Category Archives: Best Film Editing

4 AICE Nominations for Rooster Editors

We don’t want to jinx things, but an early round of congratulations go out to our editors Marc Langley and Izzy Ehrlich, each with 2 nominations across 2 categories!

Marc’s work for FCB’s “Where Am I?” is nominated in the Montage and Best of Toronto categories while Izzy’s work for Nova Scotia Tourism and adidas are both nominated in the Regional Category.

Best of luck to all the finalists!

The 2017 AICE Award Show is May 11th in New York City.

AICE Nominations

Montage: “Where Am I?” 
Client: Ontario Tourism Marketing Partnership Corporation (OTMPC)
Agency: FCB

Best of Toronto: “Where Am I?”


Regional Campaign: “If You Only Knew” “Adventure” “History” 
Client: Nova Scotia Tourism
Agency: DDB Canada 

 

 


Regional Campaign:  adidas “New Speed”


CREDITS

“Where Am I?”

Client: Ontario Tourism Marketing Partnership Corporation
President & CEO: Ronald Holgerson
Vice President, Chief Marketing Officer: Lisa LaVecchia
Special Projects Manager: Debra Mansillo
Director, Brand Management and Consumer Marketing: Michelle Borthwick
Director, Digital Marketing: Julia Holliday

Campaign Title: Where Am I?
Agency: FCB Toronto
CEO: Tyler Turnbull
Chief Creative Officer: Jon Flannery
Creative Directors:
VP, Group Creative Director: Jeff Hilts
VP, Group Creative Director: Nancy Crimi-Lamanna
VP, Group Creative Director: Jeff Hilts
Senior Art Director: Rob Dean
Art Director: Cody Sabatine
Writers:VP, Group Creative Director: Nancy Crimi-Lamanna
Senior Copywriter: Dave Delibato
Copywriter: Joseph Vernuccio
VP, Management Director: Sunil Sekhar
VP, Business Director: Sarah Banks
Account Supervisor: Violet Karbalaei
Account Coordinator: Skye Gandy
Agency Producer: Rea Kelly
Agency Producer: Sumit Ajwani
VP, Operations: Kinga Karadi
Senior Project Manager: Michelle Simpson
Project Coordinator: Emily Watkin
Project Coordinator: Carly Roy
VP, Chief Strategy Officer: Shelley Brown
VP, Planning Director: Heather Segal
Senior Strategist: Anastasia Tubanos
Lead User Experience: Kristy Pleckaitis
Digital Strategist: Shelagh Hartford
Agency Videographer/Editor: Jorge Vasconez
VP, Director of Communications: Rob MacLean

Production Company: OPC
Executive Producer: Liz Dussault, Harland Weiss, Donovan Boden
Line Producer: Karen Harnisch, Marc Swenker
Director: Andrew Cividino,
DOP: James Klopko

Editing House: Rooster Post Production
Editor: Marc Langley
Executive Producer: Yumi Suyama
Assistant Editor: Eric Dubois

Transfer Facility: Alter Ego
Colourist: Eric Whipp

Online Facility: Fort York VFX
Online Artist: Ernie Mordak
Online Assistant: Melissa Vasiliev

Music House: Silent Joe
Music Track Director: Jody Colero
Exec Producer: Jane Heath
Song: “Giant”
Composer: Bruce Peninsula arranged by Todor Kobakov
Engineer: Vlad Nikolic
Sound Design: Vlad Nikolic

“If You Only Knew” “Adventure” “History”

Client: Tourism Nova Scotia
Name of Commercial: If You Only Knew
Agency: DDB Canada
Executive Creative Director: Paul Wallace

Associate Creative Director: Craig Ferguson
Art Director: Rebecca May
Producer: Chris Webden

Editing Facility: Rooster Post Production
Editor: Izzy Ehrlich
Assistant Editor: Taylor McWade

Colour: Alter Ego
Colourist: Wade Odlum

Finishing: Fort York
Lead Flame Artist: Ernie Mordak

Audio House: Grayson Matthews

“New Speed”

Client: adidas
Title: New Speed
Length: :15, :30, :45

Agency: Tribal Worldwide
Creative Director: Lionel Wong
Art Director: Dean Hamann
Copywriter: James Ly
Agency Producer: Stef Fabich

Production Company: Skin & Bones
Director: Adam Azimov
Cinematographer: Guy Godfree
Executive Producer: Tasha Litt
Line Producer: Joan Bell

