Editors often play a crucial role in a spot’s success. This week’s Special Report focuses on three of the editors who cut ads nominated for the Emmy for best primetime commercial. Adam Pertofsky, who works out of Rock Paper Scissors, Los Angeles, was the editor on Nike’s "Freestyle," out of Wieden+Kennedy, and helmed by Paul Hunter of bicoastal HSI Productions. The spot, which features NBA players displaying their ball-handling prowess has become quite the pop culture phenomenon. It has inspired parody ads on the Internet. In "Cutting to a Rhythm," Pertofsky discusses the collaborative process behind the ad. Spots for The Public Broadcasting System (PBS) scored twice as nominees for the Emmy. The ads "Light" and "Photo Booth," both helmed by Errol Morris of @radical.media, out of Fallon Minneapolis, were cut at The Assembly Line, the in-house editing arm of the agency. Randy Kramer cut "Photo Booth," while Erik Carlson edited "Light." In "Editing Curious," the staffers talk about the process behind the PBS spots.
Victor Garcia, of bicoastal Morton Jankel Zander, who was also the spot’s director, edited the Emmy-nominated Mercedes-Benz USA’s "Aaooga," out Merkley Newman Harty & Partners, New York. And the second M-B spot to receive a nom, "Modern Ark," helmed by Gerard de Thame of HSI and London-based Gerard de Thame Films, was cut by Richard Learoyd, out of Cut and Run, London. Enjoy SHOOT’s look at these editors.
