What Our Members Do

Where are you currently employed?

I’m a freelance MPEG sound editor based in New York where I collaborate with various companies and teams.

 Current projects?

I recently completed my work on season 2 of “Dr. Death” and will shortly begin work on season 2 of “The Serpent Queen.”

Describe your job.

I work as a sound editor for movies, mainly focusing on theatrical films and TV series. My job is to create and shape the sound in films to make them more immersive for the audience. In film production, usually only dialogue is recorded on set. So during post-production, the dialogue editor cleans and edits dialogue recordings to prepare them for the sound mix. The sound effects editor works on background sounds and special effects. The Foley editor arranges sounds recorded in sync with pictures and created by Foley artists on a dedicated sound effects recording stage to match characters’ movements and actions. The music editor precisely places original music cues and/or licensed recordings in sync with pictures for optimum emotional impact. Finally, all these edited sounds are mixed together by the re-recording mixer(s) to fit perfectly in each scene. It’s a team effort, and together we bring stories to life, creating a memorable auditory experience for the audience.

How did you first become interested in this line of work?

My college major at the Shanghai Conservatory of Music was piano performance, but an elective course on film sound design unexpectedly ignited my passion for film sound editing and sound design. I was blown away to discover that sound is painstakingly constructed layer by layer in the post-production process. It’s truly remarkable! So, I made the decision to pursue a master’s degree in Sound for Motion Pictures at the University of Miami.

Who gave you your first break?

On season 3 of the Apple+ TV series “Dickinson,” my supervisor, Luciano Vignola, gave me the opportunity to be a sound effects editor. That was my first editor job. It was a fun project that provided ample opportunities for inventive sound design — from the chaos of a Civil War battlefield to the mind-bending concept of time travel, from the eerie ambiance of a lunatic asylum to the harrowing depths of the inferno. Each of these challenges encouraged me to experiment with sound, expanding my passion for the craft and pushing the limits of auditory storytelling. I was happy that my sound effects work turned out well and everyone was satisfied with the results. Luci’s mentorship and trust in my abilities played a pivotal role in shaping my career, and I will always be grateful for that chance to prove myself in the field.

What was your first union job?

During the year following my graduation from the university, I had the privilege of meeting Suzana Peric, who had just begun working as the music editor for “Little Women.” I had the honor of working alongside her for several months, collaborating on searching for appropriate classical music compositions and arrangements, facilitating and organizing recording sessions, and more. I thoroughly enjoyed my time working on that job, and it was a valuable experience.

What credits or projects are you proudest of, and why?

Season 3 of “Dickinson” and season 3 of “The Righteous Gemstones Season 3” are milestones for me. “The Righteous Gemstones” gave me my first experience as a Foley supervisor in a TV series. I was responsible for cueing and editing Foley, which involved overseeing all sound effects recorded in sync with the picture — character actions including footsteps, clothing rustling, and other physical interactions with people and objects in the story’s world.

Additionally, I needed to gather sounds that are typically challenging to find in standard sound effect libraries, like the sound of wooden planks breaking or the delicate vibrations of insect wings. In one episode, there is a long scene that features a swarm of locusts. To ensure an authentic and impactful sound experience while considering the intricacies of Dolby Atmos mixing, we recorded and edited multiple layers of distinct locust sounds. These layers included the dramatic whooshing of the swarm through the air, the percussive impact of locusts hitting various surfaces like wood, concrete, and metal, and the unsettling sound of locusts being crushed underfoot. The final audio result, especially when experienced in Atmos, is nothing short of astonishing. The producer was very satisfied and impressed with the outcome. It was a fantastic working experience.

What was your biggest challenge in your job (or on a particular project) and how did you overcome/solve it?

I find that every project comes with its own challenges, whether it’s the pressure of adhering to a tight schedule, striving to craft a truly satisfying sound design, or encountering unexpected technical issues. What I’ve learned is that good communication and patience are essential. Film and television are collaborative efforts, and sound for those media, no less so. Effective communication with colleagues and supervisors is often the key to resolving any issues and ensuring the project’s success.

What was the most fun you’ve had at work?

The most enjoyable moments for me at work are when I create something that I find really satisfying, or when I receive positive feedback from audiences. Knowing that I’ve contributed to the storytelling means a great deal to me, and it also serves as motivation for me to continue producing quality work.

Jobwise, what do you hope to be doing five years from now?

My aspiration is to become a more proficient sound editor, particularly for drama features and TV series. I aim to gain extensive experience in both dialogue and sound effects editing and to collaborate with an ever-widening array of talented individuals in the industry.

What are your outside activities, hobbies, passions?

I am a big fan of concerts, art galleries, and museums. Arts share a common purpose: to convey beauty and inspire creation. I’ve been a musician for over 20 years. Even though I’ve transitioned into the film industry, music still has a profound influence on me. I feel that sound shares remarkable similarities with music. When I create a soundscape, it feels akin to a composer crafting a score.  Music employs notes and melody to express emotions and atmosphere, while sound design utilizes various elements to enhance the auditory and emotional experience in film.

Favorite movie(s)? Why?

There is an abundance of exceptional movies out there, so it’s a challenge to pinpoint my absolute favorites. Personally, I’m more into dramas that have compelling storylines, particularly those that carry a touch of tragedy or sadness. For me, films like “The Insider,” “25th Hour,” and “The English Patient” stand out not just for their compelling stories but also for their terrific music and sound. I have those soundtrack albums and many others on my Spotify.

Favorite TV program(s)? Why?

“Criminal Minds,” “Breaking Bad”. I love the intriguing explorations of criminal psychology, complex character arcs, and moral dilemmas that make their narratives so involving.

Do you have an industry mentor?

I’m fortunate to have several mentors, but among them, Jeffrey Stern holds a special place. He was a renowned dialogue editor in New York before he retired and also happened to be my professor in the university. He selflessly imparted his extensive knowledge and skills to me, even affording me the opportunity to collaborate on independent feature films while I was still a student. Furthermore, he played a pivotal role in helping me establish industry connections that became the bedrock of my future career. Beyond mentorship, Jeffrey has become a dear friend, and whenever he returns to New York, we always catch up over coffee.

What advice would you offer to someone interested in pursuing your line of work?

Be humble, be patient, and stay prepared; opportunities will present themselves when you are ready.

Was there ever a circumstance when you had to rely on the Guild for help or assistance?

Fortunately, I haven’t needed it, but I’m confident the Guild will be there for me should the need arise.

Is there anything you’d like to say to your fellow Guild members, some words of encouragement?

Being a member of a union and the post-production community is truly fantastic. I feel honored and enthusiastic to collaborate with so many talented and dedicated individuals, and I look forward to many years of creating stories with them for audiences worldwide to enjoy.

Where are you currently employed?

I’m currently employed at Studio Post on the NBC Universal lot.

Current projects?

As a television “online” or “finishing” editor, I’m between seasons of “Resident Alien,” “The Irrational,” “Lopez Vs. Lopez,” and “Primo.”

Describe your job.

I’m responsible for taking the picture side of a show from locked cut through delivery. Once the creative “offline” edit is complete, I conform or “online” the episode in DaVinci Resolve, an application that combines editing, color correction, visual effects and audio post-production. This includes relinking the timeline to the camera masters and watching the episode to catch any production issues that might have been missed during the offline cut.

I bid out an estimate of the time I think it will take to fix any production issues. The client will weigh my bid against the time and expense of sending a given shot to an outside visual effects vendor. If given the green light, I’ll complete those fixes. It can be anything from a crew reflection or some beauty work to a major continuity error. This is the part I enjoy most; each shot is unique, and figuring out the most efficient way to fix an issue is a fun challenge.

I’ll track and drop in final visual effects, often from multiple vendors. After color correction is completed and approved, it comes back to me for titles and final client screening and sign-off. Then I’ll export the final titled color-corrected master. That master file will be converted to myriad formats and delivery files, depending on what network will take delivery.

Online editing may seem a little less creatively rewarding compared to offline editorial, but I find visual effects to be a satisfying creative outlet by developing new workflows and solving problems in session and on the fly. Working for a post facility — particularly one that’s on a studio lot — has the benefit of year-round work and being exposed simultaneously to multiple projects and clients.

How did you first become interested in this line of work?

I was enrolled in an animation program in high school. The class had one of the first Avid systems set up to capture and edit our animation projects. To learn the software, we were allowed to digitize a movie and a song we liked and cut a music video together. I had a blast with that first project and decided I liked post-production more than animation.

Who gave you your first break?