Editing Facility: Rooster Post Production
Editor: Izzy Ehrlich
Assistant Editor: Taylor McWade

Colour Facility: Alter Ego
Colourist: Wade Odlum

VFX / Finishing Facility: Fort York
Online Artist: Ernie Mordak
Online Assistant: Melissa Vasiliev

Audio House: SNDWRx
Producer/Music Supervisor: Didier Tovel

Dave De Carlo Wins Best Editing in Feature Length Documentary for Giants of Africa


 

 

 

 

 

 

 

Woot! Woot!!! Congrats to Dave De Carlo for his Best Editing Win in Feature Length Documentary at the Canadian Screen Awards for Giants of Africa, directed by Untitled Film’s Hubert Davis! Way to go Dave! To read more about the film and to see the trailer click here and here.

Michelle Czukar Joins the Team at Rooster Post Production

Michelle CzukarMichelle Czukar is one of the top television commercial editors in Canada. She began her career editing music videos and was quickly regarded as Canada’s premier music video editor. Her talent has seen her collaborate with renowned director Floria Sigismondi on a wide range of projects, from Marilyn Manson, Tricky, and The Cure, to the legendary David Bowie.

Michelle’s exceptional editorial talent in the music video world was soon recognized by Canadian advertising agencies. Today, she is regarded as one of the top ‘go-to’ editors in the Toronto market. Michelle has collaborated on many iconic Canadian brands ranging from HBC and Bell, to Sick Kids and Air Canada. She has enjoyed working relationships and many repeat commercial projects with directors such as Adhoc Content’s Chris Sargent, Skin and Bones director Mark Zibert, and Soft Citizen’s The Perlorian Brothers. Michelle has won many International awards including a Gold Lion for agency Zig and Unilever brand Vim for ‘Prison Visitor’. She also has the distinction of having more work featured on the Shots International reel than any other Canadian editor.

Michelle continues to produce award-winning work. Most recently, she was recognized at NYC’s One Show 2016 in the craft editing category for her editorial contribution on Sick Kids “Better Tomorrows” for JWT, directed by Mark Zibert.

Watch Michelle’s reel

 

Congrats To The ADCC Directions 2016 Winners!

ADCC

The Advertising & Design Club of Canada celebrated creativity and the craft last night at Directions 2016 in Toronto. We’re honoured to have worked on many of the projects that were recognized last night.

Congratulations to all the winners, with a big shout out to editor Dave De Carlo. His work on the Special Olympics Canada Campaign, “There Is No Special Treatment” won several awards last night for GREY Canada with “Sport” winning a Silver for Editing. “Sport” was directed by Untitled Films’ Hubert Davis.

GOLD – TV Public Service, Campaign “There Is No Special Treatment”

Gold – TV Public Service, Single “Pool”

Silver – Film, Editing “Sport”

Marc Langley’s projects picked up several awards for agency Rethink, plus awards for Anomaly, and GREY Canada. Langley also won a Merit for in the Film category for Editing. Way to go Marc!

Gold –  Interactive Digital Installation “Global Beer Fridge” Rethink & Molson

Silver – Advertising, Experiential, Single “Rooftop Rink” Rethink & Molson

Silver – Film TV Single, 60 Seconds or More “Nic Sweat For This” Rethink & Sport Chek

Silver – Digital Integrated Campaign “Ladyballs” GREY Canada & Ovarian Cancer Canada

Merit – Film, Editing “The Chase” Anomaly & Responsible Gambling Council

Chris Parkins’ work also picked up a GOLD win for agency Leo Burnett. The film “Coming Soon” for client Raising The Roof won in the Public Service Advertising, Single category. Congrats Chris!

Colin Murdock’s work was recognized with a Merit award in Digital Design for Vikings: A World Revealed for agency Jam3.

Finally, congratulations to Untitled Films for winning Production Company of the Year and congratulations to everyone else whose work was recognized last night!



Rooster Post Production Aces The One Show & AICE Awards With 3 Wins

aice_awards_bw_logoAICE - PAULIMG_3505It was a triple play late last week! Starting Thursday night with the AICE Awards in Chicago, Rooster Post Production editors Paul Proulx and Dave De Carlo both picked up wins for editorial excellence.

 

Congratulations to Paul Proulx on his editorial public service award for Grey Canada’s Moms Demand Action for Gun Sense in America, “Not Allowed”.

