Editors are integral to creating a spot. After all of the footage is shot, and sometimes well before, the editor comes into the process and helps to transform the film into a cohesive ad. This week’s Special Report is devoted to the cutters who make some of the most enjoyable ads a reality.
In "A Cut Above," Angus Wall, who edits ads out of Rock Paper Scissors, Los Angeles, worked on Nike’s "The Morning After" via Wieden +Kennedy (W+K), Portland, Ore., which won the Emmy Award for best commercial.
Livio Sanchez, an editor at The Lookinglass Company, Santa Monica, cut the most talked-about campaign of the yeara Budweiser’s "Whassup/True," out of DDB Chicago. The spot "Whassup/True" scored an Emmy nomination.
Peter Wiedensmith, who heads up Joint, the in-house editorial arm of W+K, cut Nike’s "Driving Range," another Emmy nominee.
David Henegar of Uppercut Editorial, Minneapolis, has received accolades for his work on the BMW spots out of Fallon, Minneapolis. In "Driving To The Top" he talks about his work for the carmaker and others.
"Emotional Storytelling" looks at Jerry Fried of Red Car New York, for whom telling the story is paramount.
