Jessica Farmer - Editor
Editor
Experience 10+ years
“These days, any woman working in post is inspiring. There aren’t that many of us, but I like to think we’re all rooting for each other.”
Meet Jessica Farmer a Colorado-based senior video editor at Wild Manor. Starting out in NYC, she worked her way up from assistant editor to cutting spots for Nike, Adidas, Verizon, VRBO and more. Whether she’s finding the perfect track, taking a clarity walk in the mountains, or collaborating with teams near and far, Jessica brings instinct, craft, and calm focus to every project. Enjoy Jessica’s story!
Describe your job role and the kinds of projects/clients you work with.
I began my career in New York City in 2012 as an assistant editor, lots of long nights and learning fast. Before long, I worked my way up to a senior editing position. While advertising has always been my main focus, I’ve also had the chance to cut short documentary pieces and music videos. I genuinely love the variety of projects I’ve been fortunate enough to work on, each one has challenged and inspired me in different ways.
Some of my favorite collaborations have been with brands like VRBO, Nike, Adidas, Domino’s, Verizon and Infiniti. I moved to Colorado three years ago in search of more mountains and fresh air. I now work with clients both remotely and in person. Whether they’re local, we travel to them or they come to us, we always find a way to make it work for everyone.
What does an average day look like in your post-production working world?
The quiet of the morning and a cup of coffee really helps me think clearly and tap into my creativity. It’s the perfect time to get real work done before the day gets busy.
Once the day officially begins, I check in with my team to line up priorities and make sure everything stays on schedule. If I’m tackling a new edit, the first thing I do is look for music. That sets the tone for me. As soon as I find something I think will work I can begin making my selects and play that track down while I watch them. I take plenty of walks to step back from the footage and let fresh ideas come through.
When I’m working on multiple projects, organization and communication are key. I map out a schedule that lets me step away from emails and messages for focused editing time, then check back in to make sure everything is moving on schedule. That balance between focus and collaboration keeps each project running smoothly.
How did your career in post-production begin?
My first job out of college was digitizing film, which had to be one of the most boring jobs I’ve ever had. But it taught me something important: I really loved editing. I’d spend my downtime sitting in with the other editors, watching their process and soaking up everything I could. After a little over a year, I wanted to dive deeper into the digital side of post-production, so I moved to New York City and took a six-week editing course. That’s where I got to cut my first real projects, and I quickly realized I had a knack for it.
I decided to stay in New York, working my way up until I was cutting broadcast commercials. Every day was unpredictable, the hours were long, the standards were high, but the thrill of seeing a spot I worked on air for the first time made it all worth it. That feeling never really goes away.
What has been your career highlight?
A career highlight for me was getting the chance to work with Nike on several projects. They had always been a dream client, and when it finally happened, I was giddy. I poured everything I had into those edits, determined to impress both the Nike team and the agency we partnered with. It was a fun experience.
Who are your role models in post?
The first film editors were women, which I’ve always thought was so cool. They were given the job because they were seen as meticulous and detail-oriented, which honestly tracks. I think I’d have loved it just as much if I were cutting film back then. These days, any woman working in post is inspiring. There aren’t that many of us, but I like to think we’re all rooting for each other. I’m constantly inspired by the editors and creatives in the commercial world who keep pushing boundaries and raising the bar. People I work with everyday and people I dream to work with one day.
Sally Menke and Thelma Schoonmaker proved that women can do it all. I’ve been really inspired lately by Mah Ferraz’s work, and I always look to William Town and Graham Patterson’s collaborations for fresh ideas and creative energy.
What advice do you have for others wanting to start a career in post?
My best advice is to to get inspired. Find someone who’s willing to let you cut their footage, and make it your own. Get creative and experiment. I started out as an assistant, and it was the best way to learn. Being thrown into projects and figuring things out as I went. If you can, sit with an editor, ask questions, and offer to cut something for them. Then ask for feedback. Having an editor walk me through what they’d do differently was one of the most valuable lessons I’ve ever had.