The Sony “Dreams” project, now in its fourth year, debuted in New York earlier this week at the Ziegfeld Theater, after premiering in Los Angeles at the end of March. The short film project is presented by Sony Electronics Broadcast and Systems Division and Young & Rubicam. Although the agency and Sony have parted ways, both parties agreed to continue to work on “Dreams” 2005, which was already underway at the time of their split.
The “Dreams” project gives commercial directors the opportunity to create a short film under a common theme–this year’s is “Flight”–using Sony’s 24p HD cameras. While directors get to realize creative visions, other noted spots artisans–editors, colorists, music houses, visual effects shops, DPs and others–also get to flex their creative muscles on the “Dreams” shorts. This week, SHOOT looks at some of the editors and colorists behind some of the short films. Sarra Idris and Maury Loeb of PS 260 New York, cut My Little Pony from director Filip Engstrom of the StyleWar collective, repped via bicoastal Smuggler. Karen Kourtessis of Crew Cuts, New York, edited Flight, directed by Alison Maclean of Park Pictures, New York. Michael Saia of Jump, New York, cut Vuelo, the film from James Gartner of bicoastal GARTNER. And Angus Wall cut Max, helmed by Samuel Bayer of bicoastal RSA USA. Colorist Lenny Mastrandrea worked on Maclean’s short, as well as Switching To Glide: The Abe and Frida Kogan Story, from director Hank Perlman of bicoastal/international Hungry Man.
David Hussey, colorist
Company 3, Santa Monica
How many years there?
12
Why did you become a colorist?
In 1983, when I got out of film school, I wanted to be an editor, so I got a job at a post house in Toronto. At that time, telecine wasn’t considered an important part of the process. Everyone wanted to be an online editor, but because I was the new guy I was tenth in line to get a shot. On the other hand, the company had just one Rank and just one guy running it, so I began hanging out on weekends learning the system. Telecines were relatively simple in those days so I caught on quickly. When the colorist left, I was given the job because there was no one else to do it. It turned out I was good at it and it was fun, so I kept on doing it.
Shortly thereafter Da Vinci came out with its first product and telecine exploded. People began taking color correction much more seriously and I rose with it. Today, because of telecine, I get to visit interesting places. I work with some very talented people on the best projects. That’s why I like it.
What’s the most exciting development (creative or technical) happening in your field right now?
The digital intermediate process. After so many years of correcting for television, having the ability to do theatrical work is very exciting. I recently completed DI for my first feature, Constantine, and the process was amazing. I can’t wait to do more.
How did you get involved in the “Dreams” project?
They booked me.
Are you happy with the end product?
They shot it on HD and we did a tape-to-tape color correct. That concerned me because HD can look flat, but after we color corrected it, added contrast and tried different color schemes, it looked beautiful–and really helped tell the story.
What has been the most challenging spot you’ve worked on in the past year?
I can’t point to any one spot that was a particular challenge. When I work it’s not normally a struggle. I like to go through and set the look for each scene in a spot. Then we can compare scenes side by side and determine if they flow together. If they don’t, we’ll make adjustments. Once we’ve done that, then we can correct the whole spot. It makes for a very relaxed session. If you start color correcting from the beginning and work through, you may paint yourself into a hole.
Sarra Idris, assistant editor; co-editor on My Little Pony
PS 260, New York
How many years there?
Two
Why and how did you get into editing?
I tried everything else and then fell into editing. I have a fine arts background and a Master of Fine Arts in photography and related media. I have worked as a photo editor years before, I guess this is a natural progression.
What was it like editing a “Dreams” project?
I am lucky to have had the opportunity to collaborate with Filip Engstrom of StyleWar and so many amazing talents that came together to make this happen. This was just plain fun. Respect to all the various special effects houses that helped on this project. It really was incredible to watch as each layer was built and the film came to life. The icing on the cake for me was during the final mix when sound design and final picture finally met.
How did you get involved?
When Smuggler approached Maury about doing a Sony “Dreams” project with StyleWar, we were all very excited. Then Maury asked me to co-edit the short film with him. I think he saw the excitement in my eyes.
Are you happy with the end product?
Love it!
What’s the best part about being an editor?
The process.
What’s the worst part?
Vision loss and carpal tunnel syndrome.
Do you have an all-time favorite ad you cut?
Hopefully, the best is yet to come.
If you could have worked on any spot airing now, which would it be and why?
