN: MAVERICK (2022) and the upcoming MISSION IMPOSSIBLE: DEAD RECKONING PARTS I (2023) and II (2024).  Both within, and beyond, these three franchises, Eddie has clearly set himself apart as one of the top action-movie editors working today. TOP GUN: MAVERICK stars Tom Cruise, reprising his role as Captain Pete "Maverick" Mitchell from TOP GUN (1986).  The story follows Maverick's return to the United States Navy Strike Fighter Tactics Instructor program (also known as "Top Gun") where he must confront his past as he trains a group of younger fighter pilots, among them the son of Maverick's deceased best friend Goose. Editing TOP GUN: MAVERICK In our discussion with editor Eddie Hamilton ACE, we talk about: Serving the audience broccoli before the brownie Referencing the incredible sound design from the original Top Gun Hitting the emotional notes for Tom Cruise Wrangling over 800 hours of footage How to build a better dogfight The Credits Get your free 100GB of media transfer at MASV Visit ExtremeMusic for all your production audio needs Hear Eddie talk about his work on Mission Impossible: Fallout Take a guided tour with Eddie on his Avid timeline from Mission Impossible: Fallout See which model of 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 - Joseph Krings ACE and Jasmin Way THE PENTAVERATE editors, Joseph Krings ACE and Jasmin Way, first met when Jasmin assisted Joe on the indie feature, THE REBEL IN THE RYE (2017); a biopic about reclusive author J.D. Salinger.  Joe was so impressed with the way that Jasmin cut scenes for that film that he knew she was the right choice to join him as co-editor on Myers' new comedy series. THE PENTAVERATE was created by Mike Myers for Netflix and features Myers playing eight different parts throughout the six-episode series.  Initially mentioned in Myers' film, SO I MARRIED AN AXE MURDERER (1993), THE PENTAVERATE is about a Canadian journalist who tries to uncover the truth about a secret society of five men who have controlled the world since 1347. JOSEPH KRINGS ACE Joe Krings began his career as a commercial editor in New York City, but quickly grew restless knowing that his real passion was for long form film and television projects.  One of Joe's earliest films was a documentary called SUPERMENSCH (2013), helmed by THE PENTAVERATE creator, Mike Myers.  From there Joe would go on to make a name for himself with the dramedy feature, CAPTAIN FANTASTIC (2016) and indie films such as the aforementioned THE REBEL IN THE RYE (2017) and Sundance stand-outs, AFTER THE WEDDING (2019) and THE EVENING HOUR (2020). JASMIN WAY Jasmin Way is a New York-based film and television editor. Her first feature, SOLACE (2018) premiered at the Los Angeles Film Festival and won Best Ensemble Cast. Her second documentary feature was the critically-acclaimed THIS CHANGES EVERYTHING (2018) about the history of women in film behind the scenes and in front of the camera. It premiered at the Toronto Film Festival and was the runner-up for the People's Choice award. In addition to her work on THE PENTAVERATE, Jasmin also worked as an editor on the latest season of David Letterman's MY NEXT GUEST NEEDS NO INTRODUCTION (2022). Editing THE PENTAVERATE In our discussion with THE PENTAVERATE editors Joseph Krings ACE and Jasmin Way, we talk about: The challenge of editing a show where one actor plays eight characters Incorporating Netflix's revolutionary "Fix Plix" technology Cutting out profanity to increase the vulgarity The importance of diction in comedy Why you should never follow up an orgy scene with a shot of children The Credits Get your free 100GB of media transfer at MASV Visit ExtremeMusic for all your production audio needs Download your free trial of Avid Media Composer Ultimate Subscribe to The Rough Cut podcast and never miss an episode Leave me a message on The Rough Cut website Visit The Rough Cut on YouTube

Editor - Todd Downing ACE RUSSIAN DOLL editor, Todd Downing ACE returns to THE ROUGH CUT, having appeared previously in 2020 to talk about his work on the HULU series, MRS. AMERICA.  In that series, one of Todd's many standout moments was a sequence he cut that featured a conservative 70's housewife going on a drug-fueled, psychedelic trip at the National Women's Conference.  Todd also had a similar episode in the work he did on the series DIFFICULT PEOPLE, on Hulu as well.  Put those two together with the mind-bending journeys Todd navigates on RUSSIAN DOLL and you start to see that Todd Downing has carved out quite a niche for himself as the "go to" editor for shows that feature women going on existential and introspective adventures. Season 1 of RUSSIAN DOLL tells the story of a woman named Nadia who is caught in a time loop as the guest of honor at a seemingly inescapable birthday party one night in New York City. She dies repeatedly, always restarting at the same moment at the party.  As she tries to figure out what is happening to her, she meets a man who is experiencing the same thing in a different event. In Season 2, Nadia is ten days away from celebrating her 40th  birthday when the NYC "6" Train sends her back in time to 1982. She soon discovers she is trapped inside the body of her mother, Lenora, who is pregnant with Nadia.  Having learned what a significant impact it had on her family,  Nadia decides to pursue the gold Krugerrands her mother lost that same year, in hopes of changing the course of her family’s history. Editing RUSSIAN DOLL In our discussion with RUSSIAN DOLL editor, Todd Downing ACE we talk about: Riding the wave of comedy vs drama within a show The kind of notes you get from a showrunner who is also the star Managing the story logic of characters looping through time and inhabiting other characters Natasha's Extraordinary Playlist Dealing with VFX "supply chain" issues The Credits Get your free 100GB of media transfer at MASV Visit ExtremeMusic for all your production audio needs Hear Todd's interview with fellow ACE editors, Emily E. Greene and Robert Komatusu for MRS. AMERICA. See which model of Avid Media Composer is right for you Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editor - Tia Nolan ACE In creating DR. STRANGE IN THE MULTIVERSE OF MADNESS, editor Tia Nolan ACE and editor Bob Murawski ACE (along with director Sam Raimi) created a film that not only stands on its own, but also picks things up where other MCU projects previously left off.  WANDAVISION, SPIDER-MAN: NO WAY HOME and the Disney+ series, LOKI all served to introduce the concept of the multiverse to Marvel fans.  And in the case of WANDAVISION and SPIDER-MAN: NO WAY HOME, put Dr. Strange and Wanda Maximoff on a collision course for the events that take place in Multiverse of Madness. DR. STRANGE IN THE MULTIVERSE OF MADNESS is the sequel to DOCTOR STRANGE (2016) and the 28th film in the Marvel Cinematic Universe. The film was directed by Sam Raimi, written by Michael Waldron, and stars Benedict Cumberbatch as Stephen Strange, alongside Elizabeth Olsen, Chiwetel Ejiofor, Benedict Wong, Xochitl Gomez, Michael Stuhlbarg, and Rachel McAdams. In the film, Strange travels into the Multiverse to protect America Chavez (Gomez), a young girl capable of travelling the Multiverse, from Wanda Maximoff (Olsen). Editing DR. STRANGE IN THE MULTIVERSE OF MADNESS In our discussion with editor Tia Nolan, we talk about: Making a "rock witch goddess" with Danny Elfman Doing your Marvel "homework" How to manage a multiverse in editorial How Sam Raimi distinguishes between "clangs" Lessons learned from legendary editor, Richard Marks ACE The Credits Get your free 100GB of media transfer at MASV Visit ExtremeMusic for all your production audio needs See which model of 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 - Ahmed Hafez, Joan Sobel ACE and Cedric Nairn-Smith Marvel's MOON KNIGHT editing team brought together their diverse background of experiences and talents to deliver a truly new take on what a superhero series can be.  Working together for the first time, they overcame the challenge of collaborating over great distances, with editor Joan Sobel working from home in Los Angeles and editors Ahmed Hafez and Cedric Nairn-Smith both in Budapest, but still mostly separate from one another. MOON KNIGHT follows Steven Grant, a mild-mannered gift-shop employee, who becomes plagued with blackouts and memories of another life.  Through those visions, Steven discovers he has dissociative identity disorder and shares a body with a mercenary named Marc Spector. As Steven/Marc's enemies converge upon them, they must navigate their complex identities while thrust into a deadly mystery among the powerful gods of Egypt. AHMED HAFEZ With an extensive career spanning more than 20 years full of local and international works in the film industry, Egyptian film editor Ahmed Hafez has presented the final cuts of over 20 films and edited numerous TV commercials and music videos. Hafez started his editing career with many TV commercials and music videos. He won 12 local and international awards for his work in six films. Hafez received international acclaim for his work in CLASH (2016) by director Mohamed Diab, which opened the Un Certain Regard section at the 69th Cannes Film Festival. American film critic Deborah Young described his editing style as "rapid-fire editing" in her Clash Cannes review in The Hollywood Reporter. For his work in Clash, Hafez received three awards at the Carthage Film Festival (JCC), Cairo Film Society Festival and the Egyptian National Film Festival. JOAN SOBEL ACE Editor Joan Sobel ACE made her first foray into tv editing with MOON KNIGHT.  