Lainy Black - Editor
Job title - Editor
Experience - 3+ years
“Don’t forget to self-promote because no one will know you exist if you don’t let them know”
Describe your job role and the kinds of projects/clients you work with.
Hello I’m Lainy and I’m an offline editor, working on commercials, music videos, erotic film, documentary and narrative shorts. Recently, I’ve been putting it out into the universe that I’ll be able to cut something feature length this year! I work with a range of clients and I’m super grateful that I get to work with so many women.
What does an average day look like in your post production working world?
I think the thing I love most about this job is that every day is different because I work with a variety of people and every film is telling a new story. Plus, post can be so unpredictable and I love how exciting and challenging it can be. I joined the Assembly Rooms under a year ago and my days completely changed. When I started editing professionally it was basically me in my bedroom firing out exports or sitting at kitchen tables with directors. To be surrounded by so many brilliant and kind people who also love this job has been very fulfilling and I learn something new everyday.
Generally, I like to shape my process around what works best for the director or client. Traditionally I would be left alone with the rushes for a few days so that I can pull selects and assemble a V1. If this is the case I like to build a playlist to pull selects to or I will have reference films playing in the background. I find it challenging to pull selects as I find I can limit myself so I try to keep things as loose as possible as I never know what I might need later. I often find that the special moments are when no one is expecting them or when the camera is rolling longer than they have been directed to.
Sometimes, I think it works best for the project to be in the room with the team from day 1 as I think it can give you an opportunity to understand each others ideas and bring more collaboration to the edit. Then we would either cut the film together or I would have some time alone with the rushes to put our thoughts into practice and that’s where I might bring something new to the table. Sometimes I’m on board during pre-production which I think can be so beneficial as it means they’re thinking about the edit, how the narrative will actually play out and the transitions from the start.
I’ve also co-edited with directors in the past and have recently begun co-editing with other editors - I find it interesting to watch how sometimes we have exactly the same gut reaction and then other times our thoughts differ and that’s where you can really learn to look at something differently.
How did your career in post production begin?
When I was a kid I saw the Oasis music video for 'The Importance Of Being Idle' which was edited by Amanda James (hero!) and my life changed forever. I was blown away by how you could tell a story in such a short space of time and I remember telling everyone that when I was old I was going to make music videos. I was really fortunate that my Dad works in IT so I had access to a computer early on and I found Windows Movie Maker and taught myself how to edit using the built in footage.
What has been your career highlight?
In the last few months I’ve seen a few of the films I’ve worked on in the cinema and it’s like watching it for the first time. I always cry and pinch myself a bit.
Who are your role models in post?
Amanda Marie-Rose, Bruna Manfredi, Eden Read, Tamara Ishida and Rob McGuire
What advice do you have for others wanting to start a career in post?
I worked on a film with Faith Ringgold and I'll never forget her wise words - "Do the work and keep doing it. Maybe they'll like it but you have to love it. And when you love your work you're going to persist with it. The rest of us will come along at some point. It will happen."
My career began as a freelance videographer/babysitter/eBayer/bar-tender/door-girl/sales assistant/club promoter and this taught me that there’s no right way to get into this industry, just the way that’s meant for you. Every job is a relative and valuable experience for later. Some of my first videography jobs were for DJs who I met working in bars.
When starting out its good to remind yourself that these are steps towards your goals. Working as a runner in a post-house can be more client facing than any other role so it's a great time to get noticed and learn how to work in high pressured situations. My clients always comment on how our brilliant runner Imogen has such a positive and friendly energy. She’s memorable and this great first impression has helped her get freelance editing jobs. This will continue throughout her career because lots of the people I am editing with now are also the people Imogen will most likely be editing with in the future when she’s a full time editor.
It’s ok to learn as you go - YouTube is my best friend. Ask people you admire for advice and if you can shadow because we can’t know what a job is really like if we haven’t tried it. Don’t forget to self-promote because no one will know you exist if you don’t let them know - Assembly found me on Instagram. Go to Minute-Short events, those guys do an incredible thing and I always leave with a new friend in film.
Tell us about some of your favourite projects.
I’ve always been a big fan of Ewen Spencer’s photography so when he called me to discuss the Diesel films I couldn’t believe it. It felt like a real moment for me and was reminiscent of the club films I made when I was starting out.