Lily Davis - Editor
Job title - Editor
Experience - 7+ years
“Often it’s the little moments in the edit suite I carry with me. Recording hilarious foley, the epiphanies, getting goosebumps watching an edit, it’s those times I can’t believe I get paid to do this.”
Describe your job role and the kinds of projects/clients you work with.
I work as an editor at The Editors. I primarily cut commercials, working with a range of clients such as ANZ, Bonds, Westfield, Budget Direct and RM Williams. Being at a facility like The Editors has given me the chance to see a broad range of projects. I’ve also worked on feature documentaries and short series. I love the variety and being able to flex different muscles.
What does an average day look like in your post production working world?
My day varies depending on what stage of a project I’m at. When I’m starting a commercial, depending on the amount of footage, I typically spend half a day selecting material. I will mark up the rushes as I’m watching, writing notes for myself in the marker comments. If the rushes are MOS I usually play music in the suite to get in the right mood. I will then begin to assemble my first build. I start broad, even with multiple takes laid up, and then whittle it back, finding the right perspective and refining. I usually do a sound layup as well, as it so often affects how the picture edit feels. Depending on the project and schedule I often like to explore alternative edits after building the scripted version. Then as the schedule progresses I will have days with the director re-working, exploring and improving the edit. I will also have days with the agency and client, presenting edits and making rounds of revisions.
How did your career in post production begin?
I’d wanted to be a film director since I could remember. When I finally got to try my hand at directing student films at university it wasn’t the natural fit I’d always dreamed… I was TERRIBLE on set. So, after a total identity crisis I thought I’d try to learn about a different element of filmmaking. I started an editing diploma at AFTRS and within the first class felt the “A-HA” moment I’d been waiting for. 6 months later I started as a junior assistant editor at The Editors and have been there ever since.
What has been your career highlight?
Often it’s the little moments in the edit suite I carry with me. Recording hilarious foley, the epiphanies, getting goosebumps watching an edit, it’s those times I can’t believe I get paid to do this. Last year, a short series I edited called It’s Fine, I’m Fine was selected in competition at CanneSeries. I travelled over to the festival in France with creator/director Stef Smith and an amazing group from the production. I was pretty deliriously happy and wide-eyed the entire festival. Watching our series premiere at the Espace Miramar was a real career highlight for me.
Who are your role models in post?
I work alongside the most brilliant editors at The Editors, all of whom give me endless guidance and inspiration. Special mentions to Bernard Garry ASE, Mark Burnett, Jess Mutascio and Alexandre De Franceschi ASE. Danielle Boesenberg has been an incredible mentor for me over the years. I also greatly admire the careers of Dany Cooper ASE, Veronika Jenet ASE and Annette Davey.
What advice do you have for others wanting to start a career in post?
This has to be the same piece of advice I was once given. Practise cutting as much as you possibly can. You will learn something absolutely every time you edit. Plus, in an industry that is so much built off relationships, you never know which job is going to lead to the next opportunity. For those starting out, you can still practise by taking existing films and condensing scenes or try cutting a trailer. Those skills will help you refine your storytelling.