What Our Members Do

Where are you currently employed?

I’m between projects.

Current projects?

I’m using the downtime to finish a desktop application for editors called Post Assist, and don’t worry, it has nothing to do with AI.

Describe your job.

The role can differ from show to show, especially depending on team size. I’d describe a visual effects editor as part picture editor, but with a heavier focus on project management, technical workflow, and overall visual continuity. We identify and track every shot requiring visual effects, which often include simpler visual fixes handled later on by an online editor or colorist. Shots constantly move in and out of cuts as they evolve, requiring budgeting and re-budgeting. We use databases (often built ourselves) or spreadsheets not only to track shots, but also camera information, work details, artwork, and anything tied to visual effects.

On the creative side, we create temp visual effects, help cut visual effects sequences, and troubleshoot creative and technical issues alongside editors and producers. Temp visual effects shots are rough drafts that communicate the creative intent; you may not know why someone is running from a giant blue screen until we replace it with a menacing spaceship. The trick is selling the idea without distracting the viewer, while giving visual effects artists a clear blueprint to build from. We’re also liaisons: editors come to us with visual effects questions, and the visual effects team comes to us for clarity on the cut. It can feel like existing between two worlds, but working with a wide range of creative people is one of the best parts of the job.

Once an episode or film is approved, or sometimes earlier, we begin pulling visual effects shots. A single shot may require several pieces of footage with unique timings, artwork, and graphics. We create detailed work orders and pair them with edit-timeline data to ensure that visual effects artists receive the correct high-resolution materials and instructions. This process usually unfolds over months while we run regular review sessions with the visual effects team, editors, producers, and directors. Some visual effects shots go through dozens of revisions before approval, and we track and check every one of them.

We cut in the approved visual effects shots, which are then delivered to online/conform, where high-resolution versions are added to the final edit. Like editing in general, our best work is mostly invisible. Sure, we get to temp laser beams and flying pirate ships, but most of what we do goes unnoticed: smoothing wobbly cameras, catching hidden problems, and providing everything visual effects artists need to make the final shots truly shine.

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

It was a surprise. I’d been focused on traditional editing and only understood the basics of what visual effects artists do. Working as an assistant editor on David Fincher’s “Mank” was my foundational experience in visual effects. After principal photography, I moved from editorial to conform, setting up the colorist’s timeline with high-resolution footage and all our visual effects shots. I was immediately drawn to the technical complexity and wanted to understand everything happening in those shots. Realizing how much I still had to learn about visual effects and opticals (fixes done during online or color), I became a sponge. Casey Curtiss, my favorite visual effects editor, was great at breaking down complicated effects and workflow. I learned lots over there, which strengthened my eye for spotting problems.

I continued growing my knowledge by working in animation and creating temp visual effects on other shows. Later, Nancy Morrison, ACE and Barrie Wise, ACE — two editors I love working with — each told me I had a knack for temping visual effects and a sharp eye for catching issues. Nancy asked if I had considered visual effects editing, which became a light-bulb moment. Barrie later recommended me for my first solo visual effects editor role. I’m grateful for the nudge and faith they instilled in me.

Who gave you your first break?

After graduating from the University of New Mexico with a degree in cinematic arts, I started as an assistant to a creative director at a nearby production house. I did whatever was needed, like cleaning cameras, backing up footage, wrapping cables, setting up equipment, and handling location permits. Gradually, I moved into post-production, learning assistant editing and dailies processing. Eventually, I became the dailies manager, overseeing encoding and delivery for shows like “Preacher,” “Dig,” “Messengers,” “The Night Shift,” and “House of Cards.” This experience led me to work across the country as an assistant editor and DIT (Digital Imaging Technician).

What was your first union job?

A horror comedy called “Snatchers,” which started as a TV show and was later re-edited into a feature film. I was the sole assistant editor, handling dailies and assembling scenes for the editors. Cutting those initial comedy action scenes was a lot of fun.