Up until then it had all been feature work as both an assistant on films such as; BOOGIE NIGHTS (1997), ALL THE PRETTY HORSES (2000) and KILL BILL: Vol. 1 & 2 (2003-2004).  From there she went on to work as an editor on NOCTURNAL ANIMALS (2016), WIDOWS (2018) and THE RHYTHM SECTION (2020). CEDRIC NAIRN-SMITH In addition to his work on MOON KNIGHT, Cedric is known for his work as an editor on; THE BOYS (2019-2020), LISEY'S STORY (2021) and BATES MOTEL (2015-2017). Editing Marvel's MOON KNIGHT In our discussion with Marvel's MOON KNIGHT editing team, we talk about: Breaking away from the MCU and starting fresh The onboarding process for a Marvel editor Replacing the Marvel theme with needle drops Remote collaboration between Budapest and LA The importance of push-ups in the editing room 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 Listen to editor Cedric Nairn-Smith discuss his work on THE BOYS Check out other Rough Cut podcasts on Marvel series - WandaVision, The Falcon and the Winter Soldier, Loki and Hawkeye Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editor - John Venzon ACE THE BAD GUYS editor, John Venzon ACE started his career off assisting in the cutting rooms of such memorable films as NATURAL BORN KILLERS (1994), TWISTER (1996), FIGHT CLUB (1999) and PANIC ROOM (2002).  So, it's fair to say he certainly knows his way around a live action feature.  But his career as a lead editor has been highlighted with animated features like SOUTH PARK: BIGGER, LONGER & UNCUT (1999), SHARK TALE (2004), FLUSHED AWAY (2006), STORKS (2016) and THE LEGO BATMAN MOVIE (2017).  The result is an editor who is a great resource to talk to about working as an editor in animation and how that contrasts and compares with editing live action. THE BAD GUYS tells the story of the notorious criminal gang of Mr. Wolf, Mr. Snake, Mr. Piranha, Mr. Shark and Ms. Tarantula, who, after a lifetime of legendary heists, are finally caught.  To avoid a prison sentence, the animal outlaws must pull off their most challenging con yet -- becoming model citizens.  Under the tutelage of their mentor, Professor Marmalade, the dubious gang sets out to fool the world that they're turning good. Editing THE BAD GUYS In our discussion with THE BAD GUYS editor, John Venzon ACE we talk about: The editorial phases of animated features How animated features endured the lockdowns and remote editing requirements Refining the tone and logic of a film so that audiences of all ages can understand and enjoy it The influence of OCEAN'S ELEVEN and OUT OF SIGHT Editors turned voice actors The Credits Get your free 100GB of media transfer at MASV Visit ExtremeMusic for all your production audio needs See which model of Avid Media Composer is right for you Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editor - Geraud Brisson CODA editor, Geraud Brisson wasn't completely unprepared when he took on the challenge of cutting a movie where forty percent of the dialogue is delivered in American Sign Language (ASL).  In 2018 he edited a series called THIS CLOSE whose creators and stars were deaf.  But it was another series he worked on, LITTLE AMERICA, that would have the biggest impact on him becoming the editor for CODA.  While working on that series, Geraud would meet CODA director Sian Heder and discuss her ideas for the indie coming-of-age story she was adapting from the French film, La Famille Bélier. CODA tells the story of a seventeen-year-old girl named Ruby (Emila Jones) who is the only hearing member of a deaf family from Gloucester, Massachusetts.  Ruby works mornings before school to help her parents (Marlee Matlin and Troy Kotsur) and brother (Daniel Durant) keep their fishing business afloat.  But in joining her high school's choir club, Ruby finds herself drawn to both her duet partner and her latent passion for singing. Editing CODA In our discussion with CODA editor, Geraud Brisson we talk about: When to introduce subtitles into editorial Why you still need to lav mic actors who are speaking with ASL How dialogue delivered as ASL affects shot choices and cut durations What silence sounds like Why the best directors are also the best knitters The Credits Get your free 100GB of media transfer at MASV Visit ExtremeMusic for all your production audio needs See which model of 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 - Joel Griffen and Gardner Gould SHINING VALE editors Joel Griffen and Gardner Gould teamed up with editor Antonia de Barros to craft a truly unique tv series that deftly blends comedy, fantasy and horror.  Created by Jeff Astrof and Sharon Horgan, SHINING VALE stars Courteney Cox, Greg Kinnear, Sherilyn Fenn, Mira Sorvino, Merrin Dungey and Judith Light. It premiered on Starz on March 6th, 2022. The plot of SHINING VALE is described thusly...a dysfunctional family moves from the city to a small town after Patricia "Pat" Phelps, a former "wild child" who became famous through writing raunchy female empowerment novels, is caught cheating on her husband. The house the family has moved into is a place where in the past, terrible atrocities have taken place. Nobody seems to suspect anything odd except for Pat who's convinced she's either depressed or possessed. Pat has been sober for 16 years, but begins to feel very unfulfilled in life – she still hasn't written her second novel, she can't remember the last time she had sex with her husband and her teenage kids have grown up to the point where they don't want their mother in their lives. Soon, the demons haunting the family's new home begin to appear much more real. JOEL GRIFFEN Editor Joel Griffen is known for his work as an editor on such shows as Leverage: Redemption (2021), Almost Paradise (2020), Krypton (2018-2019); and as an assistant editor on The Walking Dead (2014-2015), Super 8 (2011), Rango (2011), Top Chef (2007-2008) and American Idol (2007). GARDNER GOULD Gardner Gould came up in NY and LA cutting rooms under editors Tim Squyres (LIFE OF PI), and Michael Berenbaum (BEFORE NIGHT FALLS). Gould earned his first feature editing credit on DON’T BREATHE (dir. Fede Alvarez; prod. Sam Raimi), grossing over $157M. He followed this taut editorial debut with the lush and exploratory PERFECT (dir. Eddie Alvarez; e.p. Steven Soderbergh), which premiered at SXSW. The same year, drama/sci-fi/thriller HOTEL ARTEMIS (dir. Drew Pearce, prod. Marc Platt) allowed Gould to work a contained ensemble cast into a chest-sweating boil. Sony's GRUDGE reboot (dir. Nicolas Pesce; prod Sam Raimi) followed as an opportunity to re-team with Ghost House producing team to unnerve and terrify horror fans worldwide. He's now lead editor on Starz’s new series SHINING VALE (creators Jeff Astrof and Sharon Horgan). Always on the lookout for fresh projects, he also edits for the Sundance Directors Lab. Editing Shining Vale In our discussion with the editors of SHINING VALE, we talk about: Fun with title cards To visit the set or to not visit the set...that is the question Relying on an unreliable narrator Paying homage to the classics of scary cinema Cultivating hand signals for remote collaboration The Credits Get your free 100GB of media transfer at MASV Visit ExtremeMusic for all your production audio needs Download your 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 - Justin Krohn, ACE WeCrashed editor, Justin Krohn is An Emmy-nominated American Film & TV editor based in Los Angeles.  Krohn began his career working as an assistant editor in Los Angeles & New York, most notably on Martin Scorsese’s Bob Dylan documentary, NO DIRECTION HOME (2005). Continuing to work in the Scorsese orbit while in New York, he contributed to the George Harrison documentary LIVING IN THE MATERIAL WORLD (2011), while also working on Michael Haennke’s US remake of FUNNY GAMES (2007) & several Bruce Springsteen documentaries for director Thom Zimny. Returning to Los Angeles, Justin began to work as an editor on AMERICAN HORROR STORY (2015-2016), BLOODLINE (2017), TWIN PEAKS: THE RETURN (2017), & THE CURRENT WAR: DIRECTOR'S CUT (2017). Beginning in 2017, he began working with director Sam Esmail on the acclaimed series, MR. ROBOT (2017-2019), starring Rami Malek, & then Amazon’s limited series HOMECOMING (2018), starring Julia Roberts. In 2018, he was nominated for an Emmy for his work editing TWIN PEAKS: THE RETURN for director David Lynch. WeCrashed is an American drama streaming television miniseries based on the podcast WeCrashed: The Rise and Fall of WeWork by Wondery. The series stars Jared Leto and Anne Hathaway and follows the entrepreneurial rise and fall of WeWork, one of the world's most valuable startups, and the characters whose chaotic love made it all possible. Editing WeCrashed In our discussion with WeCrashed editor, Justin Krohn, ACE we talk about: Getting film schooled by Thelma Schoonmaker The editorial benefits of cross-boarded shooting Motivated cutting techniques to accelerate the story Making the most out of montages Learning and re-learning the communications skills an editor needs The Credits Get your free 100GB of media transfer at MASV Visit ExtremeMusic for all your production audio needs See which model of Avid Media Composer is right for you Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editor - Annette Davey, ACE MAID editor, Annette Davey, ACE first began her journey into post production in her native Australia.  