Congratulations also go out to Dave De Carlo for his editorial work, winning Best Regional Campaign for Special Olympics Canada. See the winners

One ShowFriday night at the One Show in New York City, the win was a Gold Pencil! Congratulations to director Tamir Moscovici, production company Spy Films, editor Paul Proulx and agency Grey Canada on their Gold Pencil win for Moms Demand Action for Gun Sense in America, “Not Allowed”. See all the One Show Winners

 

A Big Night At The ADCCs for Rooster Post

Award photoLast night The Advertising & Design Club of Canada celebrated creativity and the craft at their annual awards show. Rooster Post Production is proud to have won for, and to have played a creative part in so many outstanding television, interactive and experiential projects. Congratulations to all the winners, especially our editors Marc Langley, Paul Proulx, Izzy Ehrlich, Jeff Poremba and Joey Whitelaw. A big shout out to the agency creatives and producers at Anomaly, DDB Canada, FCB Toronto, GREY, Leo Burnett, Rethink and Tribal Worldwide Canada for the opportunity to work on these projects.

Broadcast Gold : Editing “Invade”

Editor: Marc Langley
Assistant Editors: Nick Greaves, Spencer Shiffman, Joey Whitelaw
Lead Flame Artist: Ernest Mordak, Fort York VFX
Additional Online Artists: Paul Binney, James Marin, Lauren Rempel
Agency: FCB Toronto
Client: Ontario Tourism
Full Credits
“Invade” also won:
Broadcast Silver – Sound Design
Broadcast Silver – Cinematography

 

 

Integrated Campaign Gold : Advertising Integrated Campaign “Groceries Not Guns”

Interactive Gold : Digital Integrated Campaign

Interactive Gold : Miscellaneous Non Profit/Public Service

Silver : TV Public Service Campaign “Not Allowed/Lockdown”

Silver, TV Single Low Budget or Less ($50,000 or less) “Not Allowed”

Silver, TV Public Service, Campaign “Not Allowed”, “Lockdown”

Editor: Paul Proulx (“Not Allowed”)
Assistant Editor: Colin Murdock
Flame Artist: Mike Bishop, Fort York VFX
Agency: GREY
Client: Moms Demand Action For Gun Sense In America
Full Credits

 

 

Interactive Gold : Online Video, Series “It Speaks For Itself”

Silver : Online Video, Single “Tap”

Silver : Online Video, Single “6 Pack”

Silver : Online Video, Single Tap “Mural”

Editor: Joey Whitelaw
Online: Ernest Mordak, Fort York VFX
Production Company: Sequoia
Director: Trevor Cornish
Agency: Anomaly
Client: Shock Top

 

 

Advertising Silver : Experiential, Single, “Hockey Heaven”

Media Interactive & Promo Merit : “Hockey Heaven”

Interactive Merit : Digital Integrated Campaign “Hockey Heaven”

Editor: Marc Langley (“Epic Rink”, “Hockey Heaven”)
Assistant Editor: Spencer Shiffman
Flame Artist: Paul Binney, Fort York VFX
Agency: Rethink
Client: Molson Canadian
Full Credits “Hockey Heaven”
Full Credits “Epic Rink”

 

 

 

 

Interactive Gold : Digital Installation “Uber Safe”

Gold : Innovative Use of Technology

Gold : Media Innovation

Silver : Out of Home Enhanced, Single

Silver : Promo

Silver : Experiential, Single

Editor: Joey Whitelaw
Fort York VFX
Production Company: Someplace Nice
Director: Sean McBride
Agency: Rethink
Client: Uber

 

 

 

Silver Broadcast : TV Single, 30 Seconds “Prom Night”

Silver TV Single, 60 Seconds or More

Editor: Marc Langley
Flame Artist: Paul Binney, Fort York VFX
Agency: DDB Canada
Client: Volkswagen Tiguan
Full Credits

 

 

 

Merit Broadcast Direction “Humans for Humans”

Editor: Izzy Ehrlich
Online: Ernest Mordak, Fort York VFX
Production Company: OPC/Family Style
Director: Angie Bird
Agency: Leo Burnett
Client: Raising The Roof

 

 

Interactive Silver : Product or Service Promotion  “Fry Defender”

Editor: Jeff Poremba
Online: Andrew Rolfe, Fort York VFX
Production Company: OPC/Family Style
Director: Jono Hunter
Agency: Tribal Worldwide, a division of DDB
Client: McDonalds

 

 

 

Oscar Contenders: Editors Kirk Baxter & Angus Wall

Oscar hopeful The Social Network

Good editing can be explained as a combination of great storytelling, and crafting great performances with an overall stylistic approach that works naturally with the film, and the vision the director has for that film. It’s seamless … you shouldn’t know it’s there – it blends into the storytelling so that the audience feels that they are experiencing the film as it unfolds … in real time.