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

I’m proud of “Washington Black,” a Hulu series released in July. I was the only visual effects editor for over 1,200 shots, starting with an initial batch nearly three times as large, with an ambitious turnaround. I created a wide range of temp visual effects shots — pirate ships, flying machines, underwater habitats, Arctic storms, ice caves, and more. The technical challenges taught me a lot, and I was fortunate to have creative input, even collaborating on some major sequences. Working alongside visual effects producer Tyler Foell and visual effects supervisor Eddie L. Williams was fantastic. Together, we produced memorable work with a polished visual style.

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

My biggest challenge was working as a post-production consultant on a television show about a week before final delivery. Their Adobe Premiere project was in bad shape — corrupt files, frequent crashes, and cuts that took minutes to respond. They’d already worked with Adobe without finding a solution. The biggest challenge was the quick turnaround, which required understanding their project and workflow as quickly as possible.

Working remotely, I went through entire episodes clip by clip, eventually identifying the corrupt media. It was more like Minesweeper than editing, since clicking on a bad clip would crash the computer. I’m happy to say I was able to fix an episode, then clearly communicate the fix to the lead assistant editor, who then corrected the rest with their team. Everything was ultimately delivered on time.

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

A memorable period was traveling as an assistant editor during two television pilots and a full season of another show. I stayed in Baltimore, Maryland; Pensacola, Florida; and ended in Bend, Oregon. I shared crew houses with some terrific people while working remotely with Matt Dale, a lovely Aussie editor. I loved exploring places I might never have visited otherwise.

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

Once AI assimilates me, I imagine I’ll be doing many things. Kidding aside, I want to spend more time on set and keep soaking up everything I can. I also hope to deepen my virtual production skills and apply my knowledge of Unreal Engine [an app used in game design and on set for real-time 3D visual effects]. And if I’m really lucky, I’ll be a visual effects producer on my own horror comedy screenplay, currently stalled by the industry’s economic climate.

What are your outside activities, hobbies, passions?

Working on screenplays, growing veggies in my homemade hydroponic systems, thinking too much about sustainability, occasionally recording songs on guitar, rating breakfast burritos with my wife, and failing to become fluent in Hungarian.

Favorite movie(s)? Why?

“Ikiru” by Akira Kurosawa: It packs a punch because of all the humanity and emotion it carries so beautifully. The film conveys both the main character’s subjective and physical spaces through editing, acting, lighting, and cinematography.

“The Sword of Doom” by Kihachi Okamoto: It’s stark and also beautiful. It’s a character study with some of my favorite cinematography. Tatsuya Nakadai’s performance is superb! Every time I watch it, I notice a new detail to obsess over.

“Survive Style 5+” by Gen Sekiguchi: This film from Japan’s weird cinema genre should be watched by every film lover obsessed with plot and character themes expressed in pattern, color, and cultural nuance. It’s weird, whimsical, and so much fun.

“Some Like It Hot” by Billy Wilder: One of my favorite censorship-bending and just lighthearted comedies. The dialogue is sharp, editing is excellent, and the acting — I mean, Tony Curtis, Marilyn Monroe, and Jack Lemmon; what’s not to love?

Favorite TV program(s)?  Why?

“Peep Show”: Funny, character-driven, awkward as heck, and full of memorable characters and quotable lines. It’s really a technical trailblazer as well, since it was heavily in the first-person style with their internal dialogue going the whole time.

“Zatoichi: The Blind Swordsman”: I’m a sucker for samurai westerns, and this whole series is so epic in scope and length. The characters are fun, the stories are mostly self-contained, and it also features many of Japan’s biggest stars, directors, and editors.

“Star Trek: The Next Generation”: Love me, hate me, this show is one of my happy places. I always return to it because it’s about hope and, dare I say, it fits my love of humanist stories. Hope and humanity over pure melodrama any day.

“The Wire”: Am I a cliché? I also wanted to say “Twin Peaks”… but no, “The Wire” is fantastic. The story and characters are rock-solid. Everything feels so gritty and real, like a mutant brother of Italian neorealism.

Do you have an industry mentor?