After a stroke of good fortune led her to a program funded by a grant from the Australian government where she would learn her craft amongst sixteen women for six months, Annette began assistant editing in tv and enrolled in film school.  From there she would make the move to the U.S. so she could continue her career path, editing a variety of projects in both film and television.  Her feature film work is accented by an indie hit about a young waitress in an abusive relationship, 2007's WAITRESS.  On the tv side, Annette has worked on such series as; HOW TO MAKE IT IN AMERICA (2010), HUNG (2009-2011), TRANSPARENT (2014), GLOW (2018), ZOEY'S EXTRAORDINARY PLAYLIST (2020) and Hulu's original series, PAM AND TOMMY (2022). MAID is based on a memoir from author Stephanie Land called, Maid: Hard Work, Low Pay, and a Mother's Will to Survive. It tells the story of a young mother named Alex (Margaret Qualley) who leaves her abusive boyfriend in the middle of the night, taking their toddler daughter with her.  Once on their own, Alex struggles to make ends meet while working as a maid and dreaming of a future as a writer. Editing MAID In our discussion with MAID editor, Annette Davey, ACE we talk about: The challenge of interviewing for jobs over Zoom Crafting multi-dimensional antagonists The benefits of at-home editing Enhancing the performances of child actors with stolen moments between takes How her own career path influenced what she looks for in an assistant The Credits Get your free 100GB of media transfer at MASV Visit ExtremeMusic for all your production audio needs See which model of Avid Media Composer is right for you Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

William Hoy ACE, Tyler Nelson, Will Files, Douglas Murray THE BATMAN post production team of editors Bill Hoy and Tyler Nelson, along with supervising sound editors Will Files and Doug Murray, are justifiably proud of the film they've made.  In breaking the mold of the superhero archetype, they achieved director Matt Reeves' vision of a noir murder mystery that's more in the vein of classis 70's cinema than the glossy blockbusters of the 21st century.  Adding to this feat is the fact that they were forced to shut down one month into production only to return to action in a much more restrictive model of collaboration than they were used to.  In spite of those challenges, audiences and critics alike have responded in a big way to the remarkably fresh take on DC Films' dark knight. The story of THE BATMAN begins two years into his crimefighting legacy, forgoing the usual origin story elements often found in super hero tales, and follows Batman / Bruce Wayne as he ventures into Gotham City's underworld where he must track a sadistic killer prone to leaving behind a trail of cryptic clues. As the evidence begins to lead closer to home and the scale of the perpetrator's plans becomes clearer, he must forge new relationships, unmask the culprit and bring justice to the abuse of power and corruption that has long plagued the city. WILLIAM HOY ACE William Hoy is known for his work on NO WAY OUT (1987), DANCES WITH WOLVES (1990), THE BONE COLLECTOR (1999), DAWN OF THE PLANET OF THE APES (2014) and WAR FOR THE PLANET OF THE APES (2017). TYLER NELSON Tyler Nelson is known for his assistant editing work on THE SOCIAL NETWORK (2010), THE GIRL WITH THE DRAGON TATTOO (2011) and GONE GIRL (2014); as well as his editing work on MINDHUNTER (2017-2019) and SHADOW AND BONE (2021). WILL FILES Will Files is known for his work on CLOVERFIELD (2008), DAWN OF THE PLANET OF THE APES (2014), WAR FOR THE PLANET OF THE APES (2017), STAR WARS:  EPISODE VII - THE FORCE AWAKENS (2017) and VENOM (2018). DOUGLAS MURRAY Douglas Murray is known for his work on THE ENGLISH PATIENT (1996), CLOVERFIELD (2008), DAWN OF THE PLANET OF THE APES (2014), WAR FOR THE PLANET OF THE APES (2017) and ANT-MAN AND THE WASP (2018). Making The Batman In our discussion with THE BATMAN post production team, we talk about: The influence of 70’s cinema on THE BATMAN Using POV driven sound to internalize character feelings Building the “voice” of the Batmobile The anatomy of a chase scene Futzing music on the fly The Credits Get your free 100GB of media transfer at MASV Visit ExtremeMusic for all your production audio needs See what's new in the latest versions of Media Composer and Pro Tools Hear editor Bill Hoy talk about editing THE CALL OF THE WILD See re-recording mixer and sound designer Will Files and the post production team from STRANGER THINGS discuss Season Three Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editors - Jon Corn ACE and Dean Zimmerman ACE Editing THE ADAM PROJECT at home, away from production and director Shawn Levy, was a new and unwelcomed experience for editor Dean Zimmerman.  Throughout all their collaborative efforts, including the "Night at the Museum" films, FREE GUY (2021) and of course, STRANGER THINGS, the two were practically joined at the hip.  Not only that, but Dean was balancing a new season of STRANGER THINGS, wrapping up FREE GUY and getting THE ADAM PROJECT off the ground all at the same time.  Even with all his experience, he definitely needed help.  Fortunately, a talented editor familiar to both Dean and Shawn was available to help the pair hit all the right notes of comedy, drama and action, for their new Netflix film. THE ADAM PROJECT tells the tale of time-traveling fighter pilot Adam Reed (Ryan Reynolds), who accidentally crash-lands in 2022 while on his way to 2018.  Once there he teams up with his 12-year-old self (Walker Scobell) on a mission to save the future. JON CORN ACE Prior to THE ADAM PROJECT, editor Jon Corn's first and only experience with Shawn Levy and Dean Zimmerman was in 2017 on a series called, IMAGINARY MARY.  But apparently he made a pretty strong impression on the two as they trusted his talents to their latest high-profile project.  And why not?  Jon had an impressive roster of comedy tv to his credits, including; PARKS AND RECREATION, CURB YOUR ENTHUSIASM, THE GOLDBERGS, ENTOURAGE and many others.  Jon had also recently cut the feature film FATHERHOOD (2021). DEAN ZIMMERMAN ACE THE ADAM PROJECT 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 THE ADAM PROJECT.  Assistant editor Kat Naranjo, pre-viz editor Brad Tobler and sound editor Craig Henighan were 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.   (yes, I totally copied this from the write-up on Dean I did for FREE GUY) Dean is currently working on wrapping up Season Four of STRANGER THINGS, premiering May 27th, 2022. Editing The Adam Project In our discussion with THE ADAM PROJECT editors Dean Zimmerman and Jon Corn, we talk about: The additive coolness of digital trees Overcoming the newness to the bigness Getting rid of remote editorial anxieties with PacPost Live Working with Ryan Reynolds on timing and inflection notes Sacrificing great material for the even greater good The Credits Get your free 100GB of media transfer at MASV Visit ExtremeMusic for all your production audio needs See what's new in the latest version of Media Composer Hear editor Dean Zimmerman talk about FREE GUY See the post production team from STRANGER THINGS discuss Season Three Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editors - Charles Little II ACE and Bryan Colvin 9-1-1: Lone Star editors Charles Little II and Bryan Colvin make their debut on The Rough Cut to describe both their workflow for the Fox procedural drama as well as the career paths that lead them there. From 9-1-1 co-creators Ryan Murphy, Brad Falchuk and Tim Minear, 9-1-1: Lone Star follows a sophisticated New York firefighter who, along with his son, relocates from New York City to Austin, Texas. He must try to balance the duties of saving those who are at their most vulnerable and solving the problems in his own life. He is joined by other firefighters as well as members of the police department and emergency medical services. CHARLES LITTLE II ACE Charles is an accomplished motion picture editor, television producer and an award-winning multimedia creative. In 2008, Charles received the Best Editing Award for The Luminaries' inspiring music video entitled Peace at the fifth annual Elevate Film Festival which challenged international filmmakers to create works of social and environmental importance. In 2012, Charles directed and edited a series of short brand films for ad agency Gertude, Inc. which earned him a bronze Telly Award.  