I was working as an unpaid intern in the vault at Level 3 Post and was slated to be there for three months. The vault manager at the time, Gabe Perez, drove a VW GTI, and when he found out I also drove a GTI, he figured I must be a standup guy and offered me a paid position in the vault. I owe a 20-year-and-counting career to a fun car and a good boss who would go on to be a great friend.

What was your first union job?

I was a duplication machine operator at Level 3 Post, dubbing overnight dailies outputs to tape and DVDs.

What credits or projects are you proudest of, and why?

If I had to pick a show I’m most proud of, it would probably be “Halt and Catch Fire.” I handled online for only a single season, but I love the series; it immediately comes to mind when I think of a great series that I’ve been lucky enough to work on. I was also given the opportunity to do a decent amount of visual effects on the show, and I always get a kick out of doing that work.

What was your biggest challenge in your job (or on a particular project) and how did you overcome/solve it?

When starting out, I worked graveyard on the first series I had to online. I was part of a team of editors and engineers that always had each other’s backs, which is valuable at 4 a.m. with a deadline looming because you really don’t want to have to wake anyone up with a phone call. It comes down to having the confidence to figure your way around a problem, and it took a few episodes before that confidence would kick in without me first experiencing a panic attack.

What was the most fun you’ve had at work?

The time I spent working at Level 3 Post was definitely the most fun. Every post house I’ve worked in since has been a good experience and had a great team, but Level3 was like having a second family. It was a blast.

Jobwise, what do you hope to be doing five years from now?

While I want to continue to expand and improve my visual effects skill set, I enjoy being an online editor, so in five years, I hope I’ll be doing exactly what I do now.

What are your outside activities, hobbies, passions?

I enjoy spending time with my wife Suki and son Indy, noodling around on guitar, and playing video and board games.

Favorite movie(s)? Why?

“The Big Lebowski.” Every time I watch it, I catch something new.

Favorite TV program(s)? Why?

“The Wire” — Fantastic writing, characters that you don’t want to say goodbye to. “Halt and Catch Fire” — love the tone and look of the show and the time period it’s set in. Something more recent would be “Dave” on FX for a perfect balance of bizarre, hilarious, honest characters.

Do you have an industry mentor?

One constant I’ve had in my career since the beginning has been Jill Mittan. She’s a project manager/post producer who has always looked out for me and provided a wealth of guidance over the years.

I also consider as mentors everyone I’ve worked with who guided me through moving up from vault to dubber, night assist to editor’s chair. Without each one of them having the patience and taking the time to answer my incessant questions, I wouldn’t be where I am today.

What advice would you offer to someone interested in pursuing your line of work?

In the beginning, make up for a lack of knowledge in your field by being a genuine, nice person that people enjoy being around. Don’t be afraid to ask questions. I’ll always make time to help someone interested in online editing; others helped me, and I hope that whoever I help will continue the tradition. Also, this corner of post is niche enough that it’s difficult to find a good traditional class out there, so on-the-job training is a must.

Even once you’re “in the chair,” never stop learning. The second you get comfortable with your tools and techniques, something new will come along. You’ll need to be dedicated to discovering new software and train on the latest tools or you will be left behind.

Was there ever a circumstance when you had to rely on the Guild for help or assistance?

Not one in particular, but every training seminar I’ve taken, every time my family or I use our health benefits, and every time I think about inching closer to being fully vested in a pension plan, I’m grateful for being a part of MPEG and the relative security it provides.

Is there anything you’d like to say to your fellow Guild members, some words of encouragement?

Hang in there! We’ve just been through the ringer in this strike but have seen what a unified industry can accomplish when we stick together to bargain for what’s due. With next year’s negotiations coming up fast, stay informed and stay ready!

Where are you currently employed?

NBC Universal StudioPost.

Current projects?

“The Office: Superfan Episodes”; “Law & Order,” “Law & Order: Special Victims Unit,” and “Law & Order: Organized Crime”; “Chicago Fire,” “Chicago P.D.,” and “Chicago Med”; “FBI,” “FBI: Most Wanted,” and  “FBI: International.”

Describe your job.

As you can tell from my current project titles, I work mostly in television. I’m the finishing editor on all nine of those Dick Wolf shows. StudioPost is responsible for editing the final cut together in high resolution and then also incorporating visual effects shots that we work on in-house, as well as the ones that arrive from external vendors. After the show goes through the color-correction process, it comes back to me. I insert the opening titles and end credits, then I create the final file that is used to create the air file that goes to the network for broadcast.

I also work on in-house projects such as preservation and restoration, and on dual-language masters for feature films, both current and past, that need to be supplied to various countries.

How did you first become interested in this line of work?

As a kid, I used to go to work with my dad who was a technical director for ABC for 46 years. I thought it was really cool that he contributed to content that millions of people watched, so I knew I wanted to be a part of that industry.

Who gave you your first break?

I got a job working as a quality control operator for a place called MediaTech West. Then I moved on to Pacific Video as the graveyard dubber, which was my first job at a post-production facility. (The graveyard dubber was responsible for making the final air files for the networks.) I moved up at Pacific Video, then went to The Post Group where I worked 14 ½ years. In 2007, I accepted a position at NBCUniversal StudioPost, and that’s where I’ve been for the past 16 ½ years. That was my first union job.

What credits or projects are you proudest of, and why?

Being nominated for an Emmy for working on the 2000 Academy Awards was a highlight. It was even more special because I worked directly with my father as we supplied all the videotape elements for the trucks, such as the nominations packages that we edited together. And, he was the technical director for the award show that year. It was such a great honor to work on a high profile show like that with my Dad.

I’m also proud to have been working with the Dick Wolf company for over 15 years, and I’ve created some wonderful friendships and work relationships.

What was your biggest challenge in your job (or on a particular project) and how did you overcome/solve it?

The biggest challenge is probably the crossover episodes for all the Dick Wolf shows. Crossover episodes are basically three episodes tied together to make a single three-hour story. (For example, “Chicago Fire,”  “Chicago P.D.,” and “Chicago Med.”) Not only do we have to create the crossover episode, but we also have to create an individual episode for each, and they all have to be delivered at the same time. For example, if it is a three-hour crossover, we create the three-hour version and then a version of the three individual episodes to be delivered for repeats/syndication. There could be additional material needed for these versions , so the turnaround is sometimes pretty tight.

Also, for the 2000 Academy Awards, we logged 123 hours in one week to get everything ready for the live show, so that was a pretty intense challenge.

What was the most fun you’ve had at work?

The most fun I’ve had in a work-related setting was when I attended the Emmy Awards as a nominee. Being in that room, with all of those amazing industry people, only deepened my gratification for the privilege of working for and with such incredibly skilled and talented people.

Jobwise, what do you hope to be doing five years from now?

I enjoy what I do, so if this is what I am doing in five years, I would be very content. I would also like to do more VFX work.

What are your outside activities, hobbies, passions?

I enjoy traveling with my wife and family. I love to play golf with my three boys. I’m a huge sports junkie — a Rams fan and a Yankees fan. I also love going to the horse races.

Favorite movie(s)? Why?

“Gladiator” because of all the action and great cinematography. “The Godfather” is just a classic. “Men of Honor” is a great story of the trials and tribulations of a man who is determined to succeed regardless of the circumstances. And all the Marvel movies. I love the Marvel Universe because I used to read the comics as a kid.

Favorite TV program(s)?  Why?

“The Office” is hilarious and often so politically incorrect that sometimes it’s hard to believe it aired with that content. I worked on the original air episodes from seasons 4-9, and now I’m working as the finishing editor on the Superfan episodes. These include never-seen footage that didn’t make it into the original broadcast versions, usually because of time restrictions.

I also like “Survivor” and “Special Forces” because they seem like fun and something I would be interested in doing. And finally, my wife and I love to cook, so we watch “MasterChef” (and all the cooking shows).

Do you have an industry mentor?

My industry mentor is Mike Polito. When I first started at Pacific Video and worked my way up to being an assistant videotape editor, he gave me the opportunity to be his assistant. He taught me how to use the edit equipment and how to interact with clients. Our work partnership grew from there, as well as a wonderful friendship. Our families have remained great friends to this day!

What advice would you offer to someone interested in pursuing your line of work?

I attended Pasadena City College for my television engineering certificate, so I would recommend going to school and getting an education and/or attending a trade school like Moviola, which I have also attended for editing classes. Sometimes the hours can be long and tedious, but in the long run, the satisfaction is worth it.

Is there anything you’d like to say to your fellow Guild members, some words of encouragement?

