I guess I started sort of from an indie film background, I did indie features and shorts for many years and then started to get excited about series television. And then again, like Jay, I don’t know why they decided to pick me, but I got, I got the interview and then the second interview, and I guess they liked my smile. I had a friend who got me a job on an awesome show called Ghostly Encounters and that just kind of snowballed and got an agent and went from like Killjoys to stuff like that into, Into The Badlands. I was aan assistant editor for 13 years in Toronto, which was amazing because I got to work with tons and tons of amazing editors. So they kind of talked to everyone who had credits like that and they hired me for whatever their reasons were.Īnd which episodes did you cut for season two? Which means credits that are known to American … the Netflix of the American distributor. They don’t like produce things that’ll shows that are that great, like in house.īut back in the day they did and at CityTV they did so and yeah, for Altered Carbon, they kind of just talked to every editor who had a certain level of credit. I mean, I don’t think they do shows like that anymore. What do you mean when you say on-staff at a network? And then that went up to like reality and then went up to scripted. I started in kind of independent, low budget stuff, and that went up to network television and that went up to like on staff at a network. So, I mean, I just always started as an editor, just out of school. Let’s start with Jay because he’s in my top corner, top left corner right now. So my first thing is I want each of you to introduce yourself, let us know kind of a little bit about your career, how you got onto the show and then what episodes you worked on. Welcome everybody to the first master series, zoom Q&A, which is Ultra Carbon, which is very exciting.Īnd thank you all the people joining from around Canada and maybe even around the world, which is very exciting. Geoff Ashenhurst CCE, Erin Deck CCE, Stephen Philipson CCE, and Jay Prychidny, CCE discuss the creative and technical challenges of putting together the second season of one of the biggest visual effects based series Netflix has ever made. It’s a panel discussion and Q&A with the editors of the Netflix hit series Altered Carbon. This episode was our first online master series event that took place on April 21st, 2020. Here’s your chance to keep your finger on the pulse and get a look at what the future holds. From the global pandemic to calls for social change, along with policy changes in the Canadian media landscape, 2020 is a transformative year for the screen-based industry. WFF’s content summit welcomes establish industry leaders and content creators to our virtual mountain home to discover network and explore the ideas and actions shaping our new reality.
Land acknowledgements are the start to a deeper action.īefore we get to today’s episode, I have a message from the Whistler Film Festival from December 1st to 20th, WFF would deliver its 20th anniversary edition, virtually to a national audience with over 100 films, including 30 features and seven short programs, all taking place over 20 days with film viewing access available until December 31st. We encourage you to reflect on the history of the land, the rich culture, the many contributions, and the concerns that impact indigenous individuals and communities. We honour respect and recognize these nations that have never relinquished their rights or sovereign authority over the lands and waters on which we stand today. It is important for all of us to deeply acknowledge that we are on ancestral territory that as long served as a place where indigenous peoples have lived, met, and interacted.
We would like to point out that the lands on which we have created this podcast and that many of you may be listening to us from are part of ancestral territory. This episode was generously sponsored by Jackson creative house, Annex Pro, and Avid. The Editor’s Cut – Episode 037 – Altered Carbon (2020 Master Series)
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