Charles' credits also include unscripted series for networks like Showtime, Discovery, NatGeo and VH1; including Ru Paul's Drag Race and MTV Networks' 1 World Hip-Hop Championship where Charles wore several hats including Editor, Director and Executive Producer. Charles is an active member in various post-production groups promoting diversity and advancement within the film and television industry; and is a proud member of the Motion Picture Editor's Guild (I.A.T.S.E. Local #700). BRYAN COLVIN Bryan is an up and coming motion picture editor, currently working on 9-1-1 on FOX (created by Ryan Murphy, Brad Falchuk & Tim Minear), with his roots in all forms of media creation growing up. From music performance, composition, video editing, motion graphics, even adobe flash before that went the way of the dodo. Any art form that involved media placed over a timeline, was of interest in his upbringing. At the age of 19 Bryan cut a web series called Noah’s Arc created by Patrik-Ian Polk that was picked up by LOGO Network. He’s cut many music videos, short films, and a sum of 7 indie feature films since his first, and 2 more as Additional Editor. In 2013 Bryan cut his first feature film Blackbird, starring Mo’Nique, Isaiah Washington, and new comer Julian Walker, which even got a small theatrical release in major cities. Always striving to dig deeper into story and plot, and engage the audience better with edge-of-your-seat excitement and empathy for the characters. Always striving to learn new tools and improve the time it takes for thought to be built in the timeline for real, all while guiding the collaborative synergy at the edit bay to keep it flowing all the way to lock picture. Editing 9-1-1: Lone Star In our discussion with the editors of 9-1-1: Lone Star, we talk about: Snapchat editorial setups Trolling Twitter for audience feedback Taking the mad scientist approach to remote "Parsec" workflows Loving the trim tool and 3-band EQ Being an "emotional DJ" The Credits Get your free 100GB of media transfer at MASV Visit ExtremeMusic for all your production audio needs Download your free trial of Avid Media Composer Ultimate Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Asst. Editors - Francesca Castro, Art O'Leary ACE, Irene Chun, Daniel Morfesis, Christina Mar For those that aspire to careers in film and tv editing, this panel (originally recorded for ACE EditFest 2021) offers plenty of great advice and lots of interesting origin stories from five assistant editors who have worked on some of the most acclaimed films and television shows. FRANCESCA CASTRO Life Sentence, Whiskey Cavalier, Ted Lasso ART O'LEARY ACE The Next Iron Chef, Forever Young, Deadliest Catch IRENE CHUN Eastsiders, Minari, Shang-Chi and the Legend of the Ten Rings DANIEL MORFESIS If Beale Street Could Talk, Zola, The Underground Railroad CHRISTINA MAR Trumbo, Molly's Game, Eternals Building Careers in Film and TV Editing In our discussion with these amazing assistant editors, we talk about: Taking ownership of your mistakes What happens in the cutting room stays in the cutting room The importance of being genuine and having a good attitude How anyone can be a mentor The Credits Get your free 100GB of media transfer at MASV Visit ExtremeMusic for all your production audio needs Listen to the first part of this two-part series where we meet the editors Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editors - Fred Raskin ACE, Greg D'Auria and Gregg Featherman PEACEMAKER editors Fred Raskin ACE, Greg D'Auria and Gregg Featherman have worked together going back many years, just never all together on the same project.  For the HBO Max spinoff of James Gunn's THE SUICIDE SQUAD, the three have combined their collective talents to create a series that balances comedy, action and drama with Gunn's signature style. PEACEMAKER is an American television series based on the DC Comics character Peacemaker. It is the first DC Extended Universe (DCEU) television series and is set after the events of THE SUICIDE SQUAD.  The series follows jingoistic killer Christopher Smith / Peacemaker as he joins "Project Butterfly"; a black ops squad that targets extra-terrestrial parasitic butterfly-like creatures. FRED RASKIN ACE In looking for an editor and Associate Producer for his first DC tv series, James Gunn had to look no further than an old friend from his Marvel days, editor Fred Raskin.  Fred worked with Gunn on both Guardians of the Galaxy films, as well as 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 Quantin Tarantino.  Fred handled the editorial duties for Django Unchained, The Hateful Eight and, most recently, Once Upon a Time in Hollywood. 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) and F9: THE FAST SAGA (2021). GREGG FEATHERMAN While PEACEMAKER marks the first time that Gregg Featherman has worked with Raskin, he was assisted by editor Greg D'Auria on the films MUSIC OF THE HEART (1999) and TEXAS RANGERS (2001).  Although the earlier part of his career was primarily in feature film, Featherman has spent most of his career editing tv series such as; ENTOURAGE (2005-2011), SHAMELESS (2013-2015) and JANE THE VIRGIN (2015-2016). Editing PEACEMAKER In our discussion with PEACEMAKER editors Fred Raskin ACE, Greg D'Auria and Gregg Featherman, we talk about: Editing the most awesome show open ever John Cena's incredible improv talents Working with James Gunn on a tv series vs working with him on a film Meeting the director over FaceTime and communicating via notes Resurrecting the career of a Norwegian glam metal band 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 Hear Fred Raskin talk about his work on THE SUICIDE SQUAD and ONCE UPON A TIME IN HOLLYWOOD Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

ACE Editors - Harry Yoon, Joi McMillon, Ben Bulatao, Melissa McCoy, Alan Baumgarten For those that aspire to careers in film and tv editing, this panel (originally recorded for ACE EditFest 2021) offers plenty of great advice and lots of interesting origin stories from five editors who have helmed some of the most acclaimed films and television shows. HARRY YOON ACE The Newsroom, Euphoria, Minari, Shang-Chi and the Legend of the Ten Rings JOI McMILLON ACE Moonlight, If Beale Street Could Talk, The Underground Railroad, Zola BEN BULATAO ACE Biography, Ice Road Truckers, Black Gold, Deadliest Catch MELISSA McCOY ACE CSI, I Love Money, Rush Hour, Ted Lasso ALAN BAUMGARTEN ACE Zombieland, Molly's Game, The Trial of The Chicago 7, Being the Riccardos Building Careers in Film and TV Editing In our discussion with these amazing ACE editors, we talk about: Starting an editing career with a blooper reel How sometimes you have to take a step sideways or backwards to move forward The immutable truth that WHO you meet in film school can be more important than WHAT you learn in film school What it means to be good in the room The Credits Get your free 100GB of media transfer at MASV Visit ExtremeMusic for all your production audio needs Hear Alan Baumgarten talk about his Oscar-nominated work on The Trial of the Chicago 7 Listen to Melissa McCoy discuss editing Ted Lasso Harry Yoon on his work on Minari and Shang-Chi and the Legend of the Ten Rings Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editor - Janus Jansen FLEE editor, Janus Jansen began his filmmaking journey when he first stepped into an editing room on Monday, February 5th 1970.  Fifty-two years later he can look back upon a career rich in both scripted films, such as SMILLA'S SENSE OF SNOW (1997) and THE HOUSE OF THE SPIRITS (1993), as well as documentaries like STRONG ISLAND (2017) and A CIVILIZED COUNTRY (2014).  Fourteen of those films were done with noted Danish director, Bille August. FLEE follows Amin Nawabi, who, on the verge of marrying his husband, shares his story for the first time about his hidden past fleeing his home country of Afghanistan to Denmark as a refugee. Editing FLEE In our discussion with FLEE editor, Janus Jansen we talk about: To dub or not to dub, that is the question Creating animatics Keeping post in sync with animation Doing sound design when there's little-to-no production audio What the word 'home' means to an editor 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 - Molly Shock ACE, Matt Cluett, Ezra Hudson MASTERCHEF: LEGENDS editors Molly Shock, Matt Cluett and Ezra Hudson join The Rough Cut to talk about their ACE Eddie nominated work on Season 11 of the reality TV juggernaut. Featuring celebrity chef Gordon Ramsey, the cooking competition pits amateur and "at home" chefs against one another in an ongoing gauntlet of culinary challenges until only one contestant is left standing.  The competition takes place in the MasterChef soundstage located in Los Angeles, CA; which includes a large kitchen area with several cooking stations that are overlooked by a balcony, a well-stocked pantry, a freezer/fridge area and a fine-dining restaurant/seating dining area room used for certain challenges. MOLLY SHOCK ACE Aspiring director Molly Shock discovered her love of editing through her disdain for being on set.  The DGA's loss was unscripted tv's gain as Molly's storytelling skills and eye for "salty looks" has helped create some of the most popular shows in the world of reality television.  Too numerous to name in their entirety, Molly has edited such reality tv standouts as;  BEYOND SCARED STRAIGHT, TOP CHEF MASTERS, PROJECT RUNWAY, SURVIVOR, NAKED AND AFRAID and RUPAUL'S DRAG RACE ALL STARS.  Always up for a challenge, Molly has never met an escape room she didn't like or a turkey she couldn't cook. MATT CLUETT Matt Cluett's first opportunity to try his hand at cutting unscripted tv began in Australia on the Aussie versions of many well known reality franchises, including shows such as;  THE BIGGEST LOSER, THE APPRENTICE, SO YOU THINK YOU CAN DANCE, THE X FACTOR, WIFE SWAP, AUSTRALIA'S NEXT TOP MODEL, THE BACHELOR and of course, MASTERCHEF AUSTRALIA.  