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.