Being a member of the Guild offers us a great work experience and livelihood. As my father likes to say,  “It beats working for a living!”

Where are you currently employed?

I’m a colorist at Motion Picture Imaging (MPI) on the lot at Warner Bros. Discovery. I specialize in the restoration and color correction of popular and/or historically noteworthy films. The newly restored version can be for a new 4k HDR (High Dynamic Range) Blu-ray, a new DCP (Digital Cinema Package, which is how movies are shown in theaters), or for streaming. Very often it’s all three. Once the studio goes through the effort to create this new version, they want to be able to service any request that might follow.

Current projects?

I work on many projects at once —  all of them related to restoration of classic films — so my current ones include “Twister” (1996), “Body Double” (1984), “To Die For” (1995), and “His Girl Friday” (1940).

Describe your job.

It starts with evaluating scans of the best available elements for a film. The original camera negative [OCN] is usually our first choice, but sometimes that’s not an option. If the OCN isn’t available, we’ll evaluate the next best options. Sometimes this means scanning fine-grains (interpositives that were created from the OCN), YCMs (a color separation master where yellow, cyan, and magenta elements are stored as black-and-white film negative reels), or sometimes even regular prints.

Because of years of wear and tear, sometimes the OCN has been slugged with visually inferior duplicate elements or even, literally, frames of black. When faced with these challenges, we scan every available good choice at 4k or 8k and I evaluate those elements with the studio producer. We conform our best possible version with all available elements. This conform is then restored; damage, dirt, scratches, flicker, etc. are digitally removed, frame by frame. I then evaluate the restored files to make sure all our concerns have been addressed without compromising the nature of the film.

Once I have the conformed and restored film, I can start color correction. There is a bit of research at this point so as to lock down the “look” of the film. Since the OCN has not been color-timed, I cannot simply infer the way it was meant to look by the way the log files appear on my screen. This process can include viewing a print or referring to an existing master that perhaps the director or DP supervised previously. Once we decide on the direction of color, I adjust the color balance, contrast, density, saturation, etc. I go through the film, shot by shot, and do my best to be faithful to the original look while moving a classic into a modern viewing experience like HDR or Digital Cinema.  Whenever possible, we bring in the director or DP to review the color.

How did you first become interested in this line of work?

I met someone at a Christmas party who actually did this work, so shout-out to anyone who remembers (or doesn’t) the crazy Christmas parties this industry had in the ‘90s.

Who gave you your first break?

A man named Ken Holland. He founded and owned a facility called IVC that was well respected for HD-mastering and digital restoration, among other things. He allowed me to shadow the colorist I met at the party, Steve Wiener. Ken gave me the space to learn, and while this was on my own time, I gladly took the opportunity to get as much experience as possible. After about a year, he hired me and told me I had good instincts. I still remember and hold dear his confidence in me.

What was your first union job?

It’s a bit rare for colorists to have a union job. That said, my first union job came in 2010 when I joined Colorworks on the Sony lot.

What credits or projects are you proudest of, and why?

When I joined MPI, I was told my first title would be “Casablanca” — which is only my favorite film of all time. It was the happiest moment of my career and also the scariest. I didn’t want to let down this Hollywood classic. I didn’t want to let down everyone else who loves it as much as I do. Fortunately, I think it turned out really nice. Even watching it with clients for technical reviews, I still cried. The impact of this film is never lost on me.

 What was your biggest challenge in your job (or on a particular project) and how did you overcome/solve it?

One of the hardest films I ever worked on was “Richard III” (1955).  It’s a Laurence Olivier film with all the scope (actually, it was VistaVision, lol) of a Shakespearean classic. The negative was badly faded, and all the opticals (pre-digital technology, scene transitions such as dissolves and some visual effects created on an optical printer) were also faded in different ways. The negative was slugged with various duplicate elements that had serious color challenges.

In the VistaVision format, 35mm motion picture film is turned on its side and runs horizontally through the camera. Each VistaVision frame is eight perforations wide versus the standard four-perf frame when 35mm film runs vertically through the camera. Because each VistaVision frame has roughly twice the area of a standard film frame, it’s a very high-resolution film format.

As this relates to “Richard III,” when a film fades, usually the color has deteriorated across the frame. But the image deteriorates across a VistaVision frame in two different ways because once the decline begins, no two contiguous four-perf frames decay in exactly the same way. The film is two hours, forty-one minutes and each frame became a challenge. I would color-correct frame by frame and sometimes create a window across the frame to adjust how each side had changed independently. It turned out great, and I would like to think that the viewer has no idea how hard we worked to make each shot flow seamlessly into the next.

What was the most fun you’ve had at work?

I’ve had so much fun over the years. I really do feel blessed to do what I love so much. Jan De Bont came in recently to work with me on “Twister.” It was an absolute blast. We really worked to get this classic the way he had hoped for when it was released. We now have so much power in the color correction suite that it’s always fun to use these tools and hear the filmmaker say, “It’s never looked so good.” Those are the moments I love.

Jobwise, what do you hope to be doing five years from now?

Exactly what I’m doing now. I feel it’s important not only to save our film history but to continue to bring these classics to new generations of audiences. I recently worked on the new 4k release of “Enter the Dragon.” There was a Fathom event where I was able to take my son to a screening. The room was packed and people clapped at the end. My son loved the film and I loved being able to share it with him the way it was meant to be seen, projected on the big screen. It was so fun. I hope there’s more of that in the next five years.

What are your outside activities, hobbies, passions?

During the pandemic, I was looking for ways to relieve stress. I think we all were. I took up painting, but I had no idea what I was doing. My son suggested Bob Ross and, well, I was hooked! I also love sports. I’m an LA native and was raised on the Lakers and Dodgers. I follow our Rams because that was our LA team when I was young. I play golf, but not as much as I’d like. I also volunteer at a local dog shelter,  Wagmor Pets, and walk dogs on the weekend. It’s a great way to get 20,000 steps! (I’m not exaggerating!)

Favorite movie(s)? Why?

“Casablanca” (surprise!) — the setting and period, the drama, the stakes, the lighting, the music. “Young Frankenstein” —  the writing, the humor. I just love Mel Brooks. I also love sci fi and still remember when my dad took us to see “Star Wars” when it opened at the Cinerama Dome. That film left a mark — the visuals, the mix. I believed they shot that film in space. I love the artful beauty and storytelling of Hayao Miyazaki, and his films also fill my favorites list.

Favorite TV program(s)?  Why?

I enjoy “The Morning Show.” I like the energy, the tension, the acting, and I think it looks great! “Ozarks” is a great show: the writing, acting. I will never turn off “Parks and Recreation” or “Futurama” — and yes, I’m enjoying the “Futurama” reboot!

Do you have an industry mentor?

I’ve had numerous people help facilitate my growth over the years, but I cannot overstate the mentorship of Grover Crisp of Sony Pictures. I had a lot of experience when I met Grover, but I didn’t know what I didn’t know. His knowledge of film and color took my craft to a new level. His guidance as we worked on some very treasured films gave me the confidence I needed to approach “Casablanca.” I also value his dedication to preservation, not just in the background in digital vaults but on our screens. When our classic films reach new eyes and still sparkle and hit, we all benefit.

What advice would you offer to someone interested in pursuing your line of work?

Color correction is a big world, and features, television, commercials, trailers, and restoration are a few of its nations. If you’re interested in it as a career, become a fan of what you hope to do. Take in a lot of content. Pay attention to how it looks. If you have access to events where you can meet people, attend. There is still nothing like IRL: make connections, take any opportunities offered. When I started, you couldn’t color-correct at home, but it’s no longer a very expensive thing to do. Take the time to learn what you can. There is a language around color, and experimenting at home may provide insight into that world.

Was there ever a circumstance when you had to rely on the Guild for help or assistance?

Not really —  but again, as a colorist, most of my career has been non-union.

Is there anything you’d like to say to your fellow Guild members, some words of encouragement?

I guess I will close with a story. In 2008, my father was let go from a union job. He was “too old” to find work in what would be called the Great Recession. The benefits he had from the union suddenly became very important as he was forced into early retirement. Those benefits continue to mean a lot to him and my mother to this day. Being part of a union matters. We, as a creative force, matter.

Compiled by David Bruskin. 

Where are you currently employed?
I just wrapped on season 3 of The CW’s “Superman & Lois.”

Current projects?
I’m enjoying my time off after wrapping on the show, but I’d say my biggest project right now is joining the WGA on their picket lines as often as I can.

