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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

Guess who’s coming for dinner? Marc Langley cuts latest Ikea for Rethink.

“The People Are Coming” is the name of the latest Ikea creative out of Rethink. Editor Marc Langley teamed up with Someplace Nice director/cinematographer Damien Toogood to bring a couple’s dinner party prep to life.

Title: The People Are Coming

Agency: Rethink
Creative Director: Aaron Starkman
Art Director: Haley Hinkley
Copywriter: Jacquelyn Parent
Agency Producer: Anne Marie Martignago

Production Company: Someplace Nice
Director: Damien Toogood
Cinematographer: Damien Toogood
Executive Producer: Chilo Fletcher, Estelle Weir
Line Producer: Gillian Gardner

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 Artist: Paul Binney
Online Assistant: Luke White

Audio House: Vapor RMW
Producer: Ted Rosnick

Heartbreaking new work by Dave De Carlo for Heart & Stroke via Olgilvy.

The message from Ogilvy and Heart & Stroke? Red is the new pink.

Breast cancer and the pink ribbon campaign has long been one of Canada’s top female medical causes. In this new campaign for Heart & Stroke, we are all being encouraged to take women’s heart-related symptoms ‘blinking red’ seriously.

It’s #TimeToSeeRed.

The creative highlights statistics that show how women are dying unnecessarily. Editor Dave De Carlo teamed up with Spy Films director James Lawes on this cinema and web campaign.

Brand: Heart & Stroke
Title: “See Red”

Agency: Ogilvy
Senior Partner: Jody Low-A-Chee
Creative Director: Brian Murray
Group Creative Director: Chris Dacyshyn
Group Creative Director: Julie Markle
Content Producer: Brenda Surminski
French Producer: Liliane Clune

Production Company: Spy Films
Executive Producer: Natalia Winardi
Director: James Lawes

Editing Facility: Rooster Post Production
Editor: Dave De Carlo
Assistant Editors: Brett Rostrup

Finishing: Fort York
Finishing Artist: Paul Binney & James Marin

Colour: Alter Ego
Colourist: Eric Whipp

Audio House: TA2 Music
Sound and Music Supervisor: Steve Gadsden

Paul Proulx helps KIA discover its wild side for Innocean and The Corner Store

Editor Paul Proulx collaborates with director Keegan Wilcox from The Corner Store, on this 3-minute film for Innocean and KIA. In the spot, KIA has fun demonstrating the natural abilities of its range of vehicles. Each of the segments in the 3-minute film will also screen as standalone pieces.

Brand: KIA
Title: Natural Habitat

Agency: Innocean
Executive Creative Director: Ian MacKellar
Associate Creative Director and Art Director: Arron Isaac
Copywriter: Kurtis Martin

Associate Creative Director: Mirko Greenwood
Producer: Alina Prussky

Production Company: The Corner Store
Executive Producer: Jennie Montford
Director: Keegan Wilcox
Director of Photography: Christopher Mably

Editing Facility: Rooster Post Production
Editor: Paul Proulx
Assistant Editor: Colin Murdock

Colour: Alter Ego
Colourist: Wade Odlum

Finishing: Fort York VFX
Lead Flame Artist: Andrew Rolfe

Audio House: Pirate
Executive Producer: Joanne Uyeyama

Marc Langley cuts the latest White Spot brand creative for 123w

Working from dawn ’til dusk is something editor Marc Langley is familiar with. This new brand commercial for White Spot and 123w features “A Day In The Life” of White Spot and its customers. Marc worked with Untitled Films director Mark Gilbert to beautifully weave together some iconic White Spot/BC moments.

Brand: White Spot
Title: A Day In the Life

Agency: 123w
Creative Director: Rob Sweetman
Copywriter: Kate Roland
Account Manager: Matt McGarva

Production Company: Untitled Films
Executive Producers: Peter Davis & Tom Evelyn
Director: Mark Gilbert
Director of Photography: Richard Henkels
Producer: John Durrant

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

Colour Facility: Nice Shoes
Colourist: Roslyn Di Sisto

Finishing: Fort York VFX
Online Artist: Andrew Rolfe
Online Assistant: Kevin Asis

Audio House: Grayson Matthews