One collaborative team whose work surpasses the mark are Kirk Baxter and Angus Wall ACE, co-editors and hot favourites for an Oscar nomination for the Film Editing category for director David Fincher’s “The Social Network”.

Angus Wall

Angus Wall is known to many in the ad industry for his editorial work on Nike and BMW and as co-founder of West Hollywood editorial shop, Rock Paper Scissors. Wall first met David Fincher 20 years ago, doing commercial work for Fincher, and later editing the titles for Fincher’s film Se7en. Later still, Wall graduated to “editorial consultant” on Fight Club and co-edited Panic Room with James Haygood, (Fight Club). Australian commercial editor Kirk Baxter, joined Rock Paper Scissors in 2004, working with Wall on Zodiac (2007) as an “additional editor”. Wall put Baxter forward as co-editor on Benjamin Button and the rest is collaborative editing history.

Kirk Baxter

The Social Network screenwriter, Aaron Sorkin, wrote a dense 160-page draft, which would normally translate into 160 minutes of screen time. With this much content in script stage, a big challenge for Baxter & Wall was the fear of over-extending the finished cut. The fear was very real when the production delivered 268 hours of raw footage. Known as a meticulous craftsman, David Fincher’s attention to detail, and Aaron Sorkin’s script structure, meant that they would both be intensely involved in the editing process.

Says Wall, “A lot of movies you do re-sequencing of scenes. I think we lifted three or four lines out of the movie. With Aaron and with David directing, our job becomes about making something as perfect as it can be. It’s not finding the through lines of the movie, unless you’re talking about performances, because just editorially, we have to make sure we have the best and most genuine performances in. But the construction of the movie really all came out of the script.”

Says Baxter, “It was performance and timing. It was a delicate thing. One sort of wrong beat of the eyes can show a look of guilt or holding on something a little bit too long. The movie was trying to be extremely sure-footed with everyone believing they were right.”

“One of the things David really wanted to stress was to just be propulsive in terms of the editing and make sure we were slightly ahead of the audience, but not too far ahead,” Wall says. “So it was trying to find the right balance where you had little micro-pauses to let things land where they needed to land.

David Fincher

In this clip from The Social Network, watch the way Baxter & Wall cut together the Henley Race at Harvard. Rooster Post managing partner/editor Bob Kennedy, makes this observation about the following sequence …

“What I really love about the Henley sequence is the way they play with screen direction and composition between shots. The camera axis is not just ignored, but deliberately crossed to maximize the energy of the finish. Check where your eye is going from shot to shot: your eyeball is being choreographed. Most of the time, they lead your eye directly to the perfect placement for the next scene, but towards the end, they start working your eye back and forth across the frame to add to the sense of frenzy.”

But it’s not just the editing that makes this movie an Academy Award contender. According to Kirk Baxter, “What gives editing a helping hand comes from within the script. If something is moving along quite rapidly and taking you to different places, then the editing gets pushed to the forefront. Technique tends to stand out, but the task really is to make everything land and deliver a message at full understanding. It’s a much bigger picture – the whole movie is your real job. It just begins with that technique part.”

Angus Wall goes on to say, “When it feels like it’s a new experience, when you’re sucked into the movie and you’re not aware that you’re in a theater. You’re experiencing things like the characters, living vicariously through them. It feels like you’re part of the movie. To me that is a signal that everything is working on 16 cylinders.”

Rooster Post editor Dave De Carlo offers up this Pro Video Coalition ProBlog article for anyone wanting more about the The Social Network editorial process with lots of insider details from Angus Wall. De Carlo also mentions a great article worth a read about the film’s VFX from FXGuide and the VFX Blog.

Nominations for the 83rd Annual Academy Awards 2011 will be announced on January 25th. The awards ceremony happens February 27th with producer-director Francis Ford Coppola receiving the Irving G. Thalberg Award.