Describe your job.
I’m an assistant editor in live-action scripted TV, although I have also worked in animation as an assistant editor and animatic editor. (Animatic editors are editors in animation who cut together the storyboards before they start to animate. It’s the blueprint for the show/movie.)

My tasks as an assistant editor vary quite a bit. If we are in dailies, I start the day by prepping footage for my editor. Every editor has different workflow preferences, so it’s important to communicate with them about how they like their dailies prepped. Everything in this industry is about collaboration, and part of my job is to make sure that my editor’s day goes as smoothly as possible. As I go through the footage, I keep all the paperwork from our script supervisor close by, and I consult it to make sure we have all the material that was shot for a scene so we can put it together according to the script.

When dailies are done, I hand everything off to my editor and take a coffee and/or snack break. Once my editor has finished a scene, she will pass it off to me to do temp sound work. A scene can take anywhere from minutes to several hours to do sound work, depending on the type of scene it is. Dialogue scenes with just a few characters having a conversation are usually quick, but heavy action scenes with lots of punches, whooshes, and explosions can take all day. This repeats until everything for our episode has been filmed.

After that, my other AE duties are more in flux. Once an episode comes together, I output cuts of the episode and send them off to whomever needs to see them. The first cut (editor’s cut) goes to the director, who gives notes. Once those notes are applied, I would then send the episode to the showrunners and the process repeats. The episode will keep going up the ladder until it gets to the network.

Once the network notes are applied, the episode is considered “locked.” Once we lock an episode, we do turnovers. That’s when I package all the materials for an episode (footage, production sound, sound effects, temp ADR — everything, all of it digital) and send it to two different teams: picture (our online house) and sound (our post-production sound team). It’s also my job to update those materials in new smaller turnovers if there are any picture changes later. This is a long and complicated process, and although it’s not necessarily difficult, it can be easy to make a mistake if you’re not paying attention. Some assistant editors love turnovers, some hate them. I’m still learning to love them.

How did you first become interested in this line of work?
I’ve been working on visually creative projects all my life. My first NLE (non-linear editing system) was Windows Movie Maker back when computers were secluded in the home office and Justin Timberlake was still in a boy band. I was the kid making elaborate school projects and stealing my parents’ old camcorder to record videos with my siblings. As a Los Angeles native, I was always aware that the film industry was right in my backyard.

But the first time I considered building a career doing something visually creative, it wasn’t related to film or TV at all; I wanted to be a graphic designer. So as a teenager, I taught myself Photoshop using an old installation disc from 1999 that my dad borrowed from a friend. I even chose my university (UC Davis) based on the fact that they had a program specifically for graphic design. But when I landed at college, I wasn’t able to start my graphic design degree because of an administrative issue, so instead, I took a different class called “Filmmaking Foundations,” a hands-on film production class. As it turned out, I really enjoyed making TV and movies, too.

During my time at UC Davis, I worked at an on-campus studio making promotional content for the school as a videographer, editor, and eventually technical director. I directed/edited a web show, and I co-directed/edited a short film that went on to win a Best Screenplay award at the annual Film Fest @ UC Davis. By the time I graduated and went back home to Los Angeles, the decision to work in the entertainment industry felt like the most practical (and enjoyable) one.

Who gave you your first break?
There have been a few times in my career that felt like a “first break.” The first time was when I got an internship out of college after cold-messaging several employees of the company I wanted to work for (including the CEO). That was the first time I got paid to edit in the “real world.” Another first break was when I shifted into the TV space by landing a job as an assistant editor working on promos, which helped get me my union hours. But perhaps the most relevant and/or significant break came from a fellow MPEG member who is actually a Foley artist, John Roesch, who gave me a connection at a studio where I eventually landed an assistant editor job on the show “Robot Chicken,” my first job in scripted TV. Q What was your first union job? My first union job was season 2 of “Superman & Lois.”

What credits or projects are you proudest of, and why?
I’m definitely proudest of my animatic editor credit on “Robot Chicken.” There were 20 episodes that season and I was an assistant editor on all of them, but I received an animatic editor credit for episodes 19 and 20. The two editors I had the pleasure of working with (Becca Berry and Jeff Newman) were very supportive of letting me edit. Animated projects take a long time to make, so we had more time to work together and get to know each other compared to many live-action projects, especially in television. I had been cutting comedy sketches the entire season (the show is a sketch show done in stop-motion animation), but when it really came down to the end, Jeff Newman was vocal to our producers about getting me a credit.

I think the reason I’m proudest of this is that editors really have to believe in you for them to support you. “Robot Chicken” was my first scripted show, and I didn’t have a background in animation. So for my editors to let me gain experience cutting and then to have my back when asking for a credit meant a lot to me. It made me feel like I was doing a good job, that I truly deserved to be there.

What was your biggest challenge in your job (or on a particular project) and how did you overcome/solve it?
Working on “Superman & Lois” was a new challenge for me in two ways:

1. It was my first live-action scripted show; and

2. It was entirely edited on Avid Media Composer. (Previously, I had only ever worked in Premiere Pro.)

I jumped on the show mid-season and had to learn Avid very quickly on the job while also keeping up with the fast-paced environment of television— specifically, a visual-effects-heavy superhero television show. It was hard! There’s no other way to spin it, but I owe everything to my fellow assistant editor (and editor in her own right) Isabel Yanes, whose limitless patience and constant willingness to jump on the phone with me whenever I had a question is the No. 1 reason I survived.

What was the most fun you’ve had at work?
There was a sketch in “Robot Chicken” that I had the opportunity to cut. In it, Batman catches his reflection in a mirror and, because he’s afraid of bats, has a bit of a comedic meltdown. I remember laughing when I read the script and had a very specific vision for how I wanted to cut it. When it finally got in front of the producers, the entire room (well, Zoom meeting) laughed and there were no notes!

Jobwise, what do you hope to be doing five years from now?
I want to be an editor in the scripted comedy world. I love to laugh, and I love making people laugh. It would be a dream to get paid to do both of those things. Is five years enough for that? I don’t know. But five years ago I was an unemployed recent grad hoping to edit something — anything — I could get my hands on, so let’s shoot for the moon this time.

What are your outside activities, hobbies, passions?
Anyone who follows me on Instagram knows that I love to bake (and share it)! I once went on a mission to find the best chocolate chip cookie recipe out there and must have tried 15 different recipes before landing on my favorite. (For those who are curious, it’s the “Bingeing with Babish” recipe, closely followed by the LAUSD chocolate chip cookie recipe, although that one might be influenced by nostalgia.)

I also love to run! I’m a pretty active person in general.

Favorite movie(s)? Why?
Disney’s “Tangled.” I could watch it over and over and never get tired of it. I don’t know exactly why, but the way that Rapunzel and Flynn Rider’s relationship develops over the course of the film is something that always struck me as just a good, humble, and engaging story. I’m a sucker for characters that feel real, characters that convince you that, despite living in a world without magical hair and anthropomorphized animals, we can still relate to them and their journeys in some way.

Favorite TV program(s)?  Why?
I am a huge fan of “Brooklyn Nine-Nine.” My sister and I used to watch the show together, and we still quote lines from it to each other all the time. No other show has gotten me to belly laugh so hard that I had to rewind it to make sure I didn’t miss any of the plot.

Do you have an industry mentor?
I don’t have a specific mentor by name, but I consider anyone who has ever taken the time to answer a question, offer advice, or lend a hand to be my mentor in some way. I have been extremely lucky in my career, and no part of it was earned by my hard work alone; it has been the amalgamation of different people taking a chance on me at different points in my career. It’s something I intend to pay back as my own career progresses.

That being said, while I have the opportunity to give shoutouts: John Roesch (for seeing in others what they fail to see in themselves), Becca Berry (for trusting me), Isabel Yanes (for the endless support), and Jeff Newman (for believing in me).

What advice would you offer to someone interested in pursuing your line of work?
Be kind. Be humble. Be willing to learn. But overall, be kind.

Was there ever a circumstance when you had to rely on the Guild for help or assistance?
Luckily, no. But I’m confident that if I ever needed to, the Guild would be there to support me.

Is there anything you’d like to say to your fellow Guild members, some words of encouragement?
I’m very proud to be a union member, especially during a time when it seems like unions are more important than ever across the U.S. and the world. I look forward to being an active participant in our union and am always excited to meet fellow members. 

Compiled by David Bruskin. 

Where are you currently employed?

My most recent project was season 6 of the show “9-1-1” for FOX where I edited four episodes (603, 607, 611, and 615).

Current projects?

