Here’s what happens when you taunt Marc Langley & KFC


The KFC Extra Crispy $20 Fill Up teaches a school bus full of kids some manners in this amusing spot by editor Marc Langley, agency Grip LTD, and Circle director Tom Feiler.

Client: KFC Canada
Title: School Bus

Agency: Grip Limited
Partner, Creative: Scott Dube
Partner, Creative: Randy Stein
ACD: Dane Boaz
ACD: Juan Torres
Director, Business: Jessica Tran
Producer: Katherina Villa

Production Company: Circle Productions
Directors: Tom Feiler
Executive Producer: Karen Tameanko
Line Producer: Erica Parks
DP: Brendan Steacy
Casting: Mann Casting, Steven Mann

Editing: Rooster Post
Editor: Marc Langley
Assistant Editor: Joey Whitelaw
Post EP/ Producer: Yumi Suyama

Colour: Alter Ego
Colourist: Conor Fisher

Finishing: Alter Ego
Finishing Artist: Darren Achim
Finishing Assistant: Alexa Salsberg
Producer: Hilda Pereira

Audio House: Imprint Music

Boys will be boys, or they can be so much more in this anthem for White Ribbon cut by Michelle Czukar


Michelle Czukar edits this emotional rallying-cry for agency Bensimon Byrne and Untitled Films’ director Hubert Davis to promote a healthier, more positive masculinity on National Anti-Bullying Day. Visit to see the full film and take the White Ribbon pledge.

Title: Boys Don’t Cry
Agency: Bensimon Byrne

Executive Creative Director: Joseph Bonnici
Associate Creative Director: David Mueller
Senior Art Director: Debbie Chan
Senior Copywriter: Matt Doran
Producer: Michelle Pilling
Production Manager: Sara Leroux

Production Company: Untitled Films
Director: Hubert Davis
DOP: Kiel Milligan
Executive Producer: Tom Evelyn
Production Designer: Michael Walker
Casting Director: Shasta Lutz, Jigsaw Casting

Editing: Rooster Post
Editor: Michelle Czukar
Assistant Editors: Mikaela Bodin

Colour & Finishing: Alter Ego
Colourist: Conor Fisher
Colour Assistant: Erik Bayley

Online Artist: Eric Perrella
Online Assistant: Hali Gale

Music & Sound: Berkeley Inc.
Creative Director: Jared Kuemper
Executive Producer: Tyna Maerzke

Dave De Carlo takes us on a tangled tale for Newfoundland & Labrador Tourism


Sparks’ director Paul Santana creates visual poetry with Target Marketing and Rooster editor Dave De Carlo in this tangled tale for Newfoundland & Labrador Tourism.

Brand: Newfoundland & Labrador Tourism
Title: A Tangled Tale

Agency: Target Marketing
Chief Creative Officers:  Jason Hill, Tom Murphy
Copywriter: Dave Sullivan
Art Director: Kevan Kaylan
Producer: Heikki Kuld

Production Company: Sparks
Director: Paul Santana
Cinematographer: Paul Santana
Executive Producer: Andy Crosbie
Line Producer: Heikki Kuld

Editing Facility: Rooster Post Production
Editor: Dave De Carlo
Assistant Editor: Sarah Carlisle

Colour Facility: Alter Ego
Colourist: Eric Whipp

Finishing Facility: Fort York VFX
Lead Flame Artist: Ernest Mordak
Flame Artist: Andrew Rolfe
Flame Assistant: Harshita Uchil

 Imprint Music
Sound Supervisor: Aaron McCourt

Marc Langley Taps for Gold, Applied Arts

A new year and the new Applied Arts Advertising Annual recognizes Marc Langley in craft editing for Canadian Tire, TAP. Gold goes to Marc and agency Leo Burnett for their 2018 Winter Olympics campaign directed by Soft Citizen’s Mark Molloy. The spot features some of Canada’s most iconic athletes: Wayne Gretzky, Jonathan Toews, Connor McDavid, Hayley Wickenheiser, and Rick Hansen. Congratulations Marc!

tap applied arts

Brand: Canadian Tire
Title: Tap

Agency: Leo Burnett
Chief Creative Officer: Judy John
Group Creative Director: Anthony Atkinson, Paul Giannetta
Copywriter: Graeme Campbell
Art Director: Logan Gabel
Executive Producer/Head of Production: Franca Piacente
Group Account Director: Gail Dhruv
Account Supervisor: Kim Lazer