I’ve been fortunate to learn from many generous people. Nicolas Emme was an excellent source of workflow advice as I moved deeper into scripted television. More recently, my former visual effects supervisor, Edward L. Williams, began mentoring me. He’s made sure I always have a voice in the cutting room. He’s pushed me creatively, shared his on-set knowledge, and even championed a script I wrote. Having someone believe in you and push you forward (or pull you back after too much coffee) makes a big difference.

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

Visual effects editing is both creative and highly technical. You should be someone who loves the art of process, is curious about technology, and is happy to invest time into learning new skills — keeping up with technology is a full-time job. I suggest starting as an assistant editor to build foundational skills and see if the workflow side of editing appeals to you. Some people have little interest in the nuts-and-bolts, so they see a picture editor role as more rewarding. See what part of the creative process you enjoy and go from there.

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

There was one show where the Guild stepped in after a contract violation affecting the entire post department. They helped me as part of that process, though I didn’t need to seek assistance myself.

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

It’s a difficult time, with so many people struggling as the industry is slow to recover. And in general, there’s a lot of anxiety about the state of the world and technology. I’m right there with you, hanging in and holding on to hope that things will soon take a turn for the better. Despite these challenges, I believe we can use this moment to come together and build a stronger, more resilient community. Try to remember not to equate your self-worth with how you make a living. And if you see me out in the world, hugs are always free — just ask.

Where are you currently employed?

 I’m currently wrapping up a union independent film titled “Sender” that stars Britt Lower and is edited by Marco Rosas. This was my first union feature, and I couldn’t be more grateful for the opportunity.

 Also, I keep busy editing short films, especially animation projects like the short “Double Smooth,” directed by Andre Rodriguez, a former Pixar and DreamWorks modeling lead. It’s a powerful film about humanity in the prison system. I can’t wait for the world to see it!

Current projects?

 I’m wrapping up “Sender” as it goes through color, sound, and visual effects (post-production turnovers). At the same time, I have a couple of smaller projects that are helping me get by until the new year (2026).

Describe your job.

 On “Sender,” we used Adobe Premiere Productions, which is still fairly new to many people in the industry. I maintained our production and kept everything running smoothly for Marco. That meant organizing dailies, maintaining metadata, and prepping reels for turnovers.

 I also handled some temp sound design for reels, temp visual effects comps in After Effects, and tracked every visual effect shot that went out to vendors. I used Premiere’s captions in the text panel to manage shot data and names, which turned out to be a great workflow.

 I was there to offer my technical proficiency in Premiere, but I was also a sounding board for Marco. We routinely checked how the story was playing in the timeline, discussed workflows, and kept hope alive when our post schedules seemed uncertain.

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

 I was a nerd for Godzilla as a kid, so I used my crappy old 2010 cell phone to make stop-motion Godzilla films. I then figured out how to use Adobe Premiere Pro to edit the footage together, as well as After Effects to add an atomic breath effect to my videos.

 Growing up, I often felt like an outsider, a Mexican-American kid who was sometimes labeled as “whitewashed.” I didn’t always feel like I belonged, but filmmaking — especially stop-motion — became a way for me to fully express myself and embrace the parts of me that felt out of place elsewhere.

 This not only inspired me to go into post-production but also sparked my passion for animation editing.

Who gave you your first break?

 My first big break came when I joined MasterClass in 2021. That’s where I really learned what it takes to be a strong assistant editor by staying organized, anticipating needs, and communicating clearly. Huge thanks to my manager, Jose Mendoza, for hiring me and giving me that opportunity.

 Later, my current editor, Marco Rosas, brought me onto “Sender” as my first union project. He knew I was looking for union work, and he gave me my next big step forward. I’ll always be grateful for that.

What was your first union job?

 Hmmm. Let me think. [laughs] “Sender”! Without giving too much away, it’s a film about an individual being tortured by her past in the form of packages she never ordered. It’s a fun “whodunnit,” and I hope it gets a good festival run.