I’ve also finished an indie LGBTQIA+ film called “F.L.Y.” which premiered at the Outfest LA Film Festival in July. It stars one of the same leads from an indie movie I edited called “Lupe.”  

Describe your job.

I’m a film and TV editor with experience in drama, horror, action and comedy. I’m also an elected picture editor representative on the MPEG board of directors, serve on multiple committees, and I’m the co-chair of the MPEG Young Workers Group.

How did you first become interested in this line of work?

I grew up in Israel where you pick majors in high school. I majored in theater and media studies. I loved acting and performing, so theater was an obvious first choice. Media studies was a distant second; I chose it because it was the only other major that enabled me to avoid science. Little did I know my second choice would grow into a love of filmmaking, specifically editing — so much so that it overtook my first love of theater. I leveraged my high school editing experience so that for my two-year mandatory military service, I got drafted as an editor for the air force filming unit, where I was trained on Avid.

Who gave you your first break?

My first break in Israel: There was a big military operation after I had already finished my service, so I was called back as reserve force, which is when I met a fellow reservist who got me a job editing local celebrity news bulletins at E! Israel.

My first break in the US: Before relocating to the States, I Googled and cold-emailed post houses relentlessly until I received a response, which was from a fellow Israeli, a post supervisor named Nadav Streett. He gave me advice and agreed to talk about helping me find a job after I moved to Los Angeles. I landed in L.A. in July 2009 when the economy was in bad shape. Nadav informed me there were no jobs — but two weeks after I arrived, he needed a night-shift assistant editor on a reality clip show, and I jumped at the opportunity.

What was your first union job?

In 2014, I was a night shift assistant editor on an Endemol Shine reality show called “Restaurant Startup.” After that, I switched to work on scripted content. 

On a related note, I was elected to the board of directors as an assistant editor representative in 2017. The nomination came as a surprise, and I learned a lot “on the job” about what it means to serve as a board member. I served two terms as an assistant editor rep before I became a picture editor representative.

What credits or projects are you proudest of, and why?

In 2022, I was incredibly honored to be nominated for an ACE Eddie award for editing the indie film  “Lupe.” Actually, I had edited that film back in 2017, and it was the first film that I’d edited solo, start to finish. HBO Latino bought it and released it in February 2021, so there was a long delay before the world-wide release. ”Lupe” currently no longer lives on the Max platform but can be streamed elsewhere.

Most recently, I’m very proud of my work on “9-1-1,” especially my first episode of season 6, “The Devil You Know” (ep. 603), which is a powerful character journey for Athena Grant Nash, played by the phenomenal two-time Oscar nominee Angela Bassett. I got to edit a chilling nighttime running chase sequence that takes place concurrently in two different time periods, all under a wonderful Nina Simone cover of the song “Lilac Wine.”

What was your biggest challenge in your job (or on a particular project) and how did you overcome/solve it?

“Lupe” had an unusual post process on multiple levels. Principal photography was already done, and the co-directors (André Phillips and Charles Vuolo) had already assembled a first cut when they realized they were in over their heads and needed an editor. Their assembly had pieces of the story puzzle, but it was disjointed. I started my edit from scratch. Having worked so long in Avid, I utilized the opportunity to relearn Premiere Pro.

The co-directors were based in Boston and I was in L.A., so we set up a remote workflow. This was long before that became a pandemic norm. Because the film features a trans non-actress, many parts were improvised to help her feel natural and in the moment. It meant the film had drifted so far off from the original script that the co-directors advised me to not even read it. I was handed a hard drive and basically told, “Here’s a bunch of footage. Disregard the script and go make a movie.” (More about the editing of “Lupe” can be heard in audio excerpts and read in interviews at shirancarolyn.com/press.)

What was the most fun you’ve had at work?

Recreationally, I’d say I had the most fun when I assisted Chris McCaleb, ACE, on “Fear The Walking Dead” interstitials alongside the editorial crew from the season, and we attacked each other with nerf guns from the writers room. Creatively, I’d say it was co-editing a few episodes on season 1 of “Chucky” with Randy Bricker, ACE, which brought the famous murdering doll from the movies to the TV screen. Given the freedom of exploration a first season provides, I had a lot of creative input on the editing styles, graphic styles, and song choices for the season. (I even have a little whistling cameo in the last episode of season 1.) That show was a ton of fun to work on.

Jobwise, what do you hope to be doing five years from now?

I want to edit dramatic features that are so thought provoking, they leave a long-lasting impact on the viewer. That’s something “Requiem For a Dream” did to me when I first saw it, and it cemented my decision to become an editor.

What are your outside activities, hobbies, passions?

I enjoy salsa dancing, karaoke, board games, traveling, and I sketch occasionally.

Favorite movie(s)? Why?

For childhood nostalgia, “The Lion King,” “The Sound of Music,” “Mary Poppins,” “Hook,” and “What About Bob?”.

Favorites that stayed with me long after watching: “Requiem for a Dream,” “Her,” “Eternal Sunshine of the Spotless Mind,” “Whiplash,” and “Arrival.”

Favorite TV program(s)?  Why?

Scripted: “This is Us,” “The Queen’s Gambit,” early-mid “Game of Thrones,” “The Crown,” “The Night Of,” and “House MD.” The first five shows for their well-written dramatic stories that “squeeze the heart” or leave you contemplating, or both. “House MD” for the wacky medical cases and the razor-sharp sarcasm.

Unscripted: “Chef’s Table” — great-looking food with captivating origin stories. “Queer Eye” — a heartwarming group that helps people.

Animation: “Big Mouth,” for the grotesque yet hilarious and relatable humor.

Do you have an industry mentor?

Over the years, I’ve assisted many talented editors and learned from all of them. I’d say my most influential mentor who initially taught me how to assist within scripted content is Dan Lebental, ACE.

I first heard of him when the school in Israel where I once studied After Effects emailed and said this big-shot Hollywood editor is coming to speak at the school. I asked the head of the school if she could e-introduce me to Dan. She said to just reach out to him directly. I wrote him a long message in Hebrew introducing myself. I waited a month with no response, then decided to send it again. This time I got a one line response: “Sorry, I don’t speak Hebrew.” Oy! I translated my message. We became friends and stayed in touch. One day, I wanted feedback on a rough cut of a short film I had edited, so I sent it to him.  He was about to start an indie and needed an assistant editor. He hired me for the job, and the rest is history!

What advice would you offer to someone interested in pursuing your line of work?

Even if you’re currently assisting, always keep editing on the side: short films for film students, Craigslist jobs, whatever. It’s a whole other brain muscle that needs to be exercised. Don’t lose sight of your initial goals. If you’re on the “wrong ladder” (not the genre you want, or not the type of job you want), switch to climbing the right ladder before the money or work conditions make you too comfortable to turn down the next promotion. Your “no’s” define your career path even more than your “yesses” — one of the many pieces of wisdom given to me by Dan.

Was there ever a circumstance when you had to rely on the Guild for help or assistance?

While editing a show on location, the production ran out of money mid-season and attempted to  terminate many union positions and finish the show non-union. I contacted a field rep. Within a few days, production backtracked after realizing they would be in violation of union contracts. Another time, I had a show with very messy payroll accounting; it was clear that the payroll company was understaffed after COVID hit. When I wrapped, I sent my timecards and stubs to a rep to double check and verify that I was paid correctly, which I was not, and I got some money retroactively. 

Is there anything you’d like to say to your fellow Guild members, some words of encouragement?

If you want the Editors Guild to do more or do things differently, it’s up to you not only to communicate what you want,  but also to be part of that change. It’s really rewarding to make a difference, and it is also an excellent networking environment when you work with others toward the same common goal that helps the collective. For a tangible example of what I first did that made me want to do even more within MPEG, read my opinion piece from January 2021 titled “How the New Member-to-Member Section was Born to Help Job Hunters.” For links to get involved, visit editorsguild.com/volunteer and editorsguild.com/committees. 

Where are you currently employed?

I am currently an Assistant Editor on an indie feature called “Here’s Yianni,” that is being cut by the wonderful Mindy Elliott.

Current projects?

When I am not assisting I am cutting as much as possible. Lately I’ve edited dance performances and Zoom shorts, and I freelance as an editor for various shows at MSNBC.

Describe your job.

When working as Assistant I’ve been mostly working remotely. I organize the dailies, script sync, find stock footage, and do sound design and temp VFX while also sending outputs — really anything and everything that’s needed!

