TRC Book Club - Every Frame Counts (An Assistant Editor's Reference Book)
The Rough Cut
Assistant Editor - Jared Simon Assistant Editor Jared Simon's new book, Every Frame Counts - An Assistant Editor's Reference Book, covers everything an assistant editor needs to know, and then some. Topics covered in Jared's book include: Setting Up The Show - Everything you need to know to get up and running for the first day on the job—from setting up the printer to setting up the NEXIS. Media Composer and FileMaker - A deep technical dive into the tools assistants use in the context of a cutting room. Dailies Workflow - Soup to nuts coverage of the dailies process in excruciating...
info_outline
Sirens
The Rough Cut
Editors - Catherine Haight ACE, Laura Zempel ACE and Isaac Hagy ACE SIRENS editors Cate, Laura and Isaac have crafted a television experience that intrigues and entertains the audience, while also challenging them on conventional gender biases. Their work on SIRENS was not just professionally unifying but creatively fulfilling as well. The team established a ritual of analyzing scenes together each week, discussing tone, performance, and overarching storyline elements. This collaborative approach allowed them to align their unique editing styles into a cohesive representation of the series'...
info_outline
Mission Impossible - The Final Reckoning
The Rough Cut
Editor - Eddie Hamilton ACE MISSION: IMPOSSIBLE - THE FINAL RECKONING editor Eddie Hamilton ACE has edited the last four of the franchise's eight films. While there are a combined five other editors responsible for the first four movies, the challenge of tying up any loose ends and bringing the franchise to a close (seemingly) fell solely to Eddie. In addition to his work on the Mission Impossible films, Eddie has also taken part in two other action franchises. Eddie cut TOP GUN: MAVERICK as well as two of director Matthew Vaughn's "Kingsman" films. Both within, and...
info_outline
Overcompensating
The Rough Cut
Editors - Todd Downing ACE and Amelia Allwarden ACE OVERCOMPENSATING editors Todd and Amelia often leaned on each other for perspective throughout the post process. As Todd recounted, "You lose perspective, but there are other jokes that you always, always laugh at, and then you know it’s a gem." Editing comedy, as Amelia noted, involves understanding the micro-timing of jokes — knowing precisely when to cut away or linger, to maximize comedic impact. Todd echoes this sentiment, explaining that edits can drastically influence the pacing and timing essential for landing a joke....
info_outline
Daredevil - Born Again
The Rough Cut
Editors - Cedric Nairn-Smith, Melissa Lawson Cheung and Stephanie Filo ACE DAREDEVIL BORN AGAIN editors Cedric, Melissa and Stephanie open up about their experiences and the unique challenges they faced while working to bring back Matt Murdock and his crime fighting alter ego under the Marvel Television banner. Assembling this team of super editors happened through various means. Stephanie credits her introduction to Marvel through a mentor, while Melissa explains how her work in Marvel's SECRET INVASION showcased her skills in creating grounded action sequences, helping to...
info_outline
The Studio
The Rough Cut
Editor - Eric Kissack, ACE THE STUDIO editor Eric Kissack began journey his journey with series co-creator and star, Seth Rogen, on the Sasha Baron Cohen film, Bruno. From there their partnership would continue, spanning projects like Sausage Party, Black Monday and others. For their current project, they would be working closer than ever before, as Seth's vision for THE STUDIO necessitated Eric's presence on set, fostering a tighter creative process that brought editorial not only on location, but into aspects of prouction. THE STUDIO tells the story of Matt Remick, the newly...
info_outline
Monsters - The Lyle and Erik Menendez Story
The Rough Cut
Editor - Peggy Tachdjian, ACE MONSTERS editor Peggy Tachdjian will tell you that, in the world of television, few things are more daunting than delivering a true crime story that is both gripping and respectful. Her work on the second season of the Netflix series delves deep into the infamous tale of the Menendez brothers, weaving in elements of humor, trauma, and the complexities of the human condition. Peggy gives us an insider's perspective on this challenging editing journey, her working relationship with co-creator Ryan Murphy, and the emotional landscape navigated throughout the...
