Jazzy Kettenacker - Editor
Editor
Experience 10+ years
“Just cut. Cut as much as you possibly can. That’s the best way to learn, honestly. I think that’s true for any job — just get into it.”
Describe your job role and the kinds of projects/clients you work with.
I am a full time editor at BSS Outpost. I work on short and long form projects, collaborating with brands like The North Face, Disney+, Rolling Stone, Under Armour and MLS. I had the opportunity to cut the Popular music video for The Weeknd and Orion Sun's performance for Crocs x The Fader. I'm excited to announce I'll be on the editing team for the recently announced HBO docuseries, following the USMNT on their way to the World Cup. I’ve been blessed to work on such a diverse range of stories and projects.
What does an average day look like in your post-production working world?
I’ve become addicted to caffé Americano, thanks to work. So, I make a coffee at our espresso bar, grab a bowl of cereal, read emails, and then I start cutting. Every day, I make a list in my head of which notes I’m hitting. I communicate with my post supervisor (or connect with the director, if it’s a new project) to get a good sense of what’s needed. Then I start cutting. Many days I find my flow and forget to leave my suite. At different phases of my projects, I might bop back and forth between our Atmos fitted audio suite or go across the hall to check on the cutdowns or color grade. Pretty frequently, other editors at Outpost might come check out how a cut is doing and vice versa—that’s a huge perk of how our space is set up.
How did your career in post-production begin?
It started in college when I learned how to edit. I knew I really liked film, but once I learned how to cut, I fell in love. For the first 10 years of my career, I was both shooting and editing. I always knew I’d transition into full-time editing because it was the most natural part of the process for me. But it wasn’t until I got to Bruton Stroube Studios/Outpost that I could finally focus on my craft and push myself as an editor with no distractions. That’s probably the best career decision I’ve ever made.
What has been your career highlight?
Working on Free to Run, a documentary for The North Face, was a huge opportunity. It was an exciting creative challenge, but also so meaningful because it was about making an impact—bringing awareness to an incredible story of these women, their strength, and the power of community. It was the best of both worlds.
Recently, I’ve also had the chance to edit projects with artists that I listen to, like cutting a performance of Orion Sun for Crocs x The Fader. And most recently, I cut MLS’s Game On campaign featuring Doechii, right before her Grammy win.
Who are your role models in post?
Honestly, my boss, Lucas Harger. Also, Thelma Schoonmaker. It was really inspiring for me to see a woman cutting action and more traditionally “masculine” films. And Sally Menke. Everyone, including Tarantino, talked about how great she was to work with. I admire that so much. Collaboration is just as important as the technical side of editing — Lucas Harger always says that. I want to make great work and be a great collaborator.
What advice do you have for others wanting to start a career in post?
Just cut. Cut as much as you possibly can. That’s the best way to learn, honestly. I think that’s true for any job — just get into it.
You learn on the job. You learn from your mistakes, and you learn what works and what doesn’t. I was cutting music videos constantly back when I started. And even here at Bruton, we are consistently busy with a huge variety of work, and each of those projects teaches me something new. That’s what helped me get to where I am now.
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