At MSNBC, I remotely edit packages, voiceovers and interviews for various MSNBC shows, like “The Eleventh Hour with Brian Williams”, “The Rachel Maddow Show” and “All In with Chris Hayes.” MSNBC taught me the ins and out of AVID, how to do things quickly and correctly, and how to collaborate with other editors, directors and producers. 30 Rock was a very fun place to work; from the holiday parties in the “Saturday Night Live” studio, to the random celebrities you met in the elevator, to watching the tree-lighting from Brian William’s office, there was always something going on.

How did you first become interested in this line of work?

My love for TV and movies goes way back. My dad took me to the movies every Tuesday and throughout the week we’d all gather around the television to watch our favorite shows. I started making movies with my sister and friends growing up for fun. Later, for every school project, instead of giving an oral report I would make a video of myself presenting.

I was always choosing between attending film school and studying meteorology. The movie “Twister”inspired me to go into meteorology. While at Rutgers University I worked at RU-TV as a lead producer to bring daily weather reports to the campus, all while hosting movie nights to try and watch as many of AFI’s Top 100 movies as I could. I realized I liked working behind the scenes and after I graduated I became an editor at MSNBC. I worked at MSNBC for seven years before moving out to Los Angeles to pursue more creative work in scripted.

Who gave you your first break?

 Two amazing editors, Kelly Sol and Jen Rosenthal, who I met at Editfest, gave me my first job after I moved to Los Angeles. I was the DIT as well as the Assistant Editor for a Duplass Brothers Productions pilot series.

What was your first union job?

My first union job was as an Apprentice Editor to Editor and ACE President Kevin Tent for a feature called “The Holdovers,” which is going to be released in theaters November 10. I can’t wait for everyone to see this movie!

What credits or projects are you proudest of, and why?

I really loved working on “The Holdovers.” I learned so much from everyone on that film and I’m really proud of the movie. Everything came together for this film the writing, acting, directing, score and editing. I felt extremely lucky to be able to witness the incredible shorthand that Kevin Tent has with the director Alexander Payne. I also felt that I was included in many conversations that I might not have been had I been working on a bigger blockbuster movie, so I am very thankful for that.

What was your biggest challenge in your job (or on a particular project) and how did you overcome/solve it?

My biggest challenge is always feeling confident in myself. When I was starting out I felt confident in my Avid abilities, but I was nervous about being able to succeed in the rest of the role. Imposter syndrome is real! But as Lady Gaga once said, “There can be 100 people in a room and 99 of them don’t believe in you, but all it takes is one and it just changes your whole life.” I was lucky enough to have way more than one person believing in me. So with a lot of coaching and guidance from my mentors I proved to myself that I could do the job and be successful.

What was the most fun you’ve had at work?

 On Friday evenings, while working on “The Holdovers,” martinis would be made and everyone at the cutting room would hang out, guests would stop by, and sometimes Alexander Payne would set up his projector and we would watch short films. His collection was great!

Jobwise, what do you hope to be doing five years from now?

 I hope to be in the editor’s chair! My dream job would be to work on something in the Batman universe. As someone who has read many of the comics I know there is so many great stories and characters that have yet to be explored. I also really enjoy the range of tones Batman stories can have: Silly, dark and campy, to name a few.

What are your outside activities, hobbies, passions?

 I volunteer at a Cat Cafe in Westwood, play golf, and travel whenever I can.

Favorite movie(s)? Why?

 My absolute favorite movie is “Parasite.” I remember seeing it in theaters and leaving just being in awe of what I just watched and not really speaking about it for like two hours after. “Parasite” is the movie that I measure all other movies against.

Favorite TV program(s)?  Why?

 My current favorite TV show is “Succession”. The blend of drama and comedy is next level and I was so happy with how they ended the series. I also really love “Bob’s Burgers.” I’ll put it on whenever I need to relax and watch something wholesome.

Do you have an industry mentor?

 I’ve been lucky enough to have many industry mentors. Sven Pape, Erik C. Andersen and Jason Ballantine have all given me great advice throughout my career. The person I can really ask anything is the Editor I am currently working with, Mindy Elliott. She hired me for “The Holdovers” and taught me so much on that film and I am so lucky to continue working and learning from her!

What advice would you offer to someone interested in pursuing your line of work?

Keep networking! Even if you think you have enough contacts, keep networking! And make sure to keep in touch with the network you’ve set up. For me in the beginning I thought I was bothering people, but Editors are really nice people so just reach out. All the jobs I’ve worked on is because someone vouched for me.

Also, try to be up to date on both Avid and Premiere. I am seeing more and more job postings for Premiere.

Was there ever a circumstance when you had to rely on the Guild for help or assistance?

I go to as many Guild events as I can so I can stay informed about what’s going on. I even joined the Basic Agreement Committee so I can be involved in the conversation when contract negotiations are up. 

Is there anything you’d like to say to your fellow Guild members, some words of encouragement?

Stay hustling and be excellent to each other. 

Q: Where are you currently employed?
I am currently employed at Signature Post as a mix technician, but I also freelance at different facilities as a dialogue editor, re-recording mixer, and mix technician.

Q: Current projects?
My recent credits include dialogue editor on Amazon Prime Video’s documentary “Reggie” and the Sundance Film Festival feature film “King Coal,” mix technician on Brie Larson’s latest Apple TV+ series “Lessons in Chemistry,” and Searchlight’s feature film “Chevalier.”

Q: Describe your job.
As a mix technician, I work closely with re-recording mixers and post producers in order to set up the technical requirements for feature films and television series so that the sound mix is recorded and delivered correctly for release. My job as a dialogue editor requires me to edit, fill sound dropouts with ambience/room tones from the specific takes and angles, and clean up production recordings for episodic series, feature films, and documentaries. This includes filling sound dropouts with ambience/room tones from the specific takes and angles, finding and editing alternate takes as needed, and deciding which audio of the three microphone types that simultaneously record production sound will need to be edited in—boom, lavalier, sometimes plant microphones, or all microphones—to create the best possible dialogue track.

Q: How did you first become interested in this line of work?
I have always been fascinated with sound in films. I grew up singing and playing piano and studied classical music and jazz for many years. While pursuing a Film and Media Scoring degree at Berklee College of Music, I was exposed to the re-cording studio for the first time and ended up adding a major in Music Production and Engineering. During my studies, I fell in love with the creativity and storytelling process of post-production audio, and as soon as I graduated, I moved to LA to pursue a career in the industry.

 Q: Who gave you your first break?
I got my first big opportunity in the film and television industry from my mentors, sound editor Alexandra Fehrman and re-recording mixer Rich Weingart. They brought me on to be the mix technician for the Emmy-nominated series “The Boys.” Through Alexandra, I have been offered many opportunities to mix and supervise indie films and documentaries. My first big opportunity in the video game industry came from Duncan Brown at Formosa Interactive. I worked as the supervising dialogue editor for video game series such as “League of Legends” and “Call of Duty” as well as “Ori and the Will of the Wisps,” for which I was a nominee for dialogue editing at the Motion Picture Sound Editor (MPSE) Awards.

Q: What was your first union job?
My first union job was working as a mix technician on a Netflix series, “Archive 81.”

Q: What credits or projects are you proudest of, and why?
“The Boys,” “Ori and the Will of the Wisps,” “Chevalier,” “Spellers,” and “King Coal.” I worked as a mix technician on “The Boys” and “Chevalier.” That I got to be a part of the sound team for “The Boys” was very surreal for me because I was such a big fan. It was challenging yet extremely fun. Seeing the whole soundscape come to life—the balance between sound effects and music for the big superhero fights—always feels incredibly impactful on the mix stage. About “Chevalier,” I am proud to have been part of a film that tells the story of a historic figure who was a talented musician, composer, and revolutionary leader. I also worked as the lead dialogue editor for the video game “Ori and the Will of the Wisps” and the documentary “King Coal.” For “Ori,” I got to make the creative decisions on combining vowel sounds to create a brand new language for all the creatures in the game. And for “King Coal,” besides editing and cleaning up the production recordings, I got to work closely with director Elaine McMillion Sheldon to place each line of voiceover into the film. For the documentary “Spellers,” I mixed the score and pre-mixed the music. I’m grateful to have been a part of a film that raises audience awareness of autistic non-speakers’ journeys to communicate in the world.

Q:  What was your biggest challenge in your job (or on a particular project) and how did you overcome/solve it?
In general, the biggest challenge of being a mix technician is to pay attention to all the little technical details and to create complicated technical setups under pressure. Over the years of working this job, I’ve used every project experience to develop a checklist so I can confirm that I’m executing all the crucial steps of each project’s workflow. 

