Ashley Ingbretson - Editor at PS260
Job title - Editor
Experience - 1+ years
“Always have a student mindset. Remember that every project, every client, and every teammate is a learning opportunity for you. No one is too high or too low on the ladder for you to learn from. ”
Describe your job role and the kinds of projects/clients you work with.
As an editor at PS260, I work mainly in advertising. I’ve worked on campaigns for American Express, M&M’s, Titleist, Puma, GM, and many more that I’m very proud of! I also have gotten the opportunity to work on music videos and short films that have been shown at film festivals internationally. I work closely with people in many different roles: directors, musicians, and producers, though I am usually in the room with agency creatives.
What does an average day look like in your post production working world?
Since becoming an editor at the beginning of 2022, finding my process has been one of my career’s most fun and challenging aspects. Many of my habits are picked up from the editors I had the privilege of assisting; more and more, I’m discovering the processes and practices of my own that work best for me. At the beginning of a project, as soon as we receive footage, I’ll typically begin watching down dailies immediately. After I receive the breakdown from my assistant, I enter demon mode to put together my first few rough cuts - I grab my snacks, grab my coffee, sit my ass at my desk, and start cutting. I feel like this stage of the process is the most solitary for me, and I try to use those precious few days between getting footage and the first presentation to try and come up with some versions that are very true to my voice. You’re always finding that balance between “What is the story we are trying to tell?” and “How do I want that story to be told?”. Ideally, I’ve been on board with the project since pre-production, so I’ll already have a solid basis for the entire team’s vision. Once the clients are in the room with me, I try to be adaptable to how they want to work - I’ve had days to sit with clients and work very closely with them - I’ve had jobs where we get together for a few days and then work remotely with each other for the remainder of the project. However it happens, collaboration is hugely important. Usually, in between all of this, there’s a lot of coordination between offline and other departments to keep everything flowing smoothly. At the end of every day, you will have accumulated about five or six beverages on your desk. Then rinse and repeat - except not really, because every day has unique challenges!
How did your career in post production begin?
I started as a runner at PS260 for quite a while before I became an assistant. A year and a half, I think. That period of my life was very formative and informs a lot of the ways I work now as an editor. Having that time to observe and take in as much knowledge about editing, interacting, and developing relationships with clients, the long nights, and the tight deadlines - set me up for success in ways I wouldn’t know for a few years. It taught me to forever be a sponge - to absorb as much knowledge as possible from wherever and whoever, without ego. If I am always as eager to learn as I was when plating take-out and grabbing coffee, I’ll always be on the path to success.
What has been your career highlight?
A short film I edited, Closing Dynasty, directed by Lloyd Lee Choi, has been making its festival rounds this year. It won a Crystal Bear for Best Short Film at Berlinale and the Audience Award for Narrative Short at SXSW! Seeing that film out in the world and so successful has been really, really cool.
Who are your role models in post?
I have been very, very lucky to learn under the editors here at PS260. To assist on so many different projects and learning so many different workflows has been so beneficial for me creatively and technically. Assisting Maury Loeb was totally different from assisting Matt Posey, but they were both very influential in my career. I’ve recently had the opportunity to get to know JK Carrington, who joined our roster at the end of 2022, which has been incredible. Getting her insight on careers in post and how she runs her edit room has been such an uplifting and educational experience for me - I’ve loved picking the brains of another woman in editing. Elsewhere in the industry, I admire the works of Mah Ferraz, Spencer Reich, and Nia Imani.
What advice do you have for others wanting to start a career in post?
Always have a student mindset. Remember that every project, every client, and every teammate is a learning opportunity for you. No one is too high or too low on the ladder for you to learn from. And do not be afraid to reach out to people you may have worked with in the past or hope to work with in the future - a simple hello can go a long way! Something that has helped me since the beginning of my editor days is to respect my journey through the industry and not compare mine to the journeys of others - it’s okay if you can’t find another person who’s come up is like yours or if there aren’t that many people who look like you, etc. You will find your own path.
The first campaign I worked on as an assistant was a Mountain Dew commercial with Joel Embiid, edited by the wonderful Maury Loeb here at PS260 - it was such a fun thing to work on as a huge basketball fan! But I also remember being so nervous about that first project and anxious about my new role that I locked myself in the bathroom to cry at one point. It’s always funny to look back and see how far I’ve come from that first career bathroom cry!