Production Company: Soft Citizen
Executive Producers: Eva Preger, Rob Burns, Link York
Director: Mark Molloy
Director of Photography: Adam Arkapaw
2nd Unit Director: Zach Lowry

Editing Facility: Rooster Post Production
Editor: Marc Langley

Colour Facility: Company 3
Colourist: Tom Poole

Special Effects and Finishing: A52

Mnemonic: Fort York VFX
Motion Graphics Design and Animation: Tony Ramayon

Music & Sound Design: Pivot Audio
Composer: Guy Amitai
Sound Design: Guy Amitai, Lawrence Horne
Producer: Jonas Holst

New Talent: Colin Murdock

Rooster Post Production’s freshly promoted editor on why editing is like sculpting and how childhood in rural Ontario gave him the film bug.

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As Toronto’s Rooster Post Production welcomed in a clean, slick rebrand after 10 years in business, it also ushered in a new editor. 

Colin Murdock joined the company in 2014 as the assistant to editor Paul Proulx. “Colin’s dedication and meticulous attention to detail on every project has helped him develop his craft to become a strong storyteller,” Paul said in the press release announcing the promotion. “His ability to deliver on a creative brief, while also adding his voice to create a well-crafted story, make him a quick favourite with both agencies and directors.”

So, what better time to get to know this fresh editorial talent? LBB’s Addison Capper chatted with Colin about editing, growing up in rural Ontario, and dogs. 

LBB: You’ve just been promoted from assistant to editor – congrats! How are you feeling about your new role?

Colin: Thank you! I’m very excited as it’s something I’ve been working toward for a long time.  I’m really happy to have made this transition at Rooster which has been such a nurturing creative environment for me.

LBB: How did you end up as an editor? Where did you hone your craft? Was it what you always wanted to do?

Colin: My interest in film definitely originated with my dad and his extensive VHS collection. Growing up in a pretty isolated part of Canada, on Manitoulin Island in Lake Huron, watching movies was a go-to way to pass the time. Editing came into my life in high school comm tech class when we cut together some existing footage for an assignment. I don’t think anything else (other than meeting my wife of course) has ever clicked into place so quickly and naturally for me. Shooting videos with my friends was a lot of fun, but I always looked forward to the part where I could load the footage onto the family computer and start manipulating it. I was using Windows Movie Maker at the time so there were likely a lot of cheesy transitions.  

LBB: Tell us a bit about your role as an assistant editor – how long were you doing it for? What tips would you give someone just setting out as an assistant?

Colin: I was an assistant editor for just over four years. Assisting really keeps you on your toes and tests your ability to multitask to the max. The most important piece of advice I could give an assistant is to learn as much as possible from their editor. I’ve learned so much from assisting Paul Proulx these past few years and he’s been such a great mentor to me. All of the editors at Rooster have influenced me in some way and it’s rare to have so many talents at one company. Also, back up your projects constantly! Never hurts. 

LBB: What drew you to commercial editing, as opposed to film or television?

Colin: I love the fast-paced commercial environment where you’re always looking forward to a new and unique project to sink your teeth into. You can totally shift gears from working on an emotional PSA to a hilarious beer commercial in the span of a couple weeks, so it allows you to flex your creative muscles in different ways. I’m also a huge fan of efficiency in storytelling and the time constraints of the commercial world forces you to trim the fat from your story without lessening the impact.  

LBB: As an editor, do you have a specific method of working or does it differ dependent on the job? And if there is a way of working that you stick to, what
does it involve?

Colin: The basics of my workflow remain the same, but I often tailor certain aspects of it depending on the kind of job. I like my footage to be organized in a way that reflects the way I think, so that shots are quick to recall and access as I’m working. I edit in Adobe Premiere and it allows you to make all kinds of labels, notes, and break things down to a really granular level, which I like. Once I have everything set-up, I start to go through the footage and pull the moments that I think will serve the story best. If the schedule allows, I like to step away after selecting and piece the story together in my mind while I do other things. All great ‘eureka’ moments come in the bathtub or shower and I’ll stand by that.

LBB: A big chunk of your role is the communication of a story efficiently and clearly – what are the most challenging aspects about getting to grips with the nuts and bolts of storytelling? 

Colin: The story always comes first so if I have a piece of the puzzle, either a shot or whole scene, that I’m iffy about and it’s not doing anything to serve the story, then I need to try a new approach. I always circle back and use the story as both a compass and litmus test.