Currently on his third season of MASTERCHEF: LEGENDS, Matt focuses much of his attention on the "super tease" element of the show. EZRA HUDSON USC film school grad, Ezra Hudson initially found himself on a track to being a "very" junior feature development studio exec and then marketeer at Legendary Pictures.  At that point Ezra considered the process of post production to be boring, based on some brief experience he had visiting a film cutting room while he was in high school.  Despite that previous conception of post, Ezra knew he needed to do something more visceral and vital with his talents.  That desire put him back on course with editing, joining shows like LEGO MASTERS and DANCING WITH THE STARS, and ultimately leading him to lend his "God's eye view" to the finishing phase of MASTERCHEF: LEGENDS. Editing MasterChef: Legends In our discussion with MASTERCHEF: LEGENDS editors Molly Shock ACE, Matt Cluett and Ezra Hudson, we talk about: What it's like to be on a show that can have a team of up to 20 editors How they divide up the workflow with “Builders”, “Polishers”, & “Finishers” How you work remotely with such a large team Why the cold opens and "next on" segments are so important to the whole context of an episode Managing the sheer volume of media required to make a show like MasterChef The Credits Get your free 100GB of media transfer at MASV Visit ExtremeMusic for all your production audio needs Learn all about how the new  Avid NEXIS | EDGE enables Media Composer and Adobe Premiere teams to collaborate remotely Hear editor Molly Shock ACE and her unscripted tv colleagues get real about working in reality TV Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editor - Tom Eagles ACE THE HARDER THEY FALL editor, Tom Eagles ACE first made a name for himself with his ACE Eddie-winning work on JOJO RABBIT (2019); a film for which he was also nominated for an Oscar® for Best Film Editing.  Looking to expand his career and broaden the scope of the work he could choose from, Tom was in the process of moving his family from his native New Zealand to Los Angeles, while he took on a new project with first-time director, Jeymes Samuel.  Due to the impact of COVID, that move was delayed and Tom wound up cutting his new film back home in New Zealand. In addition to directing THE HARDER THEY FALL, Jeymes Samuel is also known as a singer, songwriter and music producer who travels under the name "The Bullitts".  For his first time out as a filmmaker, Samuel has crafted a revisionist Western with a distinct emphasis on visual style and, of course, musicality.    THE HARDER THEY FALL is also one of the few, if not only, Westerns whose principal cast members are all Black and all the characters they play in the film are real.   The standout cast is anchored by actors; Jonathan Majors, Idris Elba, Regina King, Delroy Lindo, RJ Cyler, Zazie Beets and Lakeith Stanfield. TOM EAGLES ACE Back in his home country of New Zealand, Tom Eagles built his career on a foundation of work with director, Taika Waititi.  Projects such as; WHAT WE DO IN THE SHADOWS (2014), HUNT FOR THE WILDERPEOPLE (2016), the TV series WELLINGTON PARANORMAL (2018) and their critically-acclaimed film, JOJO RABBIT (2019).  Now working full time in Los Angeles after completing THE HARDER THEY FALL, Eagles is once again reuniting with Waititi for his next film. Editing The Harder They Fall In our discussion with THE HARDER THEY FALL editor, Tom Eagles ACE, we talk about: Managing a story with a large cast The punctuation of freeze frames, stings and split screens Having a director "sing" you the script The enduring analog method of "pen and paper" note taking Being a working editor in New Zealand vs Hollywood 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 Hear Tom Eagles talk about his work on Jojo Rabbit Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editors - Andrew Weisblum ACE and Myron Kerstein ACE tick, tick...Boom! editors Andy Weisblum and Myron Kerstein merged their considerable talents to bring Lin-Manuel Miranda's directorial debut to life....but not at the same time.  While Weisblum began the project, COVID-related delays and a prior commitment to another film meant that Andy would not be able to finish the film.  Fortunately for Miranda, he had to look no further than the cutting room of his film IN THE HEIGHTS.   With that, Myron Kerstein was brought in to lend his storytelling skills to the project and bring "TTB" home. ANDREW WEISBLUM ACE Aside from his rich body of work with Wes Anderson, Andy is also a frequent collaborator with director Darren Aronofsky.  In addition to his Oscar®-nominated work on Aronofsky’s BLACK SWAN (2010), Andy also collaborated with him on THE FOUNTAIN (2006), BROKEN ENGLISH (2007), THE WRESTLER (2008), NOAH (2014) and MOTHER! (2017).  The two are currently at work on Aronofsky’s next film, THE WHALE. MYRON KERSTEIN ACE Even before re-teaming with Lin-Manuel Miranda for tick, tick...Boom!, Myron Kerstein had plenty of experience to draw from going into their first project together - Miranda’s Broadway hit, IN THE HEIGHTS (2021). Kerstein previously worked with IN THE HEIGHTS director John Chu on the film, CRAZY RICH ASIANS (2018).  Myron also had a diverse pool of film and tv projects, including; GARDEN STATE (2004), NICK AND NORAH'S INFINITE PLAYLIST (2008), LITTLE FOCKERS (2010), THE DUKES OF HAZARD (2005), FAME (2009), GIRLS (2015-17) and HOME BEFORE DARK (2020). Editing tick, tick...Boom! In our discussion with tick, tick...Boom! editors Andy Weisblum and Myron Kerstein, we talk about: How to manage the handoff of a project from one editor to another Converting beats to frames when cutting a musical Cutting at director, Lin-Manuel Miranda's house What to do with the post crew when a new editor comes in to replace the first one Editing with The Wu-Tang Clan looking over your shoulder The Credits Get your free 100GB of media transfer at MASV Visit ExtremeMusic for all your production audio needs See what's new in the latest version of Media Composer Listen to editor Andrew Weisblum discuss The French Dispatch Hear Myron Kerstein talk about cutting In the Heights Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editor - Andy Jurgensen LICORICE PIZZA editor, Andy Jurgensen has worked with director Paul Thomas Anderson since their time together on INHERENT VICE (2014).  At that time, Andy was first assistant editor to Leslie Jones ACE.  From there Andy served as associate editor to Dylan Tichenor ACE on Anderson's PHANTOM THREAD (2017).  In addition to his work with Paul Thomas Anderson, Andy has also served as an assistant editor on a number of films with director, Jay Roach, including THE CAMPAIGN (2012), TRUMBO (2015) and BOMBSHELL (2019). Set in the San Fernando Valley in the early 1970's, LICORICE PIZZA is a semi-biographical film that tells the tale of Gary Valentine (Cooper Hoffman), a 15 year-old actor-turned-entrepreneur who becomes infatuated with 25 year-old Alana Kane (Alana Haim).  Despite rejecting his romantic overtures due to their age difference, Alana can't deny Gary's charisma and charm.  Realizing her life is more interesting with Gary in it, Alana becomes partners with Gary in his burgeoning waterbed business. Editing LICORICE PIZZA In our discussion with LICORICE PIZZA editor, Andy Jurgensen we talk about: Rising up the ranks from assistant to lead editor Working in a hybrid film and digital workflow The unique processes of director Paul Thomas Anderson How to cut a film without a strong plot to guide you Breaking the rules of needle drops to establish an era 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 - Terel Gibson ACE, Rosanne Tan ACE and Tim Roche The editors of Marvel's HAWKEYE each brought their own storytelling super powers to the mix for the most recent Disney+ hit.  MCU "newbie" Terel Gibson brought his formidable feature editing skills, while MCU veterans Rosanne Tan and Tim Roche applied their respective tv experience in action/drama and comedy.  Collectively the result was a show that delighted Marvel fans and evoked the holiday spirit of a diverse set of films from DIE HARD to HOME ALONE. Taking place one year after the events of AVENGERS: ENDGAME, Clint Barton (Hawkeye/Ronin) must partner with Kate Bishop to confront enemies from his past as Ronin in order to get back to his family in time for Christmas. TEREL GIBSON ACE Prior to joining the MCU for HAWKEYE, Terel Gibson ACE was best known for his feature film work on movies such as SORRY TO BOTHER YOU (2018), READY OR NOT (2019) and THE FIGHTER (2010). ROSANNE TAN ACE Rosanne Tan ACE makes her record-tying 3rd appearance on The Rough Cut!  Prior to HAWKEYE, Rosanne also cut Marvel's THE FALCON AND THE WINTER SOLDIER and had plenty of other experience editing tv shows (MR. ROBOT, HOMECOMING) that featured action, intrigue and high drama. TIM ROCHE In addition to Tim's previous experience cutting another hit Marvel series (WANDAVISION), Mr. Roche 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. Editing Marvel's Hawkeye In our discussion with the editors of Marvel's Hawkeye, we talk about: Mining the Marvel archives The narrative role of the "walk and talk" Building an epic 360 degree car chase How to make a mega montage from "scenelets" Meeting your heroes 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 Hear Rosanne Tan talk about her work on THE FALCON AND THE WINTER SOLDIER and HOMECOMING Listen to editor Tim Roche discuss his work on WANDAVISION Check out other Hawkeye related Rough Cut podcasts such as AVENGERS: ENDGAME and BLACK WIDOW Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Author / Editor / Documentarian - Roger Nygard ACE Cut to the Monkey author, Roger Nygard has logged many hours in the editing rooms of some of the biggest names in comedy.  