Q: What’s the most fun you’ve had at work?
It’s fun for me when the content I work on inspires me. The storytelling process is what drew me into the film and television industry initially, and to help tell impactful stories is where I have the most fun and feel the most inspired.

Q: Jobwise, what do you hope to be doing five years from now?
I would love to be able to continue my work on inspiring stories, mixing and supervising, and mastering my professional skills.

Q: What are your outside activities, hobbies, passions?
I love to dance. I take craft lessons such as pottery making. I also enjoy traveling and off-roading. When I’m not at work, I try to spend my time surrounded by nature, and I participate in community classes to learn new things.

Q: Favorite movie(s)? Why?
I have so many favorites! One of my all-time favorite movies is Stephen Chow’s “Kung Fu Hustle.” I’ll always remember watching it with my dad when I was a kid. I’ve watched it multiple times at different stages of my life. When I was a kid, I hadn’t learned to appreciate my own culture; all I remembered was giggling with my dad at all the film’s funny moments. But watching it again as an adult living in a different country made me homesick, and I realized the movie was about loving deeply and supporting your community. I am also a big fan of Miyazaki’s work, including “Spirited Away” and “Ponyo.”

Q: Favorite TV program(s)?  Why?
One of my favorite TV series is “Black Mirror.” I find it highly thought-provoking and at times a little too scary to think about how realistic it is. The plotline for each episode is so different and constantly keeps me on my toes. Another one of my favorite series is “BoJack Horseman.” Living in LA, I often found the story to be very relatable. That animated series can make me feel sad or it can make me feel peaceful. I really enjoyed watching it.

Q: Do you have an industry mentor?
I have many! My mentors include Alexandra Fehrman and Richard Weingart who taught me a lot about mixing. From Daniel Raphael, Bryan Parker, and Mark Relyea, I learned so much about editorial. I also have to give a shoutout to Alex Gerbrandt, Duncan McRae, and Caleb Hollenback who mentored me when I first started mix-teching. I would not be where I am today without my mentors.

Q: What advice would you offer to someone interested in pursuing your line of work?
I recommend people take the time to train. Be detail-oriented; you can never be too careful! Take time to practice, and present your work to your mentors for feedback. When you get opportunities to work alongside people who have been in the industry for decades, you will learn from the best. Don’t waste that opportunity, and don’t be afraid to reach out and branch out!  

Q: Was there ever a circumstance when you had to rely on the Guild for help or assistance?
I haven’t personally needed help or assistance from the Guild yet, but I know they’re here for me if anything were to come up.

Q:  Is there anything you’d like to say to your fellow Guild members, some words of encouragement?
We are very lucky to have this community, to have a labor union that keeps us together and helps us stand up for our rights. I hope to connect with more Guild members and that we always remember how important it is to support each other.

—Compiled by David Bruskin

Where are you currently employed?

I’m a freelance editor. Like many of us these days, I work remotely from home. My employer, Stone Village Films, is best known for “The Lincoln Lawyer,” “Chef,” and “Empire Falls.”

Current projects?

I’m working on a feature documentary called “Understanding Autism.” I’m excited about this project because not only is it an emotional journey into autism education and awareness, but it’s also directed and produced by people who are on the spectrum and have firsthand experience with the topic.

Describe your job.

I’ve edited both narrative and documentary, and in some ways, they are vastly different animals. With documentary work, you aren’t just editing the material; you’re also a writer. Since there’s no script, it becomes a really intricate editing puzzle of seeing how the pieces fit together.

With narrative, I’m typically given a script very early on, which then becomes my “guide” as dailies begin to roll in. Inevitably, a lot of things change during production, and my job then becomes to creatively find ways to best present the material.

At the same time, there’s also a ton of overlapping between working with fiction and nonfiction material. Both are highly collaborative, whether it’s with directors, producers, or executives. This is my favorite thing about editing: I often get to learn from top-notch creatives in the field and then get an opportunity to apply my craft to their vision. We work closely with composers, sound designers and re-recording mixers, colorists, and pretty much everyone involved in post. And there is a constant flow and communication between the editor and the assistant editor. We can’t survive without our assistant editors!

How did you first become interested in this line of work?

When I was about three or four, my mom took me to see the movie “Free Willy.” When the film finished and the credits started to roll, my mom pointed out that her longtime friend from college, Lauren Shuler Donner, had produced the movie. My eyes grew wide and I exclaimed, “You can make these?” That’s when the fire was ignited.

When I was a teenager, I started filming little skits, short films, and documentaries on a Digital Video (DV) camera. I was fortunate enough to have access to a video production class in high school and made a  short documentary about the United Farm Workers. The film got accepted into a few film festivals and helped me get into film school at Chapman University.

I had always gravitated towards post-production, but during film school, I got an internship on the Fox lot where I had an opportunity to learn from some terrific people. They placed me in the editing room for the film “X-Men: Days of Future Past” where I had a chance to meet and absorb knowledge from editor/composer John Ottman, editor Mike Hill, and assistant editors Steve Bobertz, Erik Jessen, and Pearce Roemer. It was a fantastic experience that I’ll never take for granted, and it motivated me to continue to grow as an editor.

Who gave you your first break?

Early in my career, I was struggling to get assistant editor jobs. I was called in to interview with Spencer Averick (editor on “Selma,” “When They See Us”), who was hiring an assistant for the Ava DuVernay documentary “13th.” I instantly knew it would be a special project. My excitement must have been evident in the interview, because although I was totally underqualified, Spencer later called me and said, “Alex, let’s do this.” It was a career-altering moment. Two years later, the documentary was nominated for an Oscar.

My second big break came years later when I made the jump from assistant editor to the editor chair. After “13th,” I worked as an assistant editor for Spencer on several projects directed by Ava. I had been hired to work on another documentary she was directing. and we were in the early stages of gathering archival footage when the project was canceled. When Ava asked me to come to her office, I thought for sure I would be out of a job. Instead, she told me about her new show on the Oprah Winfrey Network (OWN) called “Cherish the Day” and asked if I wanted to be a picture editor on it. I was floored. I had edited several indie features and shorts between my assistant editor gigs, but I didn’t expect to get an opportunity to edit on a major network show so early in my career. I still can’t believe just how much of a gamble this was on Ava’s part, and I know she has elevated the careers of so many other people like me. I had the opportunity to work on “Queen Sugar” for two seasons and “Cherish the Day” for two seasons.

I’m still so grateful for these two influential and talented people in my career. They saw my work ethic and dedication and decided to trust me and take me under their wing. I definitely wouldn’t be where I am today without the effect they’ve had on my professional life.

What was your first union job?

When Ava asked me to work on “Cherish the Day,” not only was it a major shift in my career, but it also was my first union job. I had been working my hours and always figured I would join the union as an assistant editor, but when I was hired on “Cherish the Day,” I had the incredible opportunity to join the union as a picture editor.

What credits or projects are you proudest of, and why?

There are several, but it was definitely special to be a part of “13th.” It was such a small team, but we poured every bit of our hearts into that documentary, so it’s been extremely gratifying to see what a profound impact it’s had.

I’m also proud to be a small part of the great legacy that Ava created on “Queen Sugar.” She hired 42 female directors across seven seasons of the show, which is a huge (and unheard of) step forward in Hollywood. I’m honored to have been a part of that moment in history.

Lastly, I have a 30-minute documentary that was recently released called “ifine (beauty)” which I’m really excited about. It’s being very well received at festivals and was just accepted into the Cannes Short Film Corner. I was not just the editor on this documentary but also a producer, so I’m proud to add that credit for this meaningful work.

What was your biggest challenge in your job (or on a particular project) and how did you overcome/solve it?

Each project has its own set of challenges. The film “ifine (beauty)” was shot on location in Sierra Leone, where they speak a language called Krio (which is a dialect of English, but very different from American English). Though I worked with a translator, I picked up the language on my own very quickly, so I was  able to cut the film together and add subtitles. I hope to improve my Spanish so that I’ll be ready to edit a film or show in Spanish when the opportunity arises.

What was the most fun you’ve had at work?

Collaborating with fellow creatives is always the most fun in what I do. I’ve met some really fantastic people, and I just love to talk craft with them. When I work in episodic, I always look forward to “director’s cut” days. On “Queen Sugar” and “Cherish the Day,” there were typically different directors on each episode, and I had a chance to work with so many of them.

Of course, maybe the most fun I’ve ever had was getting a chance to attend the Oscars when “13th” was nominated in the Documentary Feature category.

Jobwise, what do you hope to be doing five years from now?