Tarsem’s “Masks” for Nike apparel is fantabulous! [The director helmed the ad via Wieden+Kennedy, Portland, Ore., and bicoastal/international @radical.media.]
Karen Kourtessis, partner/editor
Crew Cuts, New York
How many years there?
11 total (After a brief stint at Post Factory, New York, Kourtessis returned to Crew Cuts last summer.)
Why and how did you get into editing?
I “accidentally” joined the Army right out of high school–they had the best uniforms at the time. When you join the Army, you get to pick your job. I picked 26 Tango, communications technician. Hey, it sounded better than being a cook. I worked in the television stations shooting, editing, and doing technical work for four years. I got out, came to New York, and the rest is history.
What was it like editing a “Dreams” project? How did you get involved? Are you happy with the end product?
It was great working on “Dreams”. I wanted to be involved because I liked the idea that one word is given to 10 different directors who come up with 10 different interpretations of the single word and are played out in any way imagined without any constraints–except, of course, for the four-minute time restriction.
I saw a short film Alison had done by way of a client of mine and absolutely loved it. I researched her work and thought, “I wish I had cut every single thing I could find that she had done.” So I wrote her a letter and sent her my reel.
The film was such a great experience to cut. The whole project was a psychological experiment: A director who cast an actor as the director who held auditions where the actors were asked to convince other actors that they were escaping the audition.
It was a multi-leveled film of stories. It was dark and funny and the performances were amazing. I absolutely loved working with Alison and I think the film turned out great!!
What’s your most recent spot project?
Brown Co with McCann Erickson, New York.
What, if any, outside projects–e.g., shorts films or features or TV– have you completed in the past year?
Oye He’s No Longer A Boy, a film by Toni Lipari.
What’s the best part about being an editor?
The free town car rides home at 3:00 am
What’s the worst part?
The free town car rides home at 3:00 am
Do you have an all-time favorite ad you cut?
Black & Decker’s “Neighbor” and Pella Window’s “Sigh.”
If you could have worked on any spot airing now, which would it be and why?
The Spike Jonze spot “Hello Tomorrow” for adidas–I mean who wouldn’t want to cut that one?
Maury Loeb, editor
PS 260, New York
How many years there?
Three
Why and how did you get into editing?
I first began to appreciate editing when I was studying documentary filmmaking in college. That’s when I started to understand the power of the editorial process and the impact of a good editor. After school, I was freelancing as a production assistant on films shooting in the city. I was eager to be gainfully employed and I just couldn’t physically stand up anymore and really just wanted to sit down. Editing made perfect sense.
What was it like editing a “Dreams” project?
It was such an honor for me to cut a “Dreams” project. I was eager to collaborate with Filip Engstrom of StyleWar on My Little Pony, who do some of the hottest shit out there, and I was excited to make something longer than 30 seconds. Working on a short film that was so effects heavy was also very unique. The editorial process on this film was such an interesting challenge. Our only raw material was these backplates that were shot on set and we essentially had to imagine and craft this entire world from there.
How did you get involved?
Smuggler approached me and asked if I would be interested in helping StyleWar out with a “Dreams” project. Sony “Dreams” is such a prestigious event and StyleWar does such amazing work, Sarra and I jumped at the opportunity to cut one.
Are you happy with the end product?
I think the film came out great. I am so impressed that so many amazing and talented folks got together to collaborate on StyleWar’s vision and pulled this film off.
What’s your most recent spot project?
Currently I’m working on some Cingular spots that Hank Perlman shot for BBDO New York.
What’s the best part about being an editor?
I genuinely love TV commercials, and making these amazing little stories with talented and creative people that get to live on television for everyone to see is very satisfying for me.
Do you have an all-time favorite ad you cut?
I really love the adidas “Unstoppable” ad with Tracy McGrady that I did with Brian Beletic [of Smuggler] for TBWA/Chiat/Day San Francisco.
If you could have worked on any spot airing now, which would it be and why?
I would have loved to edit Tarsem’s “Masks” for Nike apparel–that is such a sexy cut.
Michael Saia, president/editor
Jump, New York
How many years there?
Eight–Barry Stilwell, Luis Moreno, Frank Ciofreddi and I started the company then.
Why and how did you get into editing?
I studied music in college. Jazz drummer, mostly small ensemble. I later became a sound editor, and the progression to film editing was a pretty natural one.
How did you get involved?