LBB: What do you enjoy about piecing those cogs together?

Colin: There is no better feeling than having a tight and well-constructed edit together after days of going through raw footage. It’s as close as I’ll ever feel to a sculptor chipping away bits of marble. Then you show it to your client and hope they see it the same way.  

LBB: Which projects that you’ve been involved in are you most proud of and why?

Colin: I cut an anti-smoking spot for the Ministry of Health out of BBDO Toronto. The creative provided a great opportunity to edit and sound design the heck out of it, kind of like a sports commercial. It’s still one of the pieces I’m most happy with and I got to work with a bunch of super talented people on that project.  

LBB: You touched on this earlier, but where did you grow up and what kind of kid were you?

Colin: I grew up in a small town on Mantioulin Island in Northern Ontario, Canada. The closest city was about two-and-a-half hours away. If I wanted to see a movie at a theatre growing up, you really had to make a day of it. 

I was the little kid that always tried to talk like I was an adult. And in a lot of ways that hasn’t changed much.

LBB: If you weren’t in advertising, what would you be doing?

Colin: Game show host? I guess actually I’d be a teacher. I come from a long line of teachers so I could see that happening in an alternate timeline.  

LBB: Outside of work, what do you like to get up to?

Colin: I’m a full-time dog dad to a yellow Labrador retriever and I’m always on the hunt for some good wine recos!

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Rooster Post Production Reveals New Branding, New Editor


Rooster Post has ushered in a gust of fresh air with new branding and the addition of a new editor to its roster. After 10 years, the Toronto post house has rebranded with a new identity that evokes its namesake icon while graphically representing the services it provides.

The new look accompanies Rooster’s shift to new ways of working and meeting client needs, and indicates that the company is evolving to meet the demands of the changing advertising landscape.

“A lot has changed over the last decade in advertising,” says executive producer Melissa Kahn. “Clients expect quicker turnarounds on work and need their post-production partners to work in new ways. We wanted our new brand identity to signal that, in addition to our years of experience and great talent, we’ve continued to adapt.”


Coupled with the rebrand, Rooster has promoted Colin Murdock to editor. Murdock joined Rooster in 2014 as assistant to Paul Proulx, where he exhibited a keen eye and a collaborative approach. His promotion is a testament to how the company fosters from within and continues to establish top creative talent.

“Colin’s dedication and meticulous attention to detail on every project has helped him develop his craft to become a strong storyteller,” says Proulx. “His ability to deliver on a creative brief, while also adding his voice to create a well-crafted story, make him a quick favourite with both agencies and directors.”

Having cut work for Ontario Ministry of Health, Extra Gum, Just Eat, and HISTORY’s Vikings, Murdock’s work exhibits a strong visual storytelling quality. His work has already received awards attention. “Failure,” the fast-paced, quick-cut spot for Ontario Ministry of Health received a silver at Strategy’s Atomic Awards, bringing early notoriety to his work.

View Colin Murdock’s reel.

Murdock joins the Rooster roster, which includes editors Michelle CzukarDave De CarloIzzy EhrlichChristina HumphriesMarc LangleyChris ParkinsJeff Poremba and Paul Proulx.

Marc Langley edits the sequel to one of advertising’s most iconic spots


Sixteen years after Ikea “Lamp” lit-up people’s hearts and won a multitude of advertising honours—including the Film Grand Prix in Cannes—a sequel has been released to complete the discarded lamp’s story.

“Lamp 2,” from Rethink and directed by Mark Zibert of Scouts Honour, follows the lamp to its new home and bright new life, in tune with the current need for sustainability.

Title: Lamp 2

Agency: Rethink
Executive Creative Director: Aaron Starkman
Creative Director and Art Director: Joel Holtby
Creative Director and Copywriter: Mike Dubrick
Agency Producer: Anne Marie Martignago
Account Director: Sarah Riedlinger

Production Company: Scouts Honour
Director: Mark Zibert
Cinematographer: Todd Martin
Executive Producer: Rita Popielak

Editing Facility: Rooster Post Production
Editor: Marc Langley
Assistant Editor: Nick Greaves

Colour Facility: Alter Ego
Colourist: Eric Whipp

VFX / Finishing Facility: Fort York
Online Artists: Ernest Mordak, James Marin
Online Assistant: Melissa Vasiliev

Music House: Mit Out Sound
Composer: Ren Klyce

Mixing House:
 Vapor RMW
Producer: Ted Rosnick