Ashley Kreamer - Editor/ Partner
Job title - Editor/Partner
Experience - 20+ years
“When I get over the “fear of the empty timeline,” I start building the structure of the edit. You just have to get in there and start building, layering, and trying things so you understand how to tell this story.”
Describe your job role and the kinds of projects/clients you work with.
I’m an editor and partner at Final Cut. I work on TV commercials but also cut shorts and music videos. I’ve worked with directors such as Nadav Kander, Henry-Alex Rubin, tao/s, Joy Kilpatrick, Patrice Lighter, and Riess|Hill. Most recently, I’ve worked on projects for Dove, P&G, AdCouncil, Target, and Meta.
What does an average day look like in your post production working world?
Every day is different, depending on what stage the project is in. When a project begins, I talk with my assistant on how best to organize the dailies. I always watch down every frame that was shot - there’s a lot of good, honest stuff to be found outside of “action” and “cut.” I make really loose selects, marking whatever makes me feel something, and put them in the order of the storyboard on my selects timeline. It’s like an upload into my brain - I try to memorize as much of the footage as possible as I select so I can be fluid when it comes time to experiment or make revisions. Then I have to walk away. When I’m working at home, this is when my house is the cleanest because I will find any reason to procrastinate.
When I get over the “fear of the empty timeline,” I start building the structure of the edit. You just have to get in there and start building, layering, and trying things so you understand how to tell this story. Sometimes the storyboards work, sometimes they don’t, and sometimes there are no boards. This is when I lose hours - I look up, and suddenly, it’s dark outside. Sound has so much to do with how you experience the cut, so I spend a lot of time getting that right. Sound is like the skeleton of the edit, and you build on top of that. Then, I send cuts off to the Director and get their feedback. Then it goes to the agency, and we start the cycle of presentations/revisions until it locks.
How did your career in post production begin?
I originally wanted to be a cinematographer, specifically in docs. I was obsessed with a multi-part documentary on Indonesia when I was a kid living there. I’m scared to watch it again because I’m afraid it is horribly racist and filmed through a very white lens, but at the time, I loved seeing the filmmakers going on adventures and learning about so many different cultures and languages. I spent my teens just filming everything. In college, I learned how to edit on a Steinbeck and got really into the idea of working with sound. I love that editing blends art and technical skills. I also hate being cold, so sitting in a warm room editing suits me better than being out in the elements holding a camera. Our OG President, Stephanie Apt, hired me when I was 22 - I started at the reception desk at Final Cut and worked my way up to Partner. I feel very lucky.
What has been your career highlight?
I cut a spot for Dove with Ogilvy London this past year, which meant a lot to me. It’s about how social media negatively impacts young women. But it was especially wonderful because I got to work with my friend and co-partner at Final Cut, Jim Helton. Editing can be very solitary, and having someone to share timelines and ideas with was special. It was just such a lovely and generous process. Since then, the Dove spot has won multiple awards and is currently nominated for an Emmy. It’s been incredibly rewarding.
I also just worked on a project for Global Action on Gun Violence with Zulu Alpha Kilo. I didn’t grow up in America, and the access to guns here is astounding to me. I worked on this project with two of the parents and a survivor of the Parkland High School shooting in Florida, and I was honored to play a small part in hopefully moving the needle on gun laws.
Who are your role models in post?
I can find most of them right here at Final Cut. Amanda James, Rick Russell, Joe Guest, Jim Helton, JD Smyth, Arianna Tomasettig. I’m also a huge fan of Trish Fuller.
What advice do you have for others wanting to start a career in post?
First, I want to say that I am thrilled that Edit Girls exists! There weren’t as many of us when I started in the industry and even fewer editors who were also mothers! I remember when I wasn’t considered for a car job because the agency producer said, “Women don’t understand cars,” so it’s thrilling to see more of us be able to tell stories through our lens. We have different barriers to overcome. I’m incredibly inspired by the talented women at Final Cut who have come up in the past few years - Sophie Solomon, Zoe Schack, Jasmine “Mac” McCullough, Betty Jo Moore, and Lucy Berry. But as far as advice, cut as much as you can, trust your voice, be open to feedback (sometimes it makes it better!), and don’t fear the empty timeline.
See more of Ashley’s work here.
Follow Ashley on Instagram.