info_outline
Thunderbolts
The Rough Cut
Editors - Harry Yoon, ACE and Angela M. Catanzaro, ACE THUNDERBOLTS editors Harry Yoon and Angela M. Catanzaro each gained a whole new appreciation for production crews, having spent considerable time themselves cutting on-set and as a integral part of the process. Harry reflects on his previous working relationship with director Jake Schreier on Beef and how he came on board for THUNDERBOLTS. Angela also shares her excitement about joining the MCU after working on the feature film Prey. The editors delve into the collaborative process and the importance of depicting mental health...
info_outline
The Pitt
The Rough Cut
Editors - Mark Strand ACE, Joey Reinisch, Lauren Pendergrass and Annie Eifrig In this episode, we explore how THE PITT editing team of Mark, Annie, Joey, and Lauren navigated the unique challenges of cutting this intense medical drama. From their experiences working with producer John Wells to dealing with emotionally charged scenes, they reveal their techniques for maintaining authenticity and managing the show's fast-paced environment. They also share their personal connections to the material and how they balance relentless action with powerful storytelling. Created by R. Scott...
info_outline
Severance
The Rough Cut
Editors - Geoff Richman ACE, Joe Landauer, Keith Fraase ACE The Severance editing team of Geoff Richman, Joe Landauer and Keith Fraase discuss their experiences and creative processes for the hit show's second season. They talk about their initial impressions of the project, preparation to join the show, and specific challenges in editing various episodes. Highlights include creating complex montages, handling visual effects, maintaining geographic and narrative coherence, and managing ambitious scenes like Mark's dual-dialogue via a DV camera. They also discuss the excitement of...
info_outlineDISCLAIMER editor, Adam Gough ACE, BFE began his journey with director Alfonso Cuarón over eighteen years ago as an editorial trainee on Cuarón's CHILDREN OF MEN (2006). In 2018, Adam would co-edit Cuarón's ROMA, alongside the writer/director. This long-standing collaboration has evolved over time, reflecting the trust and synergy they've built together, leading to Adam working as the sole editor on Cuaron's first TV series, DISCLAIMER.
For a project that would end up spanning two years, assembling a reliable and passionate editorial team was crucial to Gough. Aiming to bring on individuals who were eager to step up in their roles and commit to the project's duration, his team's unwavering dedication was pivotal in navigating the intense workload they would endure. From the onset, Adam was aware of DISCLAIMER's magnitude—boasting 670 script pages that were ultimately condensed into seven episodes. The complexity wasn't just in the volume but in its narrative structure as well. Using color-coded scripts and scene cards, the editorial team was effectively able to navigate the shifting perspectives and multiple narrators that took place throughout the series.
The Credits
Visit ExtremeMusic for all your production audio needs
See what's new with Avid Media Composer
Hear Adam talk about cutting Spike Lee's DA 5 BLOODS
Subscribe to The Rough Cut for more great interviews with the heroes of the editing room
Explore The Rough Cut on YouTube
The Chapters
00:00 The Journey Begins: From Trainee to Sole Editor
00:46 Diving into the Script: First Impressions and Challenges
02:35 Synopsis: What is Disclaimer About?
05:18 Editing Process: Building the Team and Workflow
08:03 Challenges and Lessons: The Marathon of Editing
15:37 Narrative Techniques: Voiceovers and Perspectives
20:42 Organizing the Complex Narratives
23:21 Stylistic Choices: Adapting to Different Timelines
25:26 Balancing Visual Techniques and Audience Perception
26:24 Easter Eggs and Rewatch Value
27:02 Character Development and Narrative Techniques
30:38 The Impact of Music and Sound Design
38:36 Visual Effects
40:41 Audience Reactions and Screening Insights
47:51 Final Thoughts and Future Plans