It was those sessions with the likes of Larry David, Sacha Baron Cohen and Judd Apatow that inspired him to organize their thoughts, and his own, into a book that can help even more experienced editors confidently take on comedy projects. ROGER NYGARD ACE Roger Nygard is probably best known for his highly-successful and acclaimed documentary Trekkies, about the most obsessive fans in the Universe. Nygard's previous documentary, The Nature of Existence, addressed the impossible subject of the world's philosophies, religions, and belief systems. Nygard has made several other award-winning films, including the car-salesman cult-film, Suckers, and a profile of UFO fanatics, Six Days In Roswell, and now the documentary The Truth About Marriage. His work as an editor includes "Grey's Anatomy," "The League," and Emmy-nominated episodes of "VEEP" and "Curb Your Enthusiasm."  Nygard has also directed television series such as "The Office," and "The Bernie Mac Show". Writing Cut to the Monkey In our discussion with Cut to the Monkey author, Roger Nygard ACE, we talk about: Working backwards to find the best takes faster Studying the classics Staying in the wides and staying on the joke The importance of being a filmmaker first, editor second Navigating the Periodic Table of Nonsense The Credits Get your free 100GB of media transfer at MASV Visit ExtremeMusic for all your production audio needs Get your copy of Cut to the Monkey today 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 - Leigh Folsom Boyd ACE and Jeffrey Ford ACE Editors Leigh Folsom Boyd and Jeffrey Ford are not exactly newbies when it comes to the Marvel Cinematic Universe.  And while they have many prior MCU colleagues in common, SPIDER-MAN: NO WAY HOME represents the first time they've ever worked together on a project.  Jeff was the editor who introduced Tom Holland's Peter Parker to the MCU when he cut CAPTAIN AMERICA - CIVIL WAR.  Leigh has the distinction of also cutting the previous film in director Jon Watts' "Spidey" trilogy, SPIDER-MAN: FAR FROM HOME alongside editor Dan Lebental ACE. NO WAY HOME picks up things up in the moment after Mysterio exposes Parker's identity as Spider-Man to the world in FAR FROM HOME.  Peter then asks Dr. Strange to make it a secret again with magic, but this breaks open the "multiverse" and allows five supervillains from alternate realities to enter Parker's universe. LEIGH FOLSOM BOYD ACE Even before joining the Marvel Cinematic Universe to co-edit ANT MAN, SPIDER-MAN: FAR FROM HOME and BLACK WIDOW, editor Leigh Folsom Boyd had plenty of experience cutting blockbuster action movies.  Her rich 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). JEFFREY FORD ACE While Jeff Ford's career has been punctuated by the excellent work he has done in smaller projects such as ONE HOUR PHOTO (2002), BLOODWORTH (2010) and THE COMEY RULE (2020), it is his impressive and unmatched roster of ten MCU films (plus THE FALCON AND THE WINTER SOLDIER for Disney+) for which he is most well known. Editing Spider-Man: No Way Home In our discussion with the SPIDER-MAN: NOW WAY HOME editing team of Leigh Folsom Boyd and Jeffrey Ford, we talk about: Taking care to build a film that can stand on its own within both a trilogy and a franchise Integrating the Easter eggs Collaborating under COVID restrictions The experience of editing on set Jeff Ford finally coming clean about his gaffe in AVENGERS: ENDGAME The Credits Get your free 100GB of media transfer at MASV Visit ExtremeMusic for all your production audio needs Save 20% on subscriptions to Media Composer and Media Composer | Ultimate before 2021 ends Hear Leigh Folsom Boyd talk about editing Black Widow Jeffrey Ford and Robin Buday discuss Avengers: Endgame Editor Dan Lebental on cutting Spider-Man: Far From Home See Chancler's Spider-Man Music Video over on Twitter Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube and see the video version of this interview with Jeff and Leigh

Editor - Cam McLauchlin NIGHTMARE ALLEY editor, Cam McLauchlin has been working with director Guillermo Del Toro dating back to their time together on PACIFIC RIM (2013).  But up to this point Cam had exclusively served in assistant editing and associate editing roles for Del Toro.  NIGHTMARE ALLEY marks McLauchlin's first time as lead editor for the celebrated director. Set in the 1940's. NIGHTMARE ALLEY tells the tale of Stanton Carlisle (Bradley Cooper), a down-on-his-luck drifter who endears himself to a clairvoyant (Toni Collette) and her mentalist husband (David Strathairn) at a traveling carnival. Using newly acquired knowledge, Carlisle crafts a golden ticket to success by swindling the elite and wealthy. Hoping for a big score, he soon hatches a scheme to con a dangerous tycoon with help from a mysterious psychiatrist who might be his most formidable opponent yet. CAM McLAUCHLIN As a film & television editor based out of Toronto and Los Angeles, Cam's career began in Toronto working as an assistant editor for Guillermo Del Toro on PACIFIC RIM, THE STRAIN, CRIMSON PEAK and eventually as an associate editor on SHAPE OF WATER.  Cam also edited the horror cult classic, THE VOID with alumni from Canadian film production and directing company, Astron-6.  Other selected work includes; Max Minghellas' feature debut musical, TEEN SPIRIT and Dogme 95 member, Lone Schefrig's KINDNESS OF STRANGERS.  Cam is currently working with Ana Lily Amirpour for Guillermo's Netflix anthology series, CABINET OF CURIOUSITIES. Editing NIGHTMARE ALLEY In our discussion with NIGHTMARE ALLEY editor, Cam McLauchlin we talk about: Rising up the ranks from assistant to associate to lead editor Making bulldogs bark for Guillermo Del Toro Managing notes from the director, producers, stars and the studio The challenge of cutting fluid camera work Assisting neurotic editors The Credits Get your free 100GB of media transfer at MASV Visit ExtremeMusic for all your production audio needs Save 20% on Avid Media Composer Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Ghostbusters: Afterlife - Dana E. Glauberman ACE, Nathan Orloff, Will Files, Perry Robertson Although editor Dana E. Glauberman ACE and sound editor / re-recording mixer Perry Robertson already had plenty of experience working with director Jason Reitman, editor Nathan Orloff and veteran sound editor / re-recording mixer Will Files were not quite as familiar with the "Reitman-verse".  But together these four very talented people helped create a new film that not only honored the beloved comedy classic, but also paved the way so that a whole new generation could fall in love with symmetrical book stacking. DANA E. GLAUBERMAN ACE Dana E. Glauberman ACE is known for her work on THE MANDALORIAN (2019), CREED II (2018),  UP IN THE AIR (2009) and JUNO (2007). NATHAN ORLOFF Nathan Orloff is known for his work on JOHN WICK 4 (2022), PLAN B (2021) and TULLY (2018). WILL FILES Will Files is known for his work on THE INVISIBLE MAN (2020), VENOM (2018), WAR FOR THE PLANET OF THE APES (2017), STAR WARS:  EPISODE VII - THE FORCE AWAKENS (2017) and CLOVERFIELD (2008). PERRY ROBERTSON Perry Robertson is known for his work on THE FRONT RUNNER (2018), WONDER (2017) and TRUMBO (2015). Editing Ghostbusters: Afterlife In our discussion with the GHOSTBUSTERS: AFTERLIFE post production team of Dana E. Glauberman ACE, Nathan Orloff, Will Files and Perry Robertson we talk about: Using legacy sounds from the original film Bringing back a lost scene from Ghostbusters (1984) How to create voices for ghosts and marshmallow men Dividing up the workload in picture and sounds Advice for up-and-comers looking for a career in editing and mixing The Credits Get your free 100GB of media transfer at MASV Visit ExtremeMusic for all your production audio needs Save big on Avid Media Composer and Pro Tools before 2021 is over Listen to parts one and two from the Season One interview with The Mandalorian editors Hear Will Files and his esteemed colleagues discuss The Psychology of Sound Design Subscribe to The Rough Cut for more great interviews with the heroes of the editing room Visit The Rough Cut on YouTube  

Editor - Peter Sciberras THE POWER OF THE DOG editor, Peter Sciberras had never met director Jane Campion prior to their working together on this film, but their initial discussion about maintaining the tension throughout the film and the kind of tenacious editor that would require, left no doubt that Pete was the one for this project. THE POWER OF THE DOG is a western drama. both written and directed by Jane Campion, based on the 1967 novel of the same name by Thomas Savage. The film stars Benedict Cumberbatch, Kirsten Dunst, Jesse Plemons, and Kodi Smit-McPhee. PETER SCIBERRAS Prior to his work on THE POWER OF THE DOG, Pete had cut his storytelling teeth on a number of short films and then went on to make his mark in Australian cinema with films such as; HAIL (2011), THE ROVER (2014), WAR MACHINE (2017) and THE KING (2019). Editing THE POWER OF THE DOG In our discussion with THE POWER OF THE DOG editor, Peter Sciberras we talk about: The skills an editor can develop doing short films Editing in isolation during the pandemic Shifting perspectives between characters The role of the DI assistant? Telling a story between the lines of dialogue The Credits Get your free 100GB of media transfer at MASV Visit ExtremeMusic for all your production audio needs Save 20% on Avid Media Composer Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube  