I’d love to work on effective, meaningful stories, not just as an editor but also as a producer and creator. From “13th” to “Queen Sugar” to my current project (“Understanding Autism”), most of the projects I’ve worked on have been socially influential, and I’d like to continue that career trend. Now that I’ve achieved my goal of becoming a union editor, one of my next goals is the honor to have ACE (American Cinema Editors) after my name.

What are your outside activities, hobbies, passions?

I love anything and everything to do with art. Living in LA, we have access to a rich variety of arts and culture, so I’m often going to concerts, theatre, dance performances, and museums. I’m also a huge baseball fan, so I love going to baseball games, and I play in a recreational softball league. I also love to travel.

Favorite movie(s)? Why?

“City of God” for its amazing editing. I love its documentary style, the handheld coverage and angles. Another favorite is “Whiplash,” also for its meticulously planned editing. My favorite movies of the past year are “Bardo” for the brilliant writing and “Everything Everywhere All At Once” for its imaginative editing and effects. 

Favorite TV program(s)? Why?

My favorite show of all time is “Breaking Bad.” It’s iconic and some of the most brilliant storytelling in TV history. “Euphoria” is superb and inventive. I enjoy a lot of the dark comedy series of the past few years like “Atlanta,” “Reservation Dogs,” “Master of None,” “Dave,” and “Insecure.” Also, “What We Do in the Shadows” is always hilarious. I would love to work on shows like these. I edited on seasons 5 and 6 of “Queen Sugar” and was a fan of the show even before I worked on it.

Do you have an industry mentor?

Yes! Spencer Averick is a super-talented editor and a great person. We’ve been close ever since he hired me to be his assistant editor on “13th.” I was his assistant for several projects, and he was an enormous help as I navigated my transition from assistant editor to picture editor. I’m also extremely grateful to Alexander Aquino-Kaljakin who was a fellow editor on “Cherish the Day” and “Queen Sugar.” He made the jump from assistant to picture editor a few years before I did, and he gave me a lot of valuable support and advice.

What advice would you offer to someone interested in pursuing your line of work?

Ask questions as much as possible. Find a few solid people who are more experienced than you and pick their brains. Not only will it give you useful tools and advice, but it also shows them how dedicated you are to learning, which makes it more likely that they’ll want to bring you onto a project or recommend you for one.

Also, be ready to take rejection. This is an inevitable fact of being an artist. Continue to work hard, educate yourself, and stay humble.

Was there ever a circumstance when you had to rely on the Guild for help or assistance?

Actually, the Guild is helping me now! The show I’m currently working on started as nonunion but is in the process of switching to union. It feels amazing to have an entire union on your side, working for your rights.

Is there anything you’d like to say to your fellow Guild members, some words of encouragement?

As MPEG members, we are an important part of the industry and how it functions. Be proud of that, and also be proud of being a part of a union. My mom and uncle were union members when they worked in New York, and I’m proud to carry on the tradition here in LA with the IA and Local 700.

Compiled by David Bruskin. 

Where are you currently employed? Warner Bros Animation.

Current projects? “Merry Little Batman.”

Describe your job. My job’s not too different than when I was cutting live-action projects. The only difference is now instead of camera footage, we’re working with disembodied voices, thousands of jpeg images (animatics), and then thousands of animated shots to make cartoon characters yell at each other. But the job is still the same: creating the right rhythm, tone, and juxtaposition to tell engaging visual stories.

How did you first become interested in this line of work? I think like a lot of people my age, seeing a sketch group like The Lonely Island go from the Internet to “Saturday Night Live” to their first feature, “Hot Rod,” and beyond really unlocked that DIY part of my brain showing a new path into the industry. You didn’t need a famous uncle; you could just start making sketches with your friends and grow from there. So I did a lot of that from high school to film school, but my favorite part was always editing: You skip all the stress and headaches from being on set, you’re piecing together all the elements to make the film people will see, and you use both sides of your brain in being organized and analytical but also creative and spontaneous.

Who gave you your first break? When I was in film school at UT Austin, there was an independent production company called Ralph Smyth Entertainment. They’d made a short I loved called “The Man Who Never Cried,” and I skipped class to go to the table read of their “Hot Rod” style sports feature. The next day, they offered me an internship that changed my life. I wasn’t just taking coffee orders (because I was terrible at it); instead, I was organizing footage, working on sets, covering scripts, and I even got to do a ton of editing. Seeing how they solved problems creatively, fostered relationships, and put a high premium on quality had a massive influence on me, and every success I’ve had since then I can tie directly to lessons I learned from those four dudes.

What was your first union job? Editing animatics for season three of “Harley Quinn,” the animated series on HBO Max. It was also my first animated project and my first studio job, which was intimidating at first, but once I started cutting comedic dialogue scenes (which has always been my bread and butter), I quickly got comfortable making these iconic characters fight or crack wise or have wild sex, and everything in between.

What credits or projects are you proudest of, and why? Over the last few years, I’ve been making music videos with my favorite singer/songwriter, Justin Courtney Pierre of the rock band Motion City Soundtrack. It’s not my widest-seen work, but I’m so proud of these projects we’ve made together, and it’s been a real dream-come-true experience to collaborate with one of my favorite artists. Sometimes it rules to meet your heroes, and seeing Justin’s creative energy up close always reminds me why I love what I do.

What was your biggest challenge in your job (or on a particular project) and how did you overcome/solve it? I was one of the editors on “YouTube Rewind 2018” (aka the most-disliked video in YouTube history). After reaching this massive stage and being unanimously reviled by hundreds of millions of people, I truly thought I was never going to work again. But then a few days later, I booked a streaming series and bought my niece a Christmas present, so life goes on. You strangely kind of feel invincible after bombing at that scale, and it inspired me to leave the branded world entirely and start actively transitioning my career toward booking film/TV work. The biggest advice I give kids who are scared of their work failing is “Call me when you have 22 million dislikes. And even if you top that? Keep making stuff, anyway.”

What was the most fun you’ve had at work? I grew up watching Saturday morning cartoons on Kids’ WB, so I always imagined how working on that lot would be filled with actors reading scripts in horse costumes, coyotes leaving coyote-shaped holes in the walls, and somebody yelling “MAKEUP!” before smacking you in the face with powder. It’s not quite that zany, but it’s not too far off, either. On my breaks,  I like to sneak into the soundstages and watch these massive productions shoot work that millions of people are going to see. That electricity of being surrounded by so many talented artists and filmmakers never goes away. I also wander around the lot and basically take their tour for free. (If any of my bosses at WB read this, that was all just “a joke.”)

Jobwise, what do you hope to be doing five years from now? There are still so many big goals I have. I want to edit the Muppets. I want to edit a Miranda July indie darling. I want to edit a massive, saturated Hollywood musical. While I’ve built myself a stable niche of comedy editing work, there’s still so much I want to do in my career, so I’m always trying to take on projects that can lead to the kind of opportunities I’m chasing.

And I want to edit at least ONE “I Think You Should Leave” sketch. But c’mon, who doesn’t?

Favorite movie(s)? Why? Because I’m cutting a Warner Bros animated feature right now, I’ll go with “The Iron Giant.” It’s a purely entertaining film that also had these raw emotional themes Brad Bird wanted to explore. It’s aesthetically incredible — everything from design to score feels so of the era it’s in while still being timeless. I’ve watched it move adults and children alike to laughter and tears and even existential musings on why we’re here. Movies that are so undeniably good like that always excite me, regardless of their box office or streaming numbers.

Do you have an industry mentor? I’ve been very blessed to work with and learn from so many talented filmmakers, but I’ll always be grateful to editors like David Ward, Chris Roldan, Neil Mahoney (#Neiledit) and Al Levine to name a few. They all went out of their way many times to teach or give me advice or help me advance my career, expecting nothing in return. It’s been a huge honor of my career to also start mentoring upcoming editors and bring the ladder down like so many others did for me.

What advice would you offer to someone interested in pursuing your line of work? Don’t wait for permission to make something — Make Something! Make a LOT of things. They’ll start crappy but they’ll keep getting better, and you’ll keep getting better, too. And take any and every job you can get; even on “boring” jobs we all start with, like weddings and corporate videos, there’s something to learn or practice or improve. Look at every new opportunity as a learning one.

Is there anything you’d like to say to your fellow Guild members, some words of encouragement? Animation is cinema, and animation editing is editing. Despite doing the same job, we often make much less than what our live-action counterparts do in the same position. So I would encourage you to stand with all animation workers in fighting to close the pay gap! 

Compiled by David Bruskin.