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

 I’m notably proud of my first union feature (say it with me, everybody), “Sender.” However, I’m also proud of my time on “EXmas,” edited by Yvette M. Amirian under the guidance of Julia Sola, my first assistant editor. This was my first real exposure to the Avid in a feature-film capacity, and I learned so much in such a short period of time. I’m also very proud to lead my own team of assistant editors for the film “Naomi Osaka: The Second Set,” where I worked with an incredible team of creatives. I was happy to go to work because the people were just so nice and welcoming.

 I’m also proud to be an editor with Issa Rae’s Find Your People Program on the film “Before You Let Go.”  This film allowed me to blend live-action editing with animation editing, which was incredibly rewarding.

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

 On “Sender,” our dailies were processed incorrectly. They were cropped at the wrong aspect ratio, and there was no external audio metadata for us to work with during turnovers. I had to reprocess about 25 days of footage in DaVinci Resolve.

 Additionally, we needed a lot of temp visual effects comps in the cut before our Sundance submission date. We were all under the wire, so I had to be really heads-down and focused on getting so many temp shots out the door. Managing my time during that period was difficult, but we got it done.

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

 Anytime I get to do sound design, I’m in my element. It’s one of the most creative parts of editing for me, building atmosphere and emotion from scratch. It’s so much fun!

 Also, since most of my recent features have been remote, it’s always a treat to meet up with my team in person for screenings or wrap celebrations.

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

 I see myself working as a first assistant editor in animation. I’d also love to keep cutting short films for personal use or for projects with filmmakers I admire! As long as I’m telling heartfelt stories and growing creatively, I’ll be happy.

What are your outside activities, hobbies, passions?

 Let’s be real: post-production professionals rarely see the sun. So I absolutely love hiking to soak up the sun and enjoy nature. I also have a slight caffeine addiction, so I love visiting new coffee shops and trying their horchata latte, if they have one.

 My girlfriend is studying in Ohio to become a vet, so I travel to see her as much as I can.

 If I’m not working a late night, you can find me online playing “Fortnite” in my Master Chief skin. Hopefully getting one win a night.

Favorite movie(s)? Why?

 “The Iron Giant,” “Nacho Libre,” “Kiki’s Delivery Service,” and anything Godzilla. I’m drawn to fantastical  heartfelt stories that offer escapism. I am also a fan of comedy, and c’mon, “Nacho Libre” remains one of the funniest movies of all time.

Favorite TV program(s)?  Why?

 “What We Do in the Shadows,” “How I Met Your Mother,” “Parks and Recreation,” “Breaking Bad,” and “Game of Thrones.”  Interestingly, I feel like I lean more into comedies with TV shows. That said, these shows are either hilarious or keep me on the edge of my seat. I’m a big fan.

Do you have an industry mentor?

 I’ve been lucky to have many generous people offer advice throughout my career. Jose Mendoza at MasterClass, my former instructor Keith Battle from the Bay Area Video Coalition, editor Joaquin Elizondo through his mentorship program, and Aric Lewis from Color Creative have all been incredibly supportive. I wouldn’t be where I am without mentors like them!

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

 Be patient but stay proactive! Getting into the union or landing your first feature takes time, networking, and experience. But while you’re waiting, create your own opportunities by collaborating on short films, assisting where you can, and keep practicing your craft.

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

Yes! I’m still new to the Motion Picture Editors Guild, but they helped me get my professional Avid certification through a free class led by Jim Turner in the Education Department. It took a few weekends, but it was worth it, and I’m proud to be Avid certified now, thanks to the Guild!

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

 Keep hope alive! It’s been a tough couple of years for our industry, and you’d have every reason to think fearfully about the future. But remember that you can also give hope to the future. Keep doing your best, and keep telling human stories.

 I’d also encourage you to figure out how to sell yourself as a creative or technical professional. I created a video promo about my capabilities as an assistant editor and posted it on LinkedIn and Instagram:

https://www.youtube.com/watch?v=dpF5WnvcKU0&t=1s

So far, I’ve had a lot of hits asking about my availability. Step out of your comfort zone and ask yourself what you can do to stand out and get noticed.

Where are you currently employed?

I’ve been a freelance editor for approximately 18 years.

Current projects?