I was working on Glory Road, James Gartner’s feature (still in post now) about the 1965 Texas Western basketball team. Near the end of my commitment to the film (which was 12 weeks — mostly action sequences), Jim was approached about the “Dreams” project [Vuelo], came to the cutting room and told me about this story that he’s wanted to film for a while, and I was in.
What was it like editing a “Dreams” project?
It was Jim, and me, and that was it. All the choices were ours–the director and editor–for better or worse. That never happens anywhere else, and maybe it shouldn’t, but it sure was fun working that way.
The quiet simplicity of the story, after all of the action/sports drama of Glory Road, was a wonderful aesthetic change, and it was a great transition from the feature back to commercials.
Are you happy with the end product?
Ecstatic. Jim is as good a storyteller as there is, and this film is an illustration of that, as well as a reflection of his personal sensibilities. I love having been involved in that.
Beyond that, technically, it was a little touch and go, color correcting as close to the shadowy edge as we did, in a medium we were unfamiliar with, but I think it wound up being worth the stress.
What’s your most recent spot project?
Mercedes-Benz. Directed by Victor Garcia [of bicoastal/international Morton Jankel Zander]. Exquisite.
What, if any, outside projects–e.g., shorts films or features or TV–have you completed in the past year?
Glory Road and Vuelo. That’s it. I’ll be focusing on commercials for a while, I think.
What’s the best part about being an editor?
The part between screening the dailies and showing the first cut.
What’s the worst part?
Same part.
Do you have an all-time favorite ad you cut? I’ve been doing this too long, and have been too lucky in the opportunities I’ve had to have only one, but: Champion’s “Wrestler,” Sony’s “Subway,”‘ Cingular’s “Dan,” (director’s cut), a car chase for Mercedes, a car chase for a spot that hasn’t aired yet–still a secret.
If you could have worked on any spot airing now, which would it be and why?
Sorry. I don’t really think about that kind of stuff, or watch enough TV besides baseball to know.
Angus Wall, editor
Rock Paper Scissors, Los Angeles
How many years there?
13
Why and how did you get into editing?
I used to do giant (8’x 6′) photo-collages in college, often using hundreds of pictures torn or cut into tiny pieces. When I was exposed to editing at Propaganda Films, I found the thing I wanted to do 24 hours a day.
What was it like editing a “Dreams” project? How did you get involved? Are you happy with the end product?
It’s great to work with Sam [Bayer], although we only had a few days. He is incredibly passionate about the piece. In fact, we’re doing a longer version.
What’s your most recent spot project?
Stella Artois with Frank Budgen of Gorgeous Enterprises, London and bicoastal Anonymous Content.
What, if any, outside projects–e.g., shorts films or features or TV–have you completed in the past year?
Haines Hall [of Spot Welders, Venice, Calif.] and I cut Thumbsucker ( a feature length movie) for Mike Mills [who directs via bicoastal The Directors Bureau].
What’s the best part about being an editor?
You get to live at (what can be) the best part of the process.
What’s the worst part?
When you’re a trash disposal.
Do you have an all-time favorite ad you cut?
No.
Lenny Mastrandrea, colorist
Nice Shoes, New York
How many years there?
Eight
Why did you become a colorist?
Creativity. I feel color correct relies heavily on the creativity of the artist involved. What’s the most exciting development (creative or technical) happening in your field right now?
Virtual Telecine. The Specter Virtual Telecine is a very impressive tool, which speeds up the color correct session. Fine tweaking from scene to scene is very simple. There are no reel changes, and scrolling through entire rolls of film is not necessary. A good amount of time that was wasted on such things can now be spent on precision.
How did you get involved in the “Dreams” project? Are you happy with the end product? We here at Nice Shoes have been involved in the project for several years. This was my first chance to work on the project. I had the opportunity to work on both Flight [from director Alison MacLean at Park Pictures, New York] and To Glide: The Abe and Frida Kogan Story [directed by Hank Perlman of bicoastal/international Hungry Man]. Everyone seemed happy with the end result.
What has been the most challenging spot you’ve worked on in the past year?
In the role of colorist, the most challenging part of my job is to interpret each client’s goals and vision. Doing this each day is a challenge unto itself. I can not recall a specific project where that task was more difficult than others.
If you could have worked on any spot airing right now, which would it be and why?
I can not name a single spot, which I feel needs my attention. At Nice Shoes, we are lucky enough to work on a good number of national campaigns. Therefore, we get the opportunity to work on a vast array of spots through which we can express our art.