Hans Zimmer and Joe Walker ACE Long time friends and collaborators, Hans Zimmer and Joe Walker ACE have had the pleasure of working together on five feature films.  Their first was Steve McQueen's 12 Years A Slave, followed up by Dune director Denis Villeneuve's Blade Runner 2049.  After that came Widows (again with McQueen), Dune and their upcoming film, The Unforgivable.  Feature films aside, their relationship dates back even much further than that.  Both creative talents were part of a BBC TV series called First Born in 1988.  And while Hans filled the roll he's become most known for by scoring three episodes of the series, twice Oscar®-nominated film editor Joe Walker actually contributed as a sound editor and not a picture editor for First Born.  In fact, musically trained Walker began his career as a sound editor before switching to cutting picture. HANS ZIMMER The work of legendary composer Hans Zimmer is notable for integrating electronic music sounds with traditional orchestral arrangements. Since the 1980's, Zimmer has composed music for over 150 films. His works include The Lion King (for which he won the Academy Award for Best Original Score in 1995), Crimson Tide, Gladiator, the Pirates of the Caribbean series, The Dark Knight Trilogy, Inception, Interstellar, Dunkirk, Blade Runner 2049 and Dune.  In addition to his Academy award, he has received four Grammy Awards, three Classical BRIT Awards and two Golden Globes. He was also named to the list of Top 100 Living Geniuses, published by The Daily Telegraph. JOE WALKER ACE Formally trained in music and with a career that began as a sound editor, Joe's decision to pursue a life as a picture editor clearly paid off as he is one of the most celebrated feature film editors working today; having been nominated for an Oscar® for his work on the films 12 Years a Slave and The Arrival.  Those films also notched Joe two of this three BAFTA nominations, with the third being for Blade Runner 2049. The Details In our discussion with the dynamic "DUNE" duo of Hans Zimmer and Joe Walker ACE we talk about: How Hans's early film scores messed with the monitors Creating "the voice" The horizontal and vertical editing Joe Walker does within the frame Building a better bagpipe The brief and inauspicious careers of Hans Zimmer, film editor and Joe Walker, sound editor 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 Watch this Rough Cut episode on YouTube Listen to the interview with Hans Zimmer that inspired this new one with Joe Walker ACE. Subscribe to The Rough Cut podcast and never miss an episode

Editor - Úna Ní Dhonghaíle ACE, BFE BELFAST editor, Úna Ní Dhonghaíle joins director Kenneth Branagh once again for their third feature together; having previously collaborated on ALL IS TRUE (2018) and the upcoming DEATH ON THE NILE (2022).  Branagh describes BELFAST as his "most personal film" about a young boy's childhood amidst the tumult in Belfast, Northern Ireland in the late 1960's. ÚNA NÍ DHONGAÍLE BELFAST editor, Úna Ní Dhonghaíle is also well known for her work on THE CROWN, MISBEHAVIOUR, THREE GIRLS and STAN AND OLLIE. She has worked on the leading lights of British drama in what some are calling "The Golden Age of Television". Having completed a degree in Film and Media Studies in her native Dublin, Úna specialized in film editing at the National Film and Television School (NFTS) from 1995-1998. Úna earned her first of four BAFTA nominations in 2009 for the Abi Morgan's TV feature WHITE GIRL.  Over a five year period, she co-directed and edited a documentary INVISIBLE MAN, for which she won the 2016 IFTA for Best Editing in Television. Úna has also received much recognition for her editing of the highly acclaimed BBC drama THREE GIRLS, for which she won the BAFTA award for Best Fiction Editing, the Technicolor Craft Award from Women In Film UK, the IFTA for Best Editing, the RTS Award for Best Editing of Fiction, the RTS West of England Award for Editing and the Televisual British Bulldog Award for Editing. Editing BELFAST In our discussion with BELFAST editor, Úna Ní Dhonghaíle, we talk about: Finding the film's narrator in Van Morrison's music Aligning the audience with a child character Establishing a scene through sound design Collaborating with director Kenneth Branagh Leveraging the inherent tension from a historical event 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 - Paul Machliss ACE THE LAST NIGHT IN SOHO editor, Paul Machliss ACE is reunited once more with director Edgar Wright.  The two first met on Wright's BBC TV series, SPACED (1999-2001) where Machliss served primarily as on-line editor until he moved into the offline role for four episodes from the final season. LAST NIGHT IN SOHO is a 2021 British psychological horror film directed as well as co-written by Wright.  The film stars Thomasin McKenzie, Anya Taylor-Joy, Matt Smith, Michael Ajao, Diana Rigg and Terence Stamp. It marks the final film appearances of Rigg and Margaret Nolan, who both died in 2020.  Focus Features states that the film "tells the tale of Eloise, an aspiring fashion designer, who is mysteriously able to enter the 1960s where she encounters a dazzling wannabe singer, Sandie. But the glamour is not all it appears to be and the dreams of the past start to crack and splinter into something far darker". PAUL MACHLISS ACE While known most prominently for his work with 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).  Paul is currently working on THE FLASH (2022) with editor Jason Ballantine ASC ACE for director Andy Muschietti. Editing LAST NIGHT IN SOHO In our discussion with THE LAST NIGHT IN SOHO editor, Paul Machliss ACE, we talk about: The early BBC days with Edgar Wright Using Media Composer and Pro Tools on set for lighting and camera control Solidifying the soundtrack before production Taking an analog "tape loop" approach to sound design Using dupe detection to build an edit 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 Visit with Paul on the set of Baby Driver Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube Leave some feedback or a question you want asked on a future episode

Editors - Craig Wood ACE and Dylan Tichenor ACE Editor Craig Wood ACE returns once again to the Marvel Cinematic Universe and this time he is joined by the formidable talents of Oscar®-nominated editor Dylan Tichenor ACE. Despite their extensive careers and wide variety of credits, ETERNALS marks the first time that Dylan and Craig have co-edited together. It's also the first film, possibly for any editor, where the director (Chloe Zhao) received an Oscar® nomination for Best Film Editing (NOMAD) while their current film was still in post production. CRAIG WOOD ACE While ETERNALS is Craig's fourth film with Marvel, following GUARDIANS OF THE GALAXY (2014), GAURDIANS OF THE GALAXY - VOL.2 (2017) and ANT-MAN and THE WASP (2018), most of Craig's own "cinematic universe" has been with director Gore Verbinski. Together they made the films; MOUSEHUNT (1997), THE MEXICAN (2001), THE RING (2002), THE PIRATES OF THE CARRIBEAN: THE CURSE OF THE BLACK PEARL (2003), THE PIRATES OF THE CARRIBEAN: DEAD MAN'S CHEST (2006), THE PIRATES OF THE CARRIBEAN: AT WORLD'S END (2007), THE WEATHERMAN (2005), RANGO (2011), THE LONE RANGER (2013) and A CURE FOR WELLNESS (2016)...just to name a few. Craig even cut MALEFICENT: MISTRESS OF EVIL (2019) along with editor Laura Jennings, who appeared on THE ROUGH CUT when that film came out. DYLAN TICHENOR ACE In addition to his work on ETERNALS, Dylan has done a number of films with many acclaimed directors. Most notably with director Paul Thomas Anderson on films such as BOOGIE NIGHTS (1997), MAGNOLIA (1999), THERE WILL BE BOOD (2007) and PHANTOM THREAD (2017). And when he wasn't working with Paul Anderson, he was doing BROKEBACK MOUNTAIN (2005) with Ang Lee, ZERO DARK THIRTY (2012) alongside editor Billy Goldenberg ACE for Kathryn Bigelow, UNBREAKABLE (2000) for M. Night Shamalan, THE ROYAL TENENBAUMS (2001) for Wes Anderson and THE TOWN (2010) for Ben Affleck. Dylan received Oscar® nominations for his work on ZERO DARK THIRTY as well as THERE WILL BE BLOOD. Editing Eternals In our discussion with the ETERNALS editing team of Craig Wood ACE and Dylan Tichenor ACE we talk about: The challenge of introducing 11 new characters in one film How Eternals is just The Revenant with laser beams Working in 7.1 surround in the cutting room Keeping the team together via "Zoom Hallways" 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 Watch editor Dylan Tichenor ACE take you on a guided tour of his ETERNALS timeline Hear director/editor Chloe Zhao talk about her love of editing Hear editor Laura Jennings discuss the film she did with Craig Wood ACE, Maleficent: Mistress of Evil Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editor - Andrew Weisblum ACE THE FRENCH DISPATCH editor, Andrew Weisblum ACE joins forces for the fifth time with director Wes Anderson.  