At Stillmotion, we are always under tight deadlines, but not like this.
Picture this – you’re an editor with a crew that has two days to produce, direct, shoot and edit a short film that will be seen by millions exactly 48 hours after you have the concept. From start to finish, and with not even an inch of wiggle room if something goes awry.
If you’re Adam Epstein, editor for Saturday Night Live’s film unit, this isn’t an every once in a while-type event. Every single week, Adam has less than 24 hours to turn around an edit that’s ready for broadcast just in time for SNL’s iconic “Live from New York…” to hit the airwaves. As Lorne Michaels says, “It doesn’t go on because it’s done. It goes on because it’s 11:30.”
After five seasons of this madness, Adam is hitting the road this summer on MZed’s The Cutting Edge Post-Production Tour to share the methods, theories, techniques he’s developed while editing in a lightning-fast turn around environment like SNL.
We had the privilege of being able to check out Adam’s workshop when he came by Portland, and it’s seriously awesome. The workshop delves deep into the technical side of things, but what makes it every cooler is that Adam shares a lot about the art and soul behind what makes a good editor, too. As Adam says in his workshop, being an editor today encompasses so much – you have to know how to cut, know rhythm and story, be a compositor, a sound designer, a motion graphics artist, and maybe more importantly you have to be able to deal with people. But, according to Adam, none of that is as important as the why – the overall feeling and bigger picture of what you’re trying to accomplish.
We had a chance to ask him first-hand how he turns around hilarious, memorable work, and stays sane in the process.