I just locked picture on “New Year’s Rev,” a feature premiering at the 2025 Toronto International Film Festival. It’s a buddy road trip comedy influenced in part by Green Day’s early days of touring before they were famous.

Describe your job.

I primarily cut dark comedies, so my job is to balance the darker/dramatic sides with comedic elements. There’s a fine line between letting a scene breathe or pacing up a joke to keep things moving. Dark comedies feel like the best of both worlds because they always keep me on my toes.

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

I started shooting and editing skateboard videos with my friends when I was 17. I found the editing process fascinating and endlessly creative. In order to make edits, I had to hook up my Sony 8mm camera to a VCR, hit play on the camcorder, and record/play on the VHS. Needless to say, I was thrilled when nonlinear editing came along. I think the first nonlinear software I learned was Media 100, then Premiere, then Media Composer in college.

Who gave you your first break?

Fred Eldridge, who was a colorist at Level 3 Post in Burbank. He got me an interview for a vault position. Working the graveyard shift for minimum wage certainly didn’t feel like my first break at the time, but it got me in the door at a union post house. I remember my first night on the job, a runner dropped off several 35mm film rolls of “The Simpsons.” I couldn’t believe they trusted me to handle something so valuable!

What was your first union job?

I worked the dub rack at Level 3 and was later bumped up to online assistant editor. Those two jobs were probably the most stressful jobs of my career, but they taught me how to stay calm under immense pressure.

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

I’m proud of all the projects I’ve worked on, but “Paper Heart” (2009) holds a special place in my heart. We got to make a film that blended narrative and documentary elements in a way that felt unique. We were young and inexperienced, but we got to create the film we wanted to make. It was my first feature and got accepted into Sundance, so that felt like a crowning achievement right out of the gate.

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

The biggest challenge as a film editor is bringing everyone’s voices to the table, making them feel heard. Each project brings its own set of challenges, but being open to new ideas is how I stay above the fray. I pride myself on my professionalism and will try every note because it often sparks a new idea that wasn’t there before.

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

Editing “Detroiters” and “I Think You Should Leave with Tim Robinson” was the most fun I’ve had on any show. The show creators are hilarious, so it was a pleasure going to work every day and laughing at their jokes.

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

I’ve been cutting comedies my whole career, so I’d love to branch out to dramas. I’ve also thought about teaching film classes at the university level.

What are your outside activities, hobbies, passions?

Snowboarding and golf, i.e., all the cheap hobbies. I also play trombone and piano.

Favorite movie(s)? Why?

“Gummo” (1997). It was Harmony Korine’s directorial debut, which he also wrote. I saw it in college and was blown away by how weird and cool it was. I’d never seen a movie with a tone like that. It made making movies feel possible to me, whereas all the studio movies coming out around that time felt so out of reach. As a film student, I wondered, how do you even get to make a movie like “Pulp Fiction,” which had been released a few years before?

Favorite TV program(s)?  Why?

“Garth Marenghi’s Darkplace.” It’s an unconventional British TV series that first aired in 2004 before it was unceremoniously canceled after six episodes. It’s where I discovered Matt Berry, one of my favorite comedy actors of all time. I’ve watched it close to 100 times, and it’s still as funny as it was on the first viewing.

Do you have an industry mentor?

My mentor was Danny Leiner, who passed away in 2018. He directed many films and TV shows, including “Harold & Kumar Go to White Castle.” Danny had an enormous impact on my approach to editing. He was tough as nails and wouldn’t accept anything short of perfection, but his mentorship was an invaluable education. I can still hear his voice in my head all these years later and will make choices based on what I think he’d want.

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

Don’t get into this line of work unless you’re passionate about it. In my experience, there aren’t any shortcuts and everything is earned. I still feel like I have to prove myself on every new project.

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

Nothing specific, but knowing that they always have our backs means the world to me.

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

Before I moved to LA, I used to watch movies and be so intimidated by the craft. A film career seemed like an insurmountable obstacle, but if you keep pushing and creating things, eventually the mountain turns into a molehill.

-Compiled by David Bruskin.