Andy's history with Wes began with THE DARJEELING LIMITED (2007) and was followed up by FANTASTIC MR. FOX (2009), MOONRISE KINGDOM (2012) and ISLE OF DOGS (2018). THE FRENCH DISPATCH was written, directed, and produced by Wes Anderson and stars an ensemble cast featuring Benicio del Toro, Adrien Brody, Tilda Swinton, Léa Seydoux, Frances McDormand, Timothée Chalamet, Jeffrey Wright, Bill Murray, Owen Wilson and many more talented actors.  It tells the tale of the French foreign bureau of a fictional Kansas newspaper, compelled to create its final issue when Arthur Howitzer Jr., the editor of the newspaper, dies suddenly of a heart attack. According to the wishes expressed in his will, publication of the newspaper will be suspended following one final farewell issue in which three articles from past editions of the paper are republished, along with his obituary. The project was first mentioned in August 2018 as an untitled musical set after World War II.  That December, the film was officially announced with Anderson calling it a "love letter to journalists."  Filming took place between November 2018 and March 2019.  Following a year delay, THE FRENCH DISPATCH had its world premiere at the Cannes Film Festival on July 12, 2021 and was theatrically released in the United States by Searchlight Pictures on October 22, 2021. ANDREW WEISBLUM ACE Aside from his rich body of work with Wes Anderson, Andy is also a frequent collaborator with director Darren Aronofsky.  In addition to his Oscar®-nominated work on Aronofsky's BLACK SWAN (2010), Andy also collaborated with him on THE FOUNTAIN (2006), BROKEN ENGLISH (2007), THE WRESTLER (2008), NOAH (2014) and MOTHER! (2017).  The two are currently at work on Aronofsky's next film, THE WHALE. Editing The French Dispatch In our discussion with THE FRENCH DISPATCH editor, Andrew Weisblum ACE, we talk about: Editing from an animatic Wes Anderson's disdain for ADR Using color and framing for punctuation The fun of splits and morphs and sub-frame editing When an editor has to neuter a film 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 - Tom Cross ACE and Elliot Graham ACE NO TIME TO DIE editors, Tom Cross ACE and Elliot Graham ACE combine their collective talents for storytelling and their love for the Bond franchise in director Cary Joji Fukunaga's take on the iconic super agent. NO TIME TO DIE is the twenty-fifth film in the James Bond series. It stars Daniel Craig in his fifth and final outing as fictional British MI6 agent, James Bond.  In this film, Bond, who has left active service with MI6, is recruited by the CIA to find a kidnapped scientist, which leads to a showdown with a powerful adversary. TOM CROSS ACE Editor Tom Cross first really made a name for himself working alongside director Damien Chazelle on their breakout film, WHIPLASH.  Among the many accolades garnered by the film was Cross's Oscar® win for Best Film Editing.  Chazelle and Cross would follow that up with another hit movie, LA LA LAND, for which Cross was again nominated for an Oscar®.  The two would team up yet again for FIRST MAN, a biopic about astronaut Neil Armstrong.  Cross is currently working with Chazelle on the forthcoming film, BABYLON. ELLIOT GRAHAM ACE Editor Elliot Graham wasted no time in making his way into the editor's chair, bypassing the more traveled route of assistant editing.  Graham cut his teeth on a healthy mix of music videos and action movies, punctuated by his work with Oscar®-winning editor John Ottman (BOHEMIAN RHAPSODY) on Bryan Singer's X2: X-MEN UNITED.  Although Elliot would go on to do more action/superhero movies like SUPERMAN RETURNS and CAPTAIN MARVEL, it was his work on MILK, the story of gay rights activist and politician, Harvey Milk that brought Elliott an Oscar® nomination. Editing No Time to Die In our discussion with the NO TIME TO DIE editors Tom Cross ACE and Elliot Graham ACE, we talk about: Creating action within a dialogue scene What they require in their editing suites Hans Zimmer taking over the music during post How Tom and Elliot got started in the business Considerations when cutting IMAX footage   The Credits Get your free 100GB of media transfer at MASV Visit ExtremeMusic for all your production audio needs Listen to the podcast on First Man with Tom Cross ACE See Tom Cross take you on a tour of his First Man timeline 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 - David Webb, Steve Ackroyd, Phil Hignett and Izabella Curry The Sex Education editing team of David, Steve, Phil and Izzy join The Rough Cut to talk about their work on Season Three of the hit series. Sex Education is a British teen comedy-drama streaming television series created by Laurie Nunn for Netflix. The show follows the lives of the students, staff and parents of the fictitious Moordale Secondary School as they contend with various personal dilemmas, often related to sexual intimacy.  The first season of Sex Ed was released in January 2019, the second in January 2020 and, after a pandemic related delay, the third in September 2021. The series has been renewed for a fourth season. DAVID WEBB David Webb is partner, Managing Director and a film editor at Final Cut Ltd . He cut his teeth on music videos in the early 2000's for George Michael, Charlatans, Super Furry Animals, Paul McCartney and Robbie Williams among others. David also collaborated with Edgar Wright on many of his early music videos, including Mint Royale's 'Blue Song', the inspiration for Wright's film Baby Driver. Earlier in his career, he spent a decade cutting commercials before moving into long-form at the request of director Jim Field-Smith. Webb has collaborated with Jim ever since, working on The Wrong Mans; Endeavour; Criminal; Defending The Guilty and, most recently, Truth Seekers. STEVE ACKROYD Steve Ackroyd is an award-winning editor represented by Final Cut. After starting his career cutting ads for the BBC, Ackroyd was headhunted by the edit house & expanded into the world of commercials and music videos.  In 2015, Ackroyd made the leap into longform TV with Channel 4’s multi-award winning comedy Catastrophe, directed by Ben Taylor - he proceeded to be the sole editor on the show for the first 3 seasons. Ackroyd has since cut series such as Hang Ups, Frank Of Ireland and all 3 seasons of the internationally acclaimed Sex Education for Netflix. He’s just finished a stint on the UK version of Call My Agent and is currently working with director Paul McGuigan on four-part drama Inside Man for the BBC and Netflix, starring Stanley Tucci and David Tennant. PHIL HIGNETT Prior to joining the post team for Sex Education in Season Two, Phil's work could be seen on the series Dead Pixels and Year of the Rabbit, also helmed by Sex Education director, Ben Taylor.  Phil is also credited with editing six episodes of the comedy, Stath Lets Flats. IZABELLA CURRY Izabella is a film editor based in Brighton and London. Her credits include the feature film Two For Joy [directed by Tom Beard] which premiered at Edinburgh International Film Festival 2018 and the short film Kara [directed by Deepa Keshval] which was premiered at The London Film Festival 2017. Editing Sex Education In our discussion with the Sex Education editing team of David Webb, Steve Ackroyd, Phil Hignett and Izzy Curry, we talk about: Balancing multiple story lines and "checking in" with characters Collaborating in a COVID bubble Team building through table tennis Working with director Ben Taylor Taking inspiration from Steven Soderbergh's Out of Sight 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 - Maryann Brandon ACE Venom: Let There Be Carnage editor, Maryann Brandon ACE completes a trilogy of her own with her third appearance on The Rough Cut podcast!  Having previously appeared to discuss her work on the Star Wars sequels (The Force Awakens and The Rise of Skywalker), Maryann once again finds herself on board a high-profile franchise flick. Venom: Let There Be Carnage is directed by Andy Serkis and stars Tom Hardy as Eddie Brock / Venom and Woody Harrelson as serial killer Cletus Kasady / Carnage.  In the film, Brock struggles to adjust to life as the host of the alien symbiote known as Venom, while Kasady escapes from death row after becoming the host of Carnage, a chaotic spawn of Venom. MARYANN BRANDON ACE Maryann Brandon is, without question, no stranger to the big movies and big movie franchises.  She first teamed up with director JJ Abrams, someone who would become a central figure in her career, back when Abrams was doing the action tv series, Alias.  In fact, Maryann even directed a few of those shows.  From there, Maryann worked with JJ on Mission Impossible 3, Star Trek, Super 8, Star Trek Into Darkness, and finally Star Wars: The Force Awakens and Star Wars: The Rise of Skywalker.  Among the many other films Maryann has edited was a film that came out in 2018 called Venom, which she co-edited with Alan Baumgarten ACE. Editing Venom: Let There Be Carnage In our discussion with Venom: Let There Be Carnage editor, Maryann Brandon ACE, we talk about: Managing the amount of VFX so as not to exhaust the audience or the budget The tonal balancing act of Venom The qualities of a great assistant editor The value of shooting clean plates on set Reactions to Star Wars editor, Marcia Lucas's comments on the sequels 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