|This is a slight deviation from the ongoing series of Feature Scene Breakdowns that I have neglected for the last six month or so. Being apart of the advertising industry now, I am finding myself much more attentive to the ad work that seems to assault me from every screen I own these days and I thought I should include it in this personal study. One huge upside of being within agency walls is a glorious room full of demo reels from over the years for Directors, Creative Editors, DP’s, FX Houses and even Catering companies (jokes). I have been trying to take advantage of that opportunity to study the work of the advertising realm masters. It was in one of those reels that I discovered this little gem of a spot from New Zealand for the Sky TV news network.|
“West Bank” was released in December of 2009. The agency was DDB, Auckland. The Director was Cole Webley, the Cinematographer was Travis Cline, and the Editor was Kim Bica out of Arcade Edit. For me, the beauty of the spot is in how much editorial had to play in its success, and how invisible that hand is. Invisibility has long been a description of the craft and of the editor’s role; which as of late has been changing with the new, MTV-influenced styles. In many programs, the editorial practice has become much more apparent to the viewer. Rather than seamless cuts that distract you from the fact that they are even happening, the jumpcut has certainly become a star player these days. “West Bank” is a very high energy spot that plays out entirely on a battlefield, and lends itself to a jumpcut style. The artistry is that most of the cuts, although jumpcuts by definition, are masterfully stitched together shots that appear to be continuous.
view the rest of the breakdown, complete with video and still images at
Bringing a little class back to the edit suite. It all started with a school assignment to make a commercial that spiraled out of control into an episode of COPS where the Pepsi Police took down a Coke ring. Years went by and I discovered video again in College in Cincinnati, where I stayed and started my career in post production. I have returned to the mountainous region of my forefathers and my future begins again. I am spending most of my waking moments on the lookout for any loose images that need to be put together in time and space with sound. I have a film editor's heart hidden within an advertising exoskeleton and